Inside Out (2015 film)

Inside Out is a 2015 American 3D computer-animated comedy-drama film produced

Inside Out
by Pixar Animation Studios and released by Walt Disney Pictures. The film was
directed by Pete Docter and co-directed by Ronnie del Carmen, with a screenplay
written by Docter, Meg LeFauve and Josh Cooley, adapted from a story by Docter
and del Carmen. The film is set in the mind of a young girl named Riley (Kaitlyn
Dias), where five personified emotions—Joy (Amy Poehler), Sadness (Phyllis
Smith), Anger (Lewis Black), Fear (Bill Hader) and Disgust (Mindy Kaling)—try to
lead her through life as she and her parents (Diane Lane and Kyle MacLachlan)
adjust to their new surroundings after moving fromMinnesota to San Francisco.

Docter first began developing Inside Out in 2010, after noticing changes in his
daughter's personality as she grew older. The film's producers consulted numerous
psychologists including Dacher Keltner from the University of California,
Berkeley,[5] who helped revise the story by emphasizing the neuropsychological
findings that human emotions affect interpersonal relationships and can be
significantly moderated by them.[6]

After premiering at the 68th Cannes Film Festival on May 18, 2015, Inside Out was
released in North America on June 19, 2015, accompanied by the short film Lava. Theatrical release poster
The film was praised for its concept, screenplay, subject matter, Michael Giacchino's
Directed by Pete Docter
musical score, and the vocal performances (particularly those of Poehler, Smith,
Black, and Richard Kind). The film grossed $90.4 million in its first weekend, Produced by Jonas Rivera
making it the highest opening for an original title at the time,[7] accumulating over Screenplay by Pete Docter
$857 million in worldwide box office revenue in 2015, making it the seventh-
Meg LeFauve
highest-grossing film of 2015. The film received several awards, including a
Josh Cooley
BAFTA Award, Golden Globe Award, Critics' Choice Award, Annie Award, Satellite
Award, and Academy Award for Best Animated Feature. Story by Pete Docter
Ronnie del
Carmen
Contents Starring Amy Poehler
Plot Phyllis Smith
Voice cast Richard Kind
Production Lewis Black
Development
Bill Hader
Story
Casting Mindy Kaling
Animation Kaitlyn Dias
Soundtrack Diane Lane
Release Kyle
Home media
MacLachlan
Video games
Music by Michael
Reception
Box office Giacchino[1]
United States and Canada Cinematography Patrick Lin
Other countries
 Critical response (camera)
Recognition and accolades Kim White
Future plans (lighting)
Lawsuit
Edited by Kevin Nolting[2]
See also
Production Walt Disney
References company Pictures
External links
Pixar Animation
Studios

Plot Distributed by Walt Disney

Studios
Riley is born in Minnesota. Within her mind's Headquarters, five personifications of
Motion Pictures
her basic emotions — Joy, Sadness, Fear, Disgust, and Anger — come to life and
influence her actions via a control console. As she grows up, her experiences
Release date May 18, 2015
become memories, stored in colored orbs, which are sent into long-term memory (Cannes)
each night. Her five most important "core memories" (all happy ones) are housed in June 19, 2015
a hub; each powers an aspect of her personality which takes the form