Narrator: The team would have to look at whether all the strands of hair reacted naturally to the character's movements and to each other. And so you have to go back in and adjust it. Sometimes in those tests, you find out that, like, one piece of hair is quite a bit longer than the other. Michelle: We knew that Mirabel and Luisa and a lot of the characters were going to be really active and jumping around and in a musical fantasy sequence that they could be hanging upside down. Michelle: Making those shapes on very, very long hair and then trying to figure out how to manage those individual curl locks so they don't poke through each other and catch on each other. Narrator: The first task was sculpting their zigzag, or S-shaped, curls, a hair shape Disney hadn't created before. I've only been thinking of keeping this hair silky and being awesome again. But Polynesian cultural advisors pointed out that Maui's long hair is a source of his spiritual energy, so both Maui and Moana ended up with long, curly-wavy hair. Things might have been more straightforward if the demigod Maui had been bald, like The Rock himself, which was the original plan.

Narrator: Figuring out hair's interaction with the wintry elements in 'Frozen' paid off in 'Moana,' where the focus was on hair's interaction with more forces, like water and character movements.

She really does, towards the end of the movie, get blown around quite a bit, and trying to balance maintaining that stylization and that kind of appealing shape language with real physical motion. Michelle: Very stylized bang shapes that, you know, these kind of pieces that formed that really distinctive silhouette.

Artificial girl 3 characters elsa