Note : No spoiler - I went into this and added Yokai’s mask to cover up his identity if you haven’t seen the film.
These are my thumbnails before I boarded the sequence. Maybe one day I’ll try and post my boards.
We had an editorial meeting on this sequence and it originally didn’t have Baymax pursuing Yokai. It went right away to the team jumping in to fight off Baymax and Yokai escaping but John Lasseter challenged us to push it more and make Baymax feel like a serious and scary threat.
This is one of those moments where it has to get done insanely quickly and a team comes together. We discussed it in editorial - development was done in layout and animation and then I jumped in and storyboarded the whole thing over a weekend based on the development. Layout reworked it and then Zach Parrish and his team did a beautiful job and brought it to life. Patrick Osborne had just finished Feast and he jumped in to help out animate too. What makes this sequence really AMAZING is the decision by Chris Williams, Don Hall, and composer Henry Jackman to drop out all the sound and let the score carry it. It’s incredible and as hard as it is for me to watch is one of the more impactful sequences in the film.
It’s an amazing and extremely troubling sequence because here’s our character that we’ve developed and love so much and in the blink of an eye he’s turned into a monster. It broke my heart boarding it which is why I knew it was right for the film. Hiro had violated not only Baymax’s protocol but my love for him as well. A very intense moment.