Tag: pete-docter

  • ‘Inside Out 2’ Press Conference with Director Kelsey Mann

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    Preview:

    • There were a total of nine emotions in the original pitch.
    • The sequel will explore the minds and emotions of a teenager.
    • Finding the new voices for ‘Inside Out 2’.

    Pixar Animation’s upcoming sequel ‘Inside Out 2’ will see the journey of Riley in her teenage years. Joy, Sadness, Disgust, Anger, and Fear are gearing up for brand new adventures for the next chapter in Riley’s life, but unbeknownst to them, everything they know is about to change.

    During the long lead day presentation at the Pixar Animation Studio in Emeryville, California, director Kelsey Mann (‘Good Dinosaur’) and producer Mark Nielson held a press conference to discuss the sequel.

    Related Article: Director Kelsey Mann Presents Footage from Pixar’s ‘Inside Out 2’

    When it comes to crafting the next chapter, Mann has some big shoes to fill. 2015’s ‘Inside Out’ was directed by Pete Docter, who is now the Chief Creative Officer for Pixar. The film won an Oscar for Best Animated Feature at the 88th Academy Award. Mann talks about the pressure of needing to make something great, but he was up for the challenge, “There’s nobody’s feet I’d rather follow than that man.”

    Kelsey Mann is photographed on September 25, 2013 at Pixar Animation Studios in Emeryville, Calif.
    Kelsey Mann is photographed on September 25, 2013 at Pixar Animation Studios in Emeryville, Calif. Photo by Deborah Coleman / Pixar.

    On taking over for the sequel and following in Docter’s footsteps:

    Kelsey Mann: I’ve really been following Pete’s footsteps for a long time. But I feel nothing but, you know, excitement. Joy is at my console and, of course, you’re like you wanna make sure you’re doing right to everyone that loves the original film. I wanna do Pete proud. I wanna do everybody who loved the original proud. I’m just more excited than I am scared.

    The New Emotions

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    Anxiety, Envy, Embarrassment, and Ennui join the original five emotions for ‘Inside Out 2’. Mann reveals that more emotions were originally planned – nine, to be exact.

    Kelsey Mann: Nine new emotions showed up. I really wanted Joy to feel overwhelmed by all of these new emotions that showed up. I was like well, let’s have a lot show up. Then you couldn’t keep track. There were so many emotions and they all canceled each other out because you couldn’t keep up with everybody. My first note from the first screening was simplify.

    The director mentions the many emotions that didn’t make the cut for both films, including the emotion Schadenfreude, which means joy or satisfaction felt at someone else’s expense. Pete Doctor originally had the idea of having Schadenfreude in the first film, so Mann wanted to try again but it was ultimately cut from the film.

    To help narrow down the number of new emotions, Mann and Nielson enlist the help of Dacher Keltner, a professor at Berkeley who also served as the emotional expert on the first movie.

    The Mind of a Teenager

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    Mann knew he wanted to pitch the idea of exploring Riley’s mind as a teenager for the sequel. He speaks about the drama that would go on, as well as hilarious moments to highlight in the film:

    Kelsey Mann: I looked into what happens in our brains at that age, and it’s a lot. There’s a lot that goes on. It gave us everything that we kinda need for a Pixar movie. There’s a lot of drama that goes on. But also it’s really funny. Like, I could come up with a lot of really good gags about Riley being inside the mind of a teenager.

    When it came to deciding which of the new emotions would take control at the console inside Riley’s mind, Mann knew it had to be Anxiety. Conferring with emotions expert Dacher Keltner, they focused on the self-conscious emotions, “at this age, you start, we’re hard wired at this age to start to become really self-conscious.”

    Kelsey Mann: In part, we’re doing it because when you’re a kid, you’ve got your parents and your caregivers taking care of you. Eventually, you’re gonna have to take care of yourself. That’s why we’re hard wired to like, push our parents and our caregivers away is so that we can become independent people that can take care of ourselves.

    Mann also touches on a teenager’s need to fit in and feel accepted.

    Kelsey Mann: How do I fit in? Do you like me? It’s all about fitting in at that age. It’s part of our design of who we are because if you don’t like me, you’re gonna banish me and I’m gonna go out into the woods and die alone. So, that’s why we kind of worry so much about what others think about us at that age. It kinda turns on and it kinda never goes away. You kinda have to manage it, which is a big reason why I’m making this movie. So, that’s why we ended up going towards the emotions that we have in the film now.

    As a father, Mann speaks to how important and personal this story is to him.

    Kelsey Mann: A big reason why I’m making this movie is I want to make it for everyone but I’m also making it for my little girl. I’m making it for my daughter. I wish I had a movie like this when I was a teenager.

    Finding the Voices for ‘Inside Out 2’

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    The film sees the return of Amy Poehler as Joy, Phyllis Smith as Sadness, and Lewis Black as Anger. Tony Hale as Fear and Liza Lapira as Disgust (taking over for Bill Hader and Mindy Kaling) join the cast. Maya Hawke, Ayo Edebiri, Adèle Exarchopoulos, and Paul Walter Hauser voice the new emotions.

    When cast for the new emotions, Mann and Nielson looked for actors who embodied the characters they were building.

    Mark Nielsen: The process, we kinda take it emotion by emotion and what we’re looking for is for actors out there that purely embody the character that we are building. So, you know, going back to the first film, Lewis Black, when you think about Anger, and if you’ve seen any of his comedy, there was no question that there wasn’t anybody else that could play that character.

    When it came to casting Maya Hawke for Anxiety, the creative team had a very funny and unexpected story, where Mann auditioned the actress from Disney World.

    Kelsey Mann: So, we went out to do an audition with Maya, and Mark [Nielsen] was like, “Good news is she said, yes, she would love to audition and meet with you. Bad news is it’s during your vacation.” So, me and my kids, we were all at Disney World. I’m like, “I’m at Disney World.” He’s like “Don’t worry, we’ll figure something out.” So, I went to Disney World, and I was at EPCOT.

    The casting team for Pixar took Mann through the backlots of EPCOT, through the Mexico Pavilion, and auditioned Hawke via Zoom. Mann was so happy with her audition he burst into tears.

    Kelsey Mann: She absolutely crushed it. My favorite part was, at the end of it, I talked about what I wanted the movie to be about and she just immediately connected with it. I think I even cried as she was talking. I walked away and called you and were like “oh my God, she’s perfect.” Then I went back into EPCOT and continued my vacation. It was hilarious.

