"There's a great heart at the center of this film that just isn't for moms and daughters," he emphasized. "I'm a father of four (a girl and three boys, just like King Fergus). So I know about parenthood and the fears and tribulations. 'Look, I've done it all and I don't want you to make the same mistakes.' I get Elinor's play. I was also a teenager so I didn't want anyone telling me what to do, what to say, what to wear. So I get Merida's play. That's what I'm invested in: this universal, relatable story. I brought objectivity, which is what was needed since the story was stalling out and wasn't progressing. I don't care! Chop, chop! This doesn't work, this doesn't work, this doesn't work -- and shatter it! What still works? The mother/daughter relationship works; but there were a lot of holes. You fill in the blanks. You take Brenda's great ideas and the wonderful relationships that she started, clear away the clutter, find out where the missing places were, and solve them. I didn't succeed right off the bat. We twist and contort painfully."
So Andrews revamped "Brave" three or four times before it finally came together. But when Pixar co-founder Ed Catmull said, "Make me cry," and then emerged from an early screening doing just that, the director found his epiphany.
"Everybody's trying to put us into a box and I think our box is you can't put us in a box," Andrews suggested. "You don't know what you're going to get out of Pixar. Sure, we do our 'Cars 2' and there's going to be a 'Monsters 2' and everyone wants an 'Incredibles 2.' But after our Scottish epic/fantasy/adventure comes out, people are going to say, 'it's hard to predict you guys.' It's [about] story innovation. We still get to raise the bar for animation. Look at 'Rango': Could anybody have done 'Rango' before and have it be accepted? No, because we keep pushing the bar. Thank god for 'Rango' or 'How to Train Your Dragon'; even 'Puss in Boots.'"
Stay tuned to see if "Brave" fulfills its promise.