the first Inside Out The film, released in 2015, left a deep impression on audiences, with Amy Poehler and Lewis Black reprising their roles as animated characters Joy and Anger. Inside Out 2Maya Hawke as Anxiety and Ayo Edebiri as Jealousy, explore new emotions with 13-year-old Riley (voiced by Kensington Tallman).
Canada should be especially proud of Inside Out 2 Many Canadian artists worked on this animated film, and for story supervisor John Hoffman, who hails from Calgary, Alberta, the film had a distinctively Canadian touch. Inside Out 2 That meant a lot to him.
“I had the opportunity to portray a character who is Canadian and plays hockey, but I never thought I'd get to do that in an animated movie,” Hoffman said. Yahoo Canada“It was really nice to be able to do that. … I feel really lucky.”
New emotions in Inside Out 2
in Inside Out 2As hockey-loving Riley transitions into his teenage years and the onset of adolescence, new emotions arrive at his headquarters: anxiety (Hawk), envy (Edebili), ennui (Adele Exarchopoulos) and embarrassment (Paul Walter Hauser).
Hoffman revealed that there may have been some other emotions in the scene. Inside Out 2but was ultimately put aside.
“I think in an early, very early version, there were four other emotions in the movie that ended up being cut,” Hoffman said. “Two of them, it was like, 'This is a really funny joke, but there's really nothing else this character can do.' Maybe the story needed to take them out.”
“So it was really about finding the right emotion for teenage Riley in this moment that would best help tell the story we wanted to tell.”
Inside Out 2 The film is the first Pixar production to have a majority female story team, with story artist Rebecca McVay (of Toronto) calling herself “fortunate” to have been involved in the project.
“My best memory from making this film is [when] “Me and a bunch of other women, not just story people but across departments, sat in a room and shared memories of when we were 13, and it was so inspiring,” McVay says. “We had so much in common.”
“I had some notes that I read over and over again, and as I did that, I think I realised, oh, this is a story that people can relate to. I was really happy that not only did the women in the room feel a deep connection to it, but all the men got it too. I think teenagers go through something in that transition between 12 and 13 that sticks with them. Any story told at that time is something people respond to really strongly.”
Anxiety was an emotion that McVay found particularly “liberating” to explore in the film.
“I think it was actually a lot of fun revisiting the emotions of being 13 years old. Anxiety was definitely a big part of me at 13,” McVay said.
“I was in tears while I was painting.”
original Inside Out It is known as a particularly moving, tear-jerking work, offering a glimpse into the emotions felt by the viewer. Inside Out 2 The team behind this new film was similarly affected.
“We heard a lot of stories about how the first app helped them communicate with their kids. [being able] “It gave them the opportunity to talk about the emotions they felt during the first movie,” Hoffman emphasized.
“What I noticed with this film, and I didn't necessarily find that with other films, was that I found myself tearing up while depicting certain things or certain moments. And I was thinking, 'Okay, this is interesting. This has never been done before. Maybe we're on to something.' And then you try to find those little sparks of emotion that you feel as you're depicting it and channel that through the filmmaking process so that you can make it work in the film.”
Inside Out He soon became part of a movement to create animated films that could impact both children and adults with particularly resonant and powerful storytelling, a movement that continued into the production of the second film.
“To be honest, the fact that we make kids' movies isn't really talked about. We're just interested in entertaining ourselves,” McVay said. “I think if I know I can make movies that resonate with me, I can hopefully make them resonate with other people too.”
“So we're really making films for a general audience. We want a 90-year-old or a 10-year-old to be able to watch this film and understand the emotional flow.”