    ‘Inside Out 2’ Is Also A Parental Movie

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    While the story takes place inside Riley’s mind, the sequel also serves as a parental movie, inspired by Mann and Nielsen’s own lives as parents to teenagers. The film also highlights Joy’s protective nature when it comes to Riley.

    Kelsey Mann: When I started, my daughter was 13 and my son was 14. I’m like this is the exact age I want her to be in the movie. So they’re immediately right there. You’re always pulling from your lives in every movie I’ve done here. We’re always talking about what it’s like to be alive and be a person, a father, a husband, you know, whatever it may be. So, you’re always kind of putting that into the movie.

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    Mark Nielsen: Yeah. This really is a parental story, and even though it takes place in Riley’s mind, she is kind of the set piece and there’s something incredibly universal about this story and these emotions that we all have. Even Joy who’s the protagonist of this story, has a very parental view of Riley and all the emotions do, right? They’re there to serve her. They’re there to do their very best to do whatever they need to protect their girl and to kind of steer her in the right way. So, even the original film was based on Pete Docter’s observations of his daughter as she was growing up and going through change and becoming a young teen. So, having the parental lens on this film has been incredibly helpful.

    What Else Is There To Know About ‘Inside Out 2?’

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.
    • There is a 4*Town easter egg in the movie
    • There was a land called Procrastination Land inside Riley’s brain – a land that would always be under construction and never finished. Ultimately, Procrastinating Land did not make the final cut of the film.
    • The baggage Anxiety carries during her first appearance in the film originally belonged to Guilt, one of the nine emotions that didn’t make the cut.
    • This is the first Pixar animated feature film to have a female composer – Andrea Datzman

    ‘Inside Out 2’ arrives in theaters on July 14, 2024.

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    What Is the Plot of ‘Inside Out 2’?

    Following the 2015 movie, ‘Inside Out 2’ will return to the mind of Riley (Kensington Tallman) as she enters her teenage years. Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Disgust (Liza Lapira), and Fear (Tony Hale) have their hands full as Riley experiences life-changing moments, along with Headquarters going under a sudden demolition to make room for something completely unexpected – brand new Emotions. Experience an emotional rollercoaster as the sequel introduces Anxiety (Maya Hawke), Embarrassment (Paul Walter Hauser), Envy (Ayo Edebiri), and Ennui (Adèle Exarchopoulos), who will share Headquarters with the original 5 Emotions.

    Who Is the Voice Cast of ‘Inside Out 2’?

    • Amy Poehler as Joy
    • Phyllis Smith as Sadness
    • Lewis Black as Anger
    • Tony Hale as Fear
    • Liza Lapira as Disgust
    • Maya Hawke as Anxiety
    • Ayo Edebiri as Envy
    • Adèle Exarchopoulos as Ennui
    • Paul Walter Hauser as Embarrassment
    • Kensington Tallman as Riley Andersen
    Inside Out 2 logo
    Pixar’s Inside Out 2 logo. © 2022 Disney/Pixar. All Rights Reserved.

    Other Movies Similar to ‘Inside Out 2:’

    Buy Pixar Movies on Amazon

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  • ‘Inside Out 2’ Director Kelsey Mann Presents Unseen Footage

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    The upcoming Pixar animated feature ‘Inside Out 2’ will be in theaters on June 14, 2023. Moviefone was invited to Pixar Animation Studio in Emeryville, California, along with a group of journalists to preview the first 30 minutes of the film and get a closer look at the inner workings of creating an animated feature film.

    Related Article: Director Peter Sohn Explains Pixar’s ‘Elemental’ and Introduces Footage

    Director Kelsey Mann Presents the First 30 Minutes of the Film

    Kelsey Mann is photographed on September 25, 2013 at Pixar Animation Studios in Emeryville, Calif.
    Kelsey Mann is photographed on September 25, 2013 at Pixar Animation Studios in Emeryville, Calif. Photo by Deborah Coleman / Pixar.

    Moviefone had the pleasure of screening the first 30 minutes of ‘Inside Out 2’. Chief Creative Officer of Pixar, Pete Docter (who directed 2015’s ‘Inside Out’) kicked things off by talking about using big backdrops for past animation movies. Docter speaks about stories using large backdrops such as the ocean or space in films such as ‘Finding Nemo‘ and ‘Lightyear,’ but with ‘Inside Out,’ it explores the vast mind of a young girl.

    ‘Inside Out 2’ director Kelsey Mann and producer Mark Nielsen present the 30-minute footage. The director also clarified that some shots were not completely finished at the time of the presentation. Both Mann and Nielsen are now fathers of teenage girls and expressed that that made working on this film extra special and meaningful.

    Mann says he could not stop thinking about the final line from Joy in the first film: “After all, Riley’s 12 now. What could happen?” as he began to work on this movie to explore Riley’s next chapter. ‘Inside Out 2’ will examine this stage of growing up – when a teenager’s self-consciousness and self-doubt are at the forefront of their emotions.

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    While Mann did not work on ‘Inside Out,’ he did experience the film as an audience. Now, as director, he’s able to go into the sequel and explore the next chapter with new emotions: “I’d zeroed in on the idea of Anxiety being a major character,” said Mann. “It’s something that really starts to appear as we become teenagers – we can “It’s something that really starts to appear as we become teenagers—we can all relate. I remember doing a lot of research early on about what happens in our brains at this age that triggered this idea of a wrecking ball coming through Headquarters — a bunch of workers piling in and tearing everything down. It’s a renovation — that’s kind of what it feels like to be a teenager. It’s chaotic.”

    Anxiety brings along fellow new emotions: the always-admiring Envy, the ever-mortified Embarrassment, and Ennui, who is in a constant state of boredom and disdain, opting to lay on a couch and stare at the phone rather than interact with the group.

    What footage did we see from ‘Inside Out 2?

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    The presentation kicks off with Riley’s hockey game, and inside Headquarters, the Emotions are gearing up for the big game. As Joy commands the console, she also doubles as a sports commentator as she gives the play-by-play. The other Emotions take turns at the console as the game continues – Anger when Riley needs to be more aggressive on the ice; Disgust when Riley accidentally puts someone else’s mouthguard in her mouth; Fear ensures Riley skates with caution; and Sadness when Riley gets a penalty. This is followed by a short exposition where Joy catches the audience up on what Riley’s been up to and gives a quick overview of the workings parts inside her mind, such as Personality Island, Friendship Island, and more.

