Big Hero Six was the hardest story I\'ve ever work on,
and I\'ve worked in story for 20 year.
It came from my passion of loving superheroes as a kid.
I mean, I love Disney animation.
I also loved Marvel Comics.
Big Hero Six is sort of a dream combination of those two things.
Essentially we had a superheroes origin story
and then over here we had an emotional story about loss,essentially,and grief.
we struggled and struggled trying to get those two stories to fit into one moive.
The breakthrough actually wad Baymax.
In the first versions of the story he was a little more like a sidekick,
then we decide to let him to drive the story a little bit more.
So if you look at the moive now.
Baymax, he is the one of that follows the microbot to the warehouse
and essentitally stars the plot going.
We had a strong desire to put a robot on screen that you\'ve never seen before.
So I reserch all the rebots that have been in moives.
and I met with all of the top roboticists in America.
It was at Carnegie Mellon that I met a researcher doing research in soft robotics.
He had a very crude arm.
It wasn\'t even a full robot. It was basically an arm,
but it was made of a vinyl and it was inflatable.
The practical application for this technology,soft robotics,
is going to be in the healthcare industry.
Unlike a metal robot that could actually bruise us injure us,
soft robotics is just air, so they could never hert us.
I was immediately inspired by this technology,
and thought that\'s what Baymax should be.
Baymax\'s design came fairy quickly after that,
because we wanted him to be very soft,and cuddly,
and somebody that was warm,like a caregiver.
But we were struggling with like,
well,what\'s his face gonna look like,
is he going to have a face？
is he going to have a mouse？Is he not?
So I went to Japan on a research trip
and I was at a temple, and I kind of looked up
and there was a bell looking down at me.
It was basically a circle with a line and a circle.
I felt so clam and peaceful looking up at that bell
and thought \"that should be Baymax\'s face”
because if you want people nurse robot,
you want the patient to feel at ease and calm,
So I took a picture of it
and brought it back to the studio
and gave it to our character designer,
anf said \"this is his face\".
The next challenge,the next thing we do is to look at how the character gonna move.
They looked all across nature for like the cutest walks,
and they determined that the top three cutest walks were:
a toddler,a toddler with full diaper, and a baby penguin.
I went with the baby penguin.I thought it was the cutest walk.
Baymax,even though you look at him,and he\'s puffy and slow and easily punctured,
look on the surface like not your typical superhero looks loke he wouldn\'t make a very good superhero actully,
but he has those qualities that, I think, inside make a great hero.
He\'s doing everything that does in the film help Hiro,
to help hom deal with the loss of his brother,
and so he doesn\'t even realize that he\'s becoming a superhero.
I didn\'t really want to set it in the real world.
We chose to kind of combine Tokyo and San Francisco into one city,
because they\'re both familiar.
Around the world,every body knows the Golden Gate Bridge,
and the cable cars,and the general city itself id very iconic.
I thought it would be interesting to take something like that
and then put an aesthetic over ot that\'s different,
in this case we took Tokyo and mashed it up together to create somthing new.
Everything starts with drawings,everything.
The only difference is the acyual animation that you see on screen is not produced with drawings but with cumtuper models.
Drawing is alive and well, and has always been the bedrock of Disney Animation, and that continues.