![]() I was always a hair younger than those kids at that time, and I always thought that was cool.” I always think about Steven Spielberg movies in the ’80s. Jonas Rivera: “That really felt like the fork in the road for most kids. On why they chose to make Riley 11 years old: It’s like this really well-raised guy that doesn’t know that he looks like Tom Brady.” Mindy Kaling (Disgust): “It’s almost as if Pixar and Pete and Jonas and the experience of working with them is like dating a guy. And a nice book-I mean, I think I made out better than any of you !” Mindy Kaling on how much she loved working with Pixar: And so they said that they had this role with Anger-well, that fit-and would I be interested in it? And maybe if I didn’t know them, they sent me all their stuff like, you know, all these things that I’ve seen. Lewis Black (Anger): “They sent me a box of stuff with a letter in which they said that I may not know what Pixar is-which meant either they were crazy or they thought I was just something short of a recluse, I thought. Lewis Black on his Pixar casting process: That’s how we ended up playing the character-she just nailed it.” Like, ‘I’ll have the chicken sandwich?’ Everything had a question mark and that felt right. In Bad Teacher, she was hesitant, couldn’t even order a chicken sandwich. Jonas Rivera: “I saw her in the movie Bad Teacher and she was just so funny. He came on to write with us-he’s a great writer and he was so much fun in the story room.” Jonas Rivera on Phyllis Smith (Sadness): He watched everything and knew everybody. Does anyone want to go have coffee with him?’ So we go down there and there’s Bill Hader, drinking coffee by himself, and on his own dime he had flown up just because he loves animation… We go and introduce ourselves to him, and he says, ‘Oh my god, is that Ralph Eggleston?’ our production designer that no one would unless you watched side three of the WALL He shows up one day at Pixar and the casting director calls and says, ‘Bill Hader is in the lobby. Jonas Rivera: “I was a fan of Bill Hader since Saturday Night Live, and it turned out Bill was a fan of Pixar and we didn’t know it. We took advantage of that.” Jonas Rivera on Bill Hader (Fear): She has such a brilliant writing mind as well as being an amazing performer. Pete Docter: “I don’t remember whose idea this was, but instead of recording right away, we spent the whole day reading through the script, one sequence at a time, then Amy would start narrating some of the lines, not just for her, but for some of the other characters as well. And we liked the idea that even though she doesn’t understand sadness, she has an element of that in her right from the very beginning.” Pete Docter on Amy Poehler (Joy): It was just clinical enough to work and be functional and so forth.”ĭirector Pete Docter: “Giving her blue hair, which was completely opposite of yellow, just rounded her out and made her a more visually complex character. We talked to the art department as they started coming up with it-that and the whole room-that it was almost like this combination of it’s a small world and an Apple Store. You sort of just accepted that those buttons worked and did things, and we wanted a similar grammar but in a fun way. ![]() You don’t need to know what the buttons do. Jonas Rivera: “I remember looking at the Milennium Falcon and there’s a throttle. ![]() Anger is a brick-this brutal briquette that won’t stop, just a square and Disgust was a stalk of broccoli-because our kids would be disgusted by that.” On the “Headquarters”: He’s tight and conservative and just wound up. Fear was just a raw nerve-drawn like this straight line. Sadness was a teardrop, even the shape and color, and her hair was almost a waterfall. Producer Jonas Rivera: “Albert Lozano, our character art director, came up with this great little simple drawing of each of them as a different shape: Joy was a star, and she was golden, illuminated, almost like a spark-like an explosion. On how the Emotions were originally conceived: We recently attended a Q&A with Inside Out’s incredibly talented filmmakers and voice cast-and we’re excited that they shared with us some of the little voices inside their heads. Based in Headquarters, the control center inside Riley’s mind, five Emotions are hard at work, eager to guide her through the difficult transition. The film takes you inside the mind of Riley, an 11-year-old girl who has just moved to a new city with her parents.
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