The Future

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.


Set Design

Lighting

Building Extras


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.

Sound


New Family

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.”

 

Nomanisan

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
super speed."

 

E's Lair

"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."

 

Colorscripts

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 tocreate 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.