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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