    The scene introduces something new called Riley’s Sense of Self. It blooms as Riley experiences various successes and failures — like scoring a goal or missing a pass from a teammate. The Emotions call this their masterpiece.

    After the game, Riley and her two best friends are approached by a high school hockey coach to commend them on a well-played game and extend an invitation to hockey camp. This is where we’ll see Riley’s self-doubt come into play as she grows anxious and nervous about her performance at hockey camp. Joy has invented a “Riley Protection System” for moments like this — where she takes the “bad” emotions and launches them out of Headquarters and into the back of Riley’s mind.

    Another new element introduced is the Belief Center, adorned with beautiful light threads made from Riley’s beliefs, which is where Joy stores the key memories.

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    In the middle of the night, the console begins beeping. One by one, the Emotions awake to investigate the sound. A new button on the console is causing the beep – we come to find out this button is “Puberty.” Amidst the chaos of the demolition of Headquarters, the Emotion finds that the control console has become increasingly sensitive, causing Riley’s mood to surge from one spectrum to the other with even the slightest touch of a button. If things weren’t crazy enough, new Emotions, Anxiety, Envy, Ennui, and Embarrassment, arrive at this moment.

    During the commotion, an Emotion we have yet to see makes a quick appearance, hinting at what’s to come for Riley in her adult life, but we won’t spoil that moment for you here. We also get a quick glimpse inside Riley’s mom’s mind as Riley experiences mood swings, “Welp, that’s a preview of the next 10 years.”

    While talking to her best friends on their way to hockey camp, we get a better look at Riley’s self-consciousness taking over her mind. Disgust overanalyzes everything they say, including zooming in on her friends’ faces to study their expressions. It turns out that her friends would not be attending the same high school as Riley next year, causing a small rift in their friendship.

    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    Arriving at hockey camp, the girls are enamored by being around high school students. They meet Valentina “Val” Ortiz, the captain of the high school hockey team. With both old and new Emotions now sharing the console, Riley’s first meeting with Val quickly becomes awkward, from a very cheesy greeting with “shooting” hand gestures to nonchalant responses courtesy of Ennui.

    Joy and Anxiety fight over Riley’s Sense of Self, as they do not see eye-to-eye on how to best handle social situations at hockey camp among high school-aged girls, as well as whether she should be hanging out with the hockey team or her best friends. Anxiety’s approach is to “plan for the future” which would mean Riley should hang out with her potential future teammates, whereas Joy chose to stay with what’s familiar – Riley’s friends.

    With Joy and Anxiety unable to agree on the best way to help Riley, Anxiety ends up throwing the old Emotions inside a bottle and launching them out of Headquarters. Then, she announces her plan to build a brand new Riley. The new Emotions heads down to the Belief Center to begin the rebuild, and we see the straight, shining threads turn into sharp, jagged lines—similar to Anxiety’s hair.

    The old Emotions find themselves inside a dark vault, where some of Riley’s oldest memories – and perhaps some secret – lie. This scene includes two new characters in a very different art style – a 2D animation-style character reminiscent of ‘Dora the Explorer’ and ‘Blue’s Clue’ and a 3D polygonal character whom the Emotions ask for help getting out of the vault and return to Headquarters.

    What It Takes To Create ‘Inside Out 2’

    Pixar's 'Inside Out 2' concept art.
    Pixar’s ‘Inside Out 2’ concept art. © 2022 Disney/Pixar. All Rights Reserved.

    Following the footage presentation, journalists were split into various groups and guided into the working offices of the Pixar campus for an in-depth look at what it takes to create the sequel.

    First up was character development with Production Designer Jason Deamer and Character Art Director Keiko Murayama. They speak about the process of creating an Emotion by studying their Shape Language – like Anxiety who is more tightly wind-up and Joy who has more of a star-burst shape. Color and silhouette are looked at as well in character creation. One of the bigger challenges in creating the sequel is that it must look and feel like the first film, and it took around a year and a half to get it to look just right.

    Next up is Story Pitch with Story Artist Becca McVeigh, who took us through the process of being assigned to a scene, animating it, and pitching it to the director. McVeigh live-pitched the scene called ‘The Alarm,’ where the Emotions are awoken by a strange beeping sound coming from the console. During the story pitch, artists will not only draw the sequence of the scene but also act out the dialogue and sound effects. After the pitch, director Kelsey Mann is there to give his notes, and they will run through the animated scene with McVeigh making changes right there on the spot – from adding more jokes or adjusting the dialogue of important moments to elevate the film further.

    Becca McVeigh and John Hoffman during a story review, as seen on March 19, 2024 at Pixar Animation Studios in Emeryville, Calif.
    (L to R) Becca McVeigh and John Hoffman during a story review, as seen on March 19, 2024 at Pixar Animation Studios in Emeryville, Calif. Photo by Deborah Coleman / Pixar.

    Following the story pitch is the live edit session, where ‘Inside Out 2’ lead editor Maurissa Horwitz demonstrates how the editors piece together a scene, from layering various sound effects to make the scenes sound fuller to choosing the right music for scenes and picking the perfect dialogue performance.

    Journalists also got a try at voicing a character in the movie in a mock voice recording session directed by a senior recording engineer.

    The next stop was Virtual Camera Set Scout, where Adam Habib, Ryan Heuett, and Sunguk Chun gave an inside look at how being on a digital set in a Pixar film can parallel being on a physical set in a live-action film. The team used a tablet on a handheld rig, which functions just as a camera that allows the director and editors to move around anywhere on the set to find the right shot. This technology allows for over-the-shoulder shots, birds-eye view, and more. It can even give certain scenes a specific camera language. For example, Anxiety will be a more handheld-type, up-close shots and have less motion blur – with Heuett referencing the inspiration from ‘Uncut Gems’. In this session, journalists got to operate the handheld rig to virtually “walk” around the emotions’ Headquarter.

    Kelsey Mann and Pete Docter talk before an Inside Out 2 animation review on February 8, 2024 at Pixar Animation Studios in Emeryville, Calif.
    (L to R) Kelsey Mann and Pete Docter talk before an Inside Out 2 animation review on February 8, 2024 at Pixar Animation Studios in Emeryville, Calif. Photo by Deborah Coleman / Pixar.

