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They stretched out like snow angels in fields of heather. They saw lichen dripping from trees shrouded in mist.

In the Scottish Highlands, the team felt the wind in their faces and pushed their hands down into the spongy moss that softened the rocks and draped the earth.

With a fairy-tale setting in medieval Scotland amidst lush landscapes and kilt-wearing clans, and a fairy-tale plot that includes a tricky witch, a spell that must be undone, and plenty of action-adventure along the way, Brave enters new territory for the studio.īehind the scenes, Pixar’s toolmakers and artists entered new territory as well, by developing and implementing new technology and methods for the first time that affected everything from the landscape to the costumes, from animation to Merida’s mop of curly hair.ĭuring late summer of 2006 and again in October 2007, 12 members of the Brave production team-including directors Mark Andrews and Brenda Chapman, producer Katherine Sarafian, story lead Luis Gonzales, production designer Steve Pilcher, and shading art director Tia Kratter-traveled to Scotland to meet people, immerse themselves in the landscape, and scout locations. She would rather be outdoors riding her horse, rock climbing, and practicing archery like Fergus, her father, than studying to be a princess and meeting her pre-ordained destiny­-marriage to the son of a rival clan leader. Merida inherited her father’s fiery character along with his flaming red hair, rather than her mother’s calm demeanor.

The conflict in this feature centers on the relationship between Merida, a young “don’t wannabe a princess,” and her mother, the elegant Queen Elinor. Pixars extraordinary run of successful films starring male characters took a courageous turn in June with the release of Disney/Pixar’s 13th feature, Brave, the studio’s first princess film.