Perky Joy has her hands full trying to put a brave face on events, and keeping the other emotions at bay. But the move is a disappointment, and Riley feels isolated from the friends, family, and hobbies that gave her life meaning. ![]() And certain core memories, stored in a special area, are associated with “personality islands”-elaborate mental worlds built around key experiences with special meaning.Īs the film begins, with Riley and her parents (Diane Lane and Kyle MacLachlan) moving cross-country for her dad’s latest career opportunity, Riley’s life has largely been upbeat. ![]() As memories build up in the control room throughout an average day, it’s easy to see from the color of the shelves whether it’s been predominantly a happy day, a glum one, or a confused mix of different emotions. As Riley has experiences and creates memories, they manifest as glowing spheres, each loaded with a little video clip of the memory, and tinged with the color of the emotion most associated with it. Anger (Lewis Black) is fiery red, Disgust (Mindy Kaling) is sickly green, and Fear (Bill Hader) is a faint purple. Sadness (Phyllis Smith) is a glum, depressive blue. Each emotion has its own distinctive color: Joy (Amy Poehler) is an effervescent sprite with a yellow Tinkerbell glow. But like all Pixar’s best films, it’s fleet and accessible, trusting the audience to keep up with an adventure that unfolds at a breakneck pace.ĭocter and his team make keeping up easier by establishing a clear visual language early on. But mostly, it uses the setup to explore why emotions exist, how they change as people grow up, and how a simple surface reaction might come from complicated inner conflict. There are endless comedic possibilities in the scenario of five demanding emotions fighting for dominance, and the film periodically toys with those possibilities to lighten the mood. Inside Out does it more literally than other Pixar films, but it does it magnificently. ![]() But while other Pixar productions like the Toy Story movies, Monsters, Inc., and Up (the latter two directed by Docter) have stood out in a crowded animation field for their innovative ideas, what really distinguishes Pixar films is the way they take surprising narrative risks and dig deeply into painful emotions that most kid-friendly films strive to avoid. The idea of personifying aspects of the human experience to show how feelings and intellect conflict isn’t new: Plenty of other creators have played with it in the past. As the emotions come into conflict, they negotiate, deliberate, or simply shove each other aside, and step up to take turns at the control panel of her mind. Five stylized, colorful characters-Joy, Sadness, Anger, Fear, and Disgust-represent Riley’s emotional response to events around her. Their protagonists are anthromorphized versions of emotions inside the head of a 11-year-old girl named Riley. Over the course of a few relatively breezy minutes at the beginning of Inside Out, Pixar vet Pete Docter, co-director Ronnie Del Carmen, and Docter’s first-time feature co-writers Meg LeFauve and Josh Cooley establish a simple scenario.
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