    The final stop is Animation Polish Review, where animators will go over a specific shot they’ve been working on, addressing the various notes and changes before receiving final notes or approvals. This process takes a close look at the detail elements such as fabric movement and wrinkle, ice particles on a hockey rink, and more.

    Just like the Emotions and Mindworkers inside Riley’s mind, it takes a team and a lot of coordination to create an animated feature film.

    ‘Inside Out 2’ will arrive in theaters on June 14, 2024.

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    What is the plot of ‘Inside Out 2?’

    Following the 2015 movie, ‘Inside Out 2’ will return to the mind of Riley (Kensington Tallman) as she enters her teenage years. Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Disgust (Liza Lapira), and Fear (Tony Hale) have their hands full as Riley experiences life-changing moments, along with Headquarters going under a sudden demolition to make room for something completely unexpected – brand new Emotions. Experience an emotional rollercoaster as the sequel introduces Anxiety (Maya Hawke), Embarrassment (Paul Walter Hauser), Envy (Ayo Edebiri), and Ennui (Adèle Exarchopoulos), who will share Headquarters with the original 5 Emotions.

    Who is in the voice cast of ‘Inside Out 2?’

    • Amy Poehler as Joy
    • Phyllis Smith as Sadness
    • Lewis Black as Anger
    • Tony Hale as Fear
    • Liza Lapira  as Disgust
    • Maya Hawke as Anxiety
    • Ayo Edebiri as Envy
    • Adèle Exarchopoulos as Ennui
    • Paul Walter Hauser as Embarrassment
    • Kensington Tallman as Riley Andersen
    Pixar's 'Inside Out 2'.
    Pixar’s ‘Inside Out 2’. © 2022 Disney/Pixar. All Rights Reserved.

    Other Movies Similar to ‘Inside Out 2:’

    Buy Pixar Movies on Amazon

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  • D23 Expo 2022: Disney Studios Presentation

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    Walt Disney Studios kicked off the first day of D23 Expo 2022 in style today with tons of advance looks at what the House of Mouse has in store for fans in the coming days, months, and years. You can watch Moviefone‘s exclusive backstage interviews by clicking on the video player above.

    The first D23 Expo in three years began with the president of Walt Disney Studios Motion Picture Production, Sean Bailey, revealing the first-ever footage from ‘Hocus Pocus 2’.

    Bailey was joined by the wacky Sanderson Sisters themselves – stars Bette Midler, Sarah Jessica Parker, and Kathy Najimy – who appeared via video to show how their characters are back for the first time since 1993 for more soul-stealing Halloween action.

    Battling them this time around are aspiring witch Becca (Whitney Peak) and magic shop owner Gilbert (Sam Richardson).

    But the audience’s biggest applause went to the original film’s Billy Butcherson (‘The Shape of Water’s Doug Jones) upon his return from the grave. ‘Hocus Pocus 2’ hits Disney+ on September 30th. The trailer is in the video player above.

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    Next up on the panel was another eagerly anticipated sequel, ‘Disenchanted’. Returning stars Amy Adams, Patrick Dempsey, Idina Menzel, and James Marsden took the stage, alongside Maya Rudolph, the film’s new villain. ‘Disenchanted’ finds Adams’ Giselle and hubby Dempsey moving to the suburbs with their infant and teenage children.

    “I was a huge fan of the original,” said Rudolph. “I can’t believe I got to be part of this… It’s not easy being mean to Amy Adams.” The new teaser trailer for the sequel is in the video player above.

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    As far as live-action remakes of Disney animated classics go, ‘Peter Pan & Wendy’ was the first on deck today: with star Jude Law (Captain Hook) flanked by newcomers Alexander Molony (Peter Pan), Ever Gabo Anderson (Wendy), and Alyssa Wapanatâhk (Tiger Lily).

    Expect more empowered female characters this time around, including at least one Lost Girl among Peter’s Lost Boys.

    “Disney has worked very hard to give her more depth and a lot more character,” said Anderson of Wendy. “She and Peter are equals in this film.”

    Law added that Hook and Pan’s prior relationship is also fleshed out. “We got to mine their back story a little bit more. You get to understand their past,” he said, hinting that the two were once friends.

    Peter Pan & Wendy poster
    © 2022 Disney Enterprises, Inc. All Rights Reserved.
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    Another reworking of a Disney classic comes with March 10th’s ‘Haunted Mansion’, directed by ‘Dear White People’ creator Justin Simien. Today’s first look showcased stars Rosario Dawson and LaKeith Stanfield exploring the titular house with a priest played by Owen Wilson and a historian played by Danny DeVito.

    “I got to make sure all the little details, all the Easter eggs are there. Because I’m a nerd,” confessed Simien. He then joined another of the film’s stars – scream queen Jamie Lee Curtis – in a Doom Buggy rolling across the D23 Expo stage.

    Haunted Mansion
    © 2022 Disney Enterprises, Inc. All Rights Reserved.
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    Few Disney films are so beloved as 1994’s ‘The Lion King’. And fans will get more of the film’s animal kingdom in the 2024 prequel ‘Mufasa: The Lion King’.

    Director Barry Jenkins appeared to explain how “Mufasa is the origin story of one of the greatest kings of the Pride Land… It’s the real story of how Mufasa found his place in the circle of life. What you learn is that Mufasa is great because of the family and the friends he has with him.”

    Of course Disney Studios wouldn’t exist without its very first animated classic, 1937’s ‘Snow White’.

    Director Marc Webb is tackling the live-action 2024 remake, featuring Gal Gadot as the Wicked Queen and Rachel Zegler as its eponymous heroine. The two were touched by the warm response they received as they presented a first look at their characters.

    “Just your reaction means the world to us,” said Gadot.
    A visibly moved Zegler explained that, “Snow White is the girl you remember, but she’s definitely made for the modern age,” stating the film redefines what it means to be the fairest of them all.

    Rachel Zegler and Gal GAdot at Disney D23 Expo
    Rachel Zegler and Gal Gadot at Disney D23 Expo 2022 Getty Images
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    While ‘Snow White’ is Disney’s first animated feature, 1989’s ‘The Little Mermaid’ is responsible for the studio’s renaissance. As well as its renewed dedication to musicals, as Rob Marshall, director of May 2023’s live-action adaptation, reminded fans today.

