It takes a will of steel to hide your superhero talents from a world that still needs you, yet no longer appreciates what you can do. Battling a bulging belly and a boring job, Mr. Incredible longs for the glory days of upholding law and order while his superhuman family tries to fit in with their "normal" life. Relief from quiet suburbia finally comes years later, when the family uncovers a diabolical plan and must bring together their respective strengths to save the day.
The Parr family's superpowers were based on their personalities. As a dad, Bob had to be the strong one, and mom Helen had to handle being pulled in all directions. Violet, the insecure teen, doesn’t want people to look at her, while Dash represents a typical hyperactive boy. And baby Jack-Jack is all about undiscovered potential.
Once the best-known, most popular superhero alive, Bob Parr is now fifteen years older and is bolder and heavier. As a claims adjuster at possibly the world’s worst insurance company, Insuricare, the former Mr. Incredible’s heroics are limited to helping people navigate the intricacies of the appeals system. Bob’s unhappiness has taken a toll and he and his family have become disconnected. Bob thinks the best years of his life are in the past, but what he will discover is that his family is his greatest adventure.
Helen Parr, the former super-stretching superhero, has adjusted to normal life quite well, and is busily focused on caring for her three children. While she occasionally uses her amazing ability to stretch to meet the daily challenges of modern motherhood, she is careful to do so only behind the closed doors of their suburban home. She misses the old days, but doesn’t dwell on those times as she has a wonderful family and is quite happy to spend her time with them. She only wishes Bob would do the same.
At age ten, Dash seems to be moving even when standing still. Full of restless energy, he has the power of super-speed – a power so useful for playing pranks that he has difficulty keeping it in check. Dash doesn’t understand why superheroes should hide their powers – why would they have them if they weren’t supposed to use them?
Violet Parr is, in many ways, a typical shy, insecure teenage girl stuck at the crossroads between child and woman. She, like her parents and brother Dash, has special powers, and it seems only right that hers allow her to turn invisible and protect herself with a secure force field. For what would be better for an awkward young woman but to be able to disappear from her problems at a moments notice? Especially for someone who desperately wants to be like everybody else, normal, but truly isn’t.
Syndrome wasn’t born with superpowers, but envied the attention and admiration the Supers received. Of all the Supers, Mr. Incredible embodied everything Syndrome desired: strength, fame, and popularity. Highly intelligent and cunning, Syndrome now spends his days on a remote island on the other side of the world inventing gadgets and robots to carry out a diabolical plot.
Edna "E" Mode
Brilliant and successful, Edna Mode got her start in the industry as the world’s leading superhero costume designer. With her now-mature sense of design, she remains the top designer in the field, taking her clothing designs to Milan, Paris and other internationally important fashion centers. However, E longs for the return of the superheroes, for a real design challenge, so she can fuse the latest technology with her impeccable fashion sense and unfurl her incredible creations for the adoring public.
Jack-Jack is the black sheep of the family. He is nearly two years old, and it seems the only thing incredible that he can do is jabber in gibberish. He’s very good at that— as well as throwing food at dinnertime. Hey, that’s what being a baby is all about! But who knows, maybe someday…He is an Incredible after all…
Lucius Best used to be known as the coolest superhero on the planet – and not just because he was best friends with Mr. Incredible. His style, wit and attitude made Frozone, as he was known then, the hippest of the lot. Of course his powers made him cool too, literally. Lucius’ ability to create ice from moisture in the air, and then travel on it with his special boots, made him the envy of every gadget-loving little boy. Lucius knows the old days are done and there’s no going back, so he doesn’t try to relive the past. But he knows Bob still wants to, and he tries to help him adjust in any way he can.
Syndrome's mysterious love interest might be drawn to power, but she quickly learns the consequences when power is in the wrong hands.
The ultimate robot in the Omnidroid family, the Omnidroid 1000 was custom designed by Syndrome to defeat Mr. Incredible. The only problem: Omnidroid has a mind of its own.
Patrolling the cubicles of Insuricare, it’s Gilbert Huph’s job to make work as drab and unfulfilling as possible, especially when an underling like Bob Parr towers over him.
The world of The Incredibles evokes the future as imagined in the early 1960s. Pixar designers found inspiration in television shows like Jonny Quest, the early James Bond pictures, and Walt Disney’s original Tomorrowland.
The Sound Of The Incredibles
Filled with a fantastic array of futuristic gadgets, devices, and vehicles, The Incredibles required the Pixar team to come up with sounds for things that never existed. One sequence featured Dash being chased by Velocipads. "No one knew how a Velocipad should sound," recalls sound designer Randy Thom, “but they had to sound dangerous.” Adds Thom, “I had to fabricate more new sounds for The Incredibles than any other film I’ve ever worked on.”
Pixar had already established itself with a string of innovative and successful films when John Lasseter decided to add new blood. Brad Bird had already created the highly regarded Iron Giant when he came on board, bringing with him an idea about a family of superheroes. For the film that would become The Incredibles, the team enlisted prolific composer Michael Giacchino, who became another valued member of the Pixar family.
The Parr Home
Adhering to the early 1960s theme, the Parr home is a study in mid-century architecture with some odd futuristic twists, like the washing machine with a clear plastic dome, and a TV that mashes a contemporary wide screen with a vintage console. Though the house is comfortable in most respects, the filmmakers still needed it to suggest that it was an imperfect fit for the extraordinary family. As technical director Rick Sayre puts it, “Bob is a superhero stuck in his own suburban fortress of solitude.”
Crafting a supervillain’s lair gave the creative team a broader canvas to work with. At first glance it had to be an island paradise, then little by little reveal its sinister aspects.
“Each character sees the island from their own perspective,” explains Story Supervisor Mark Andrews.“Bob uses his strength and knocks out a guard with a coconut. Helen sees the island in a more stealthy way. For the kids, who haven’t been allowed to use their superpowers, the island is a trial by fire, particularly with Dash being chased and having to finally use his
"When we started to design E’s house we knew we wanted it to be very modern and minimalist," says Production Designer Lou Romano. "But we also wanted to incorporate superhero elements as well that would tie in with E’s past work as a hero costume designer. We went to Greek mythology and art for inspiration and specifically focused on anything to do with gods and heroes – the true superheroes of that time. Featuring that ancient art seemed fitting as a comment on superheroes in the world of the film, forgotten and in decay."
A colorscript is a sequence of small pastel drawings or paintings used to emphasize color in each scene and establish a film's visual language.
Lou Romano created his colorscript for The Incredibles with the 1960s sensibilities that infused the rest of the film. Romano’s technique was to“create these shapes that basically told the story in color,” says Character Designer Teddy Newton. “I really took a lot of inspiration from these colorscripts.” The filmmakers paid homage to Romano’s “basic shapes” in crafting the kinetic 2D end credit sequence.