    “It was very important for us to honor the original. We went to Alan Menken, who was divine to work with, and also our dear friend Lin-Manuel Miranda. They had never worked together before… There are four new songs. We still retain the beauty of the original score, written by the late great Howard Ashman as well.”

    Fans were treated to the film’s entire “Part of Your World” number, featuring a note-perfect Halle Bailey, who appeared on stage with Marshall.

    “Three days of filming ‘Part of Your World,’” said Bailey, “that was the most beautiful experience of my life. Just getting to sing a song I’ve loved since I was a child was so exciting.”

    “The camera loves you,” Marshall told Bailey. “But it’s more than that. [It] loves what’s inside. [It] loves what you bring.”

    The two then unveiled a teaser that recalled ‘Finding Nemo’ in the color and detail of its underwater world. You can find a teaser version of the clip in the video player at the top of the page.

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    Elemental
    Pixar’s Elemental © 2022 Disney/Pixar. All Rights Reserved.

    It was then time for Pixar Animation Studios’ turn in the spotlight, with chief creative officer Pete Docter introducing next summer’s ‘Elemental’.

    Director Peter Sohn spoke of how the film’s Element City was inspired by the culturally mixed New York of his childhood. Footage shown depicted the star-crossed romance of its fire-based heroine Ember (Leah Lewis) and her watery boyfriend Wade (Mamoudou Athie).

    Pixar also unveiled its first original long-form series in the form of ‘Win or Lose’, each episode of which follows the perspective of a different character connected to a co-ed softball team, the Pickles.

    With this year’s ‘Lightyear’, Pixar returned to the science fiction of ‘Wall-E’. Expect more in this vein soon, starting with ‘Elio’.

    Announced today at D23 with star America Ferrera on stage, the film’s title character is an 11-year-old boy who doesn’t feel like he fits in his world. His mom (Ferrera) runs a top-secret military project, which inadvertently results in Elio making first contact with alien life and becoming our planet’s ambassador to the rest of the universe. It’s due out in spring 2024.

    Last but by no means least on the Pixar slate – ‘Inside Out’ star Amy Poehler made a surprise appearance alongside Docter to announce ‘Inside Out 2’.

    Inside Out 2 logo
    Pixar’s Inside Out 2 logo. © 2022 Disney/Pixar. All Rights Reserved.

    “Joy and the emotions are back for an all new adventure inside Riley’s head,” said a fittingly ebullient Poehler. “Only this time she’s a teenager!”

    New emotions will also appear in the film, as Kelsey Mann takes over the directing chores from Docter, with Meg LeFauve returning to write the summer 2024 release.

    To cap off the panel, Disney Animation’s chief creative officer (and Oscar-winning ‘Frozen’ director) Jennifer Lee greeted the D23 Expo audience to show what’s in store for the studio’s 100th anniversary next year.

    But first, Disney’s fan-favorite 2016 ‘Zootopia’ will get a spin-off series this November on Disney+. And attendees got an advance look at the aptly titled ‘Zootopia+’, consisting of six short ‘Zootopia’-style spoofs of everything from ‘The Real Housewives of Beverly Hills’ to ‘The Godfather Part II’.

    Perhaps Disney’s most unique offering at the Expo was ‘Iwaju’. Coming this year to Disney+, it finds the animation studio partnering for the first time in its long history with an overseas animation studio – Africa’s Kugali. Its three founders appeared today, describing their Afrofuturism fable and its characters as a love letter to their hometown of Lagos, Nigeria.

    Iwaju
    Disney’s Iwaju. © 2022 Disney. All Rights Reserved.

    More sci-fi arrived with a new look at ‘Strange World’, described by Lee as “a film about family, legacy, and what we leave behind for the generations that follow.” Director Don Hall explained how the film chronicles three generations coming together on an alien planet in order to save their world.

    Stars Jake Gyllenhaal, Dennis Quaid, and Lucy Liu introduced a rip-snorting clip of an exciting chase through ‘Strange World’s creature-packed planet.

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    The Disney Animation segment, and indeed entire panel, concluded with the revelation of the studio’s 100th anniversary feature film – ‘Wish’. The tale of the star upon which so many Disney characters have wished throughout the past century, ‘Wish’ is co-directed by the attending team of Chris Buck and Fawn Veerasunthorn.

    Buck, who co-wrote the film with Lee, explained how ‘Wish’ explores a kingdom of wishes, in which wishes can literally come true. Offering a lush, animated watercolor style coupled with CG animation, it stars newly minted Oscar winner Ariana DeBose as 17-year-old Asha, who pleas to the heavens for help, and gets an actual star from the sky, named Star, who communicates through pantomime.

    0OBaFTIbKyvccQ25W6MMJ4

    Disney “good luck charm,” actor Alan Tudyk appeared with footage of his character, a goat named Valentino who wishes to communicate with people. Finally, DeBose saw fans off with a sizzling live performance of “More for Us,” one of the film’s songs by Grammy winner Julia Michaels.

    Wish
    Disney’s Wish. © 2022 Disney. All Rights Reserved.
  • Full Cast, Details Revealed for Pete Docter’s ‘Soul’

    Full Cast, Details Revealed for Pete Docter’s ‘Soul’

    Pixar

    Pete Docter, writer-director was on hand at D23 Expo to reveal details of his until-this-moment super secret project “Soul.” It sounds otherworldly and incredible, the story of a pair of souls making their way across the cosmic landscape. But guess what? We have details now! The movie will star Jamie Foxx and Tina Fey, alongside Phylicia Rashad, Daveed Diggs and Questlove! Also, it’ll feature music from Trent Reznor and Atticus Ross along with Jon Baptiste.

    Pixar

    As described by Docter, “Soul” is a metaphysical tale about what makes us human, where we come from, and what defines who we are … so, you know, it’s not exactly “Angry Birds 2.” Foxx plays a jazz musician who dies and his soul goes to the spirit realm, where he meets Fey’s soul and together they go on an adventure. It sounds bonkers and maybe the most ambitious animated feature ever.

    We’ll update you with each and every detail we have from “Soul” before it arrives in theaters June 19, 2020.

  • 7 Things You Never Knew About Pixar’s ‘WALL-E’

    It’s incredible to think that “WALL-E,” Pixar’s delightful robotic love story, is a whopping ten years old. (I guess that’s what makes it a timeless classic.)

    Released during what was arguably Pixar’s most fruitful creative period, the movie represented a bold step forward, both in terms of storytelling (with its mostly silent comedy and emphasis on physical comedy and allegorical depth) and technology (wait, live-action characters in an animated film?) Sometimes it still feels like we’re catching up to “WALL-E,” a satire that never felt too bleak and a romance that never felt too saccharine.

    And even if you’ve seen Andrew Stanton’s masterpiece dozens of times (not that we have … because that’d be weird, right?), chances are there are still some things that you might not know. So strap on your space suit and get ready to blast off for seven things you never knew about “WALL-E.”

    1. Pete Docter Came Up with the Original Concept

    According to Pixar lore, Andrew Stanton came up with the original concept for “WALL-E” during the same (incredibly fruitful) brainstorming session that would ultimately give us “A Bug’s Life,” “Monsters, Inc.” and “Finding Nemo.” (This legendary lunch took place as the studio neared completion on “Toy Story.”) This, however, is untrue.

    The original pitch for “WALL-E” came from “Inside Out” director Pete Docter (recently named to head up Pixar following John Lasseter’s departure at the end of 2018), who conceived of the project as being in the spirit of “National Lampoon’s Vacation,” with a bunch of aliens visiting a planet and being menaced by a tiny robot. Lasseter nixed the idea, but Stanton was intrigued with the story of the robot and figured that he could take it and make it his own. Docter agreed.

    2. For a Long Time, It Was a Very Different Movie …

    During much of the development of “WALL-E,” it was a very different movie. Most notable was the fact that instead of humans, the robots would encounter alien “Gels” — gelatinous blobs that had their own language (borrowed from the IKEA catalogue) and their own culturally specific traditions. (Weirdly, they lived in a giant castle at the back of the Axiom.) Instead of “rebooting humanity,” as WALL-E does in the finished film, he starts something of a “Spartacus“-style robot uprising (traces of this are still in the film).

    Ultimately, this proved too cumbersome and complicated, especially when you factor in the fact that it once included a very big twist (more on that in a bit). There were also a couple of alternate titles that were floated — “Trash Planet” was considered, as was “Out There” (a title that the marketing people loved, but the filmmakers were lukewarm on).

    3. … With a Big Twist

    As if all this Gel stuff wasn’t enough, at some point during the movie, in a bid to outdo “Planet of the Apes,” it was revealed that the see-through, amorphous alien race was actually the remaining humans!

    While this definitely would have been a twist, it also served to distance the audience from the story emotionally. It also added even more complications to a version of the story that felt overstuffed as-is. But, if you want to get a look at what some of these Gels looked like, please refer to 2006 Pixar short “Lifted,” which features a jelly-like alien DMV instructor with clear skin … just like the Gels in the original version of “WALL-E.” No twist required.4. ILM Helped Out With the Live-Action Segments

    Thanks to the use of “Hello Dolly!” footage in the film, the creative team behind “WALL-E” strove for realism. For the first time, the production set about to replicate actual lenses, with everything from 70mm photography to the shallow focus style of Gus Van Sant cited as influences — they even brought in some heavyweights to make sure that it looked as good as it could.

    Roger Deakins, the legendary cinematographer perhaps best known for his collaborations with the Coen Brothers, advised Pixar on the look and feel of the film, paying particularly close attention to lighting (and light sources) during the section of the movie set on Earth. (For the garish lighting of the Axiom, the team studied Las Vegas.) For the actual live action sections of the movie, which depicted the last of the human race (exemplified by Fred Willard’s Buy N Large CEO Shelby Forthright), the production got some help from their bay area brothers — Industrial Light & Magic. It was a reunion of sorts, since Pixar started out as the computer development arm of the company before being sold to Steve Jobs. Everything is cyclical!

    5. The Biblical Overtones Are Real

    Director Andrew Stanton is a devout Christian and, beyond the fact that EVE (which stands for Extra-terrestrial Vegetation Evaluator) is named after the biblical first woman. At one point during the production, the movie was changed when a staffer noted to Reardon that EVE resembled the white dove of peace. So the story was retooled to have her save humanity by discovering a sliver of vegetation, just like the dove with the olive branch!

    After the film’s release, there was extensive writing on the film’s subtext by religious scholars, critics, and essayists, especially when it comes to the movie’s embrace of spiritual truthfulness over commercial excess.

    6. Critics Loved It

    Sure, you remember “WALL-E” being well-received but it was positively beloved. When it was released, a number of leading critics, including Anthony Lane of The New Yorker, A.O. Scott of The New York Times, Lisa Schwartzbaum of Entertainment Weekly, and Richard Corliss of Time, named it the best film of 2008.

    What’s more, that love seems to have only grown, with Corliss and Scott naming “WALL-E” the best film of the decade. Unless it’s something like “Inside Out” or a more independently minded movie that has rooted its way into the public consciousness, it’s rare for a big budget animated feature to elicit that kind of response from the critical elite. But “WALL-E” was a classic on day one and it’s still a classic now.7. There Was, for a While at Least, a Real WALL-E

    One of the more frustrating aspects of “WALL-E” is that Walt Disney Imagineering — the part of the company responsible for all of the theme parks, attractions, cruise ships, and restaurants — actually designed a real WALL-E. It was as big as the robot would have been in real life and fully emotive. It was also, like the actual robot, incredibly heavy. (This next-generation walk-around character was part of a program at Walt Disney Imagineering called the Living Character Initiative.)

    So, despite making a few appearances, including one at the 2009 D23 Expo (above), this true marvel is lost to time. Apparently WALL-E occasionally makes appearances during tours of the Walt Disney Imagineering campus in Glendale, California, but otherwise he’s been lost to the sands of time. Sigh.

  • Pixar and Disney Animation Name Two New Chiefs to Replace John Lasseter

    Meet the new bosses!

    Pete Docter and Jennifer Lee aren’t technically “new” to the Disney team, but they just got promoted to replace John Lasseter.

    Pete Docter is the new Chief Creative Officer of Pixar Animation Studios, with Jennifer Lee as Chief Creative Officer of Walt Disney Animation Studios.

    Docter directed Pixar’s “Up” and “Inside Out,” and Lee co-wrote “Wreck-It Ralph” and co-directed “Frozen.”

    So clearly they are promoting talent from in-house for what will hopefully be a smooth transition. It was recently announced that John Lasseter is stepping down from his role as chief creative officer of both Pixar and Disney Animation, effective December 31.

    Walt Disney Studios chairman Alan Horn issued a statement on the news (via THR):

    “Jennifer Lee and Pete Docter are two of the most gifted filmmakers and storytellers I’ve ever had the pleasure to work with. Pete, the genius creative force behind Up, Inside Out and Monsters, Inc., has been an integral part of Pixar almost since the beginning and is a huge part of its industry-leading success. Jenn, in bringing her bold vision to the boundary-breaking Frozen, has helped infuse Disney Animation with a new and exciting perspective. Each of them embodies the unique spirit, culture and values of these renowned animation studios, and I couldn’t be more thrilled to have them to lead us into the future.”

    Here’s a statement from Jennifer Lee, who is in production on “Frozen 2” and an executive producer of the upcoming “Ralph Breaks the Internet: Wreck-It Ralph 2“:

    “I am deeply grateful to everyone at Walt Disney Animation Studios and The Walt Disney Company for this opportunity. Animation is the most collaborative art form in the world, and it is with the partnership of my fellow filmmakers, artists and innovators that we look ahead to the future. My hope is to support the incredible talent we have, find new voices and work together to tell original stories. The great films of Disney Animation — the films I loved as a kid and my daughter has grown up loving — are magical, timeless and full of heart, and it is our goal to create films that carry on and grow this 95-year legacy for future generations.”

    Here’s a statement from Pete Docter:

    “I am excited and humbled to be asked to take on this role. It is not something I take lightly; making films at Pixar has been my chronic obsession since I started here 28 years ago. I am fortunate to work alongside some of the most talented people on the planet, and together we will keep pushing animation in new directions, using the latest technology to tell stories we hope will surprise and delight audiences around the world.”

    Congrats to the new team! “Incredibles 2” is going great guns for Pixar the moment, breaking tons of records in its first weekend. Disney’s “Wreck-It Ralph 2” opens in theaters November 21. “Frozen 2” opens November 27, 2019.

    [Via: The Hollywood Reporter]

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  • Director Pete Docter: ‘The Guy Who Makes the Final Decisions’

    Pete Docter
    Pete Docter

    It wasn’t always easy for Pete Docter, who had to work hard to learn how to draw in art class, but the “Inside Out” director would go on to become one of the nation’s top filmmakers — “the guy who makes all the final decisions” on his Pixar films.

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  • ‘Inside Out’ Director Pete Docter Talks Disney Easter Eggs, Theme Park Plans

    Pete Docter has done it again.

    The writer/director, who crafted genuine classics “Monsters, Inc.” and “Up,” is back with “Inside Out,” a brand new Pixar masterpiece.

    The film is just as imaginative as his earlier features, but instead of a world populated by monsters or floating houses, Docter takes us inside the mind of an 11-year-old-girl, where personified emotions scramble to maintain equilibrium. It’s ingenious and gently surreal, and Docter has pulled it off with aplomb. Recently, we sat down with Docter at Pixar and talked about Bing Bong, the amazing imaginary friend character (voiced by Richard Kind), the challenges the filmmaker faced developing the story, and his dreams for the movie to appear in the Disney parks.

    Moviefone: It seems like making this movie was really difficult. Was there ever a point where you said, “You know, maybe ‘Monsters, Inc.’ does need another sequel?’”

    Pete Docter: [laughs] It was really hard! But it was always fun. If anything, there would be moments of fear because I thought: “We have so much potential with this movie, and if we stumble and we don’t take advantage of it, and if we go through the whole film and don’t explore why songs get stuck in your heador déjà vu, or where dreams come from… Those are all really cool things to think about and if we mess it up, then bad on us. So there was a lot of pressure to make it as fun and interesting as we could.

    What was the breakthrough?

    There was a time where we working towards our fourth screening. And that’s a time when you’re hoping to get some approvals – you want parts of the film to move on into production and become final footage. But going into that, I knew that parts of it were working and there were fun little bits but as a statement, I didn’t know what we were saying. What is Joy’s journey? What does she learn on this? And I walked away that weekend thinking: “What if I quit? What if I get fired?” You really go into that pit. I said, “What am I going to miss if I leave?” And I thought, “I’m going to miss my friends.”

    I had this realization that the friends that I have the closest attachment to are the ones that I’ve had good times with, but I’ve also been pissed off at and gone through sad times with and been scared for. I realized, those are the emotions … responsible for the most important things in our lives. So that allowed us to reformat the film and work towards the ending — but that was a real turning point.
    What’s interesting about the opening of the movie, and most of the first half is, it’s very narration-heavy, and there’s a lot of jargon and terminology — versus the beginning of “Up,” which had no dialogue at all.

    Yeah, I struggled with that. There are a number of things that I now realize I was pretty wrong about, and I was dead set on there being no narration. We were going to do the hard work of showing everybody and not telling. And it ended up that, since this whole world is made up, the characters are not things that you see walking around; they’re kind of abstract concepts that are visualized. But in the end, after working at it for maybe two years, we distilled it into maybe the core things that we needed to say. And more than one person has told me it’s their favorite part of the film, just the fun of getting to meet these guys and seeing the concepts that we’re dealing with.

    Another thing that makes that opening so powerful is Michael Giacchino’s score. Can you talk about the sound of the mind?

    Having worked with Michael on “Up,” we didn’t really consider anybody else because he’s such a great collaborator and brought so much to the film. But we did talk about how different this one is than “Up.” “Up” was nostalgic – [“Inside Out”] needed to be more psychological and the things that felt right were like playing with time, you’re playing little bits of instruments backwards or samples.

    The way Michael likes to work is — he watched the film and he went off and said, “This might be wrong, but this is how I feel about the movie,” and he then played an 8-minute suite that brought us all to tears. It was absolutely beautiful and so perfectly connected to the feeling of the film.
    The character of Bing Bong, he’s going to be everybody’s favorite.

    His origins came from being part of this group of disused imaginary friends that Riley came up with when she was there. There was Mrs. Scribbles and kids will always draw the quarter sun that will float down, and that’s all he was, this quarter sun. And Bing Bong was an imaginary friend, an amalgam of animals that Riley came up with, made of cotton candy. But as we redesigned the story, we came up with the idea that the rest of the guys aren’t really relevant, but Bing Bong could be a mirror to Joy.

    Joy’s thing is, she’s trying to hold on to childhood and preserve the happiness of life and we took that to an extreme. This is a guy who was big in Riley’s life, but he’s been out of a job since she was three, so he’s wanting Riley to go back to the good ol’ days, which if you get into it is kind of insane and delusional. So that can help Joy on her journey on what she has to learn.

    There are a bunch of great Easter Eggs, but my favorite was a nod to the Haunted Mansion. How did that happen?

    Well, when [producer] Jonas Rivera and I really started working together, we bonded over our love of Disneyland. So as soon as we had this idea of doing a nightmare, we had an idea of using the music from Haunted Mansion.

    You know what got replaced, but was in for a while? This came from research – we learned that when you go to sleep, all the short-term memories are redistributed to long-term, which has a lot more space. That’s why if you stay awake for 3 days you can’t remember stuff, because so much space is taken up already. So during non-REM sleep, all of those are shuffled down. That made us design that kinetic sculpture of the memories, and for a long time we used the noise of “It’s a Small World.”

    Speaking of Disneyland, there are certainly a number of elements that could be retrofitted for the parks. What would you want to see?

    There are a number of different things. I would love to visualize Imaginationland, although that might be too obvious. I think, from the beginning, when we came up with this, Jonas said, “Oh, this should be in EPCOT Center.” The characters could have a great ability to talk about things in a pseudo-science — but also entertaining — way, talking about how your mind works and things like that. It would be fun.

    “Inside Out” is in theaters now.
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  • ‘Inside Out’ Producer Jonas Rivera Reveals Versions of the Movie You’ll Never See

    From intern to Oscar nominee, Jonas Rivera has certainly made a mark on Hollywood.

    Rivera was hired as Pixar’s first intern, in the final year of production on “Toy Story,” and he’s worked on every Pixar movie since. He even earned an Academy Award nomination for his work as a producer on “Up,” directed by his good friend and close collaborator.

    Rivera and Docter’s latest collaboration is “Inside Out,” a film that’s as deeply brilliant and highly emotional as “Up” (seriously, bring some tissues: the last thirty minutes will give you all the feels.) It’s the story of Riley, a precocious 11-year-old girl, who is going through some big life changes, and the emotions that live in her head: Joy (Amy Poehler), Disgust (Mindy Kaling), Anger (Lewis Black), Fear (Bill Hader) and Sadness (Phyllis Smith). It’s challenging at first to wrap your (no pun intended) head around it, but the film gives off the vibe of being a new classic by the time the final credits roll.

    We recently sat down with Rivera to discuss “Inside Out’s” long development process, the origins of Bing Bong (Riley’s imaginary friend played by Richard Kind), and several iterations of the movie that audiences will (sadly) never see.

    Moviefone: You’ve been working on this movie a long time.

    Jonas Rivera: Yeah, 5 years…

    We heard that the story went through some crazy changes in development.

    Yeah, I mean, all of these movies go through changes. In some ways “Up” took even stranger turns than this. This was at least always grounded in the concept of being a story about a little girl and her emotions. She’s more “the setting” than the main character. There were even versions where Joy would come outside of the headquarters and sit on Riley’s shoulder like a conscience. I guess the biggest change was the external story of Riley. We always had this idea, because of Joy, [she’d] be steered into a social storm. In other words, Joy was going to hang on to youth for too long and it was going to cause some sort of emotional damage. I think at one time it was [going to be] a performance, like a school play. I’m trying to remember… And Riley was so excited about it, but all the other girls lost their excitement about it. But with Joy steering and being so exuberant, she ends up embarrassing herself. So there was always some trigger like that. It was a school play, it was birthday party invitations, sometimes the stakes were so low as who was going to sit next to her at lunch.

    It wasn’t until two or three screenings in that we came up with moving. It was high enough stakes and not something that she would be hurt from, because it had to be emotional stakes.
    What was the strangest turn that the story took during those early days?

    I think that was probably it from the outside. On the inside, it was the struggle with Joy as a character – that was really mysterious and elusive. Her name is Joy, so she’s got to be happy. But two things started to happen – one was that we had this character named Riley, who if she’s being steered by Joy and we steer her into some kind of social storm, either you’re not going to like Joy or she’s going to be too sweet and saccharine and you won’t like her. So those two things were tremendously hard to harmonize and it took a lot of changes and moves and screenings to try and find the right tone. It was a combination of external stakes, the big move, and Joy’s optimism and how she was going to handle it, and Amy Poehler being cast a year before the movie was finished — which helped us thread that needle of likability to antagonism.

    In the footage we saw, there’s a lot of jargon in this movie and worlds to set up; you’ve got to explain everything. Was that also a fine line to walk?

    It was a tall order. When you start developing this movie, there’s no point of reference. Everything was based on what Pete wanted it to feel like, which is very tricky when you’ve got a crew that has to turn that into models and objects and sets and characters. So the world became this exercise in – what does this story need? So then we would design Headquarters. We knew we needed someplace where they worked. But what does the world look like? How big is it? What are they trying to get back to? What is the geography of it?

    As the story kept developing, Pete’s big discovery was what’s at stake. That’s what we always ask ourselves with these movies: What’s at stake? This was a little harder to find. Was Riley at stake? Is she going to die? That doesn’t really work. But what we came upon was her personality, who she is. That started to inform the world and what it needs represent. That’s where the [personality] islands came from – they were things that you could see that are physical as well as visual. So what was happening to Riley on the outside of the storytelling was predicating the world and what we needed and how it could geographically function.
    One of the big surprises in this movie is Bing Bong, Riley’s imaginary friend. Was he always a part of the story? He’s amazing and makes things so much weirder.

    No, he wasn’t always there. He came about in one of the drafts, which I still think was a pretty funny idea, but there was this hobo camp or refugee camp where fragments of her mind and imagination were almost in a jail. It was almost like Riley’s drawings as a kid – there was Mrs. Scribbles and a sun with a face that would float around and that’s where they lived. Bing Bong was an imaginary friend and he lived in there. So there’s a scene that didn’t really work.

    But the idea that an imaginary friend, who has been out of work for a while since she’s 11, did a couple of things: One, it was fun and two, he would know his way. He would be the literal map.

    Is that why he has the hobo gloves?

    Yeah that’s sort of the last surviving element of that. He also had a cane.

    “Inside Out” is in theaters now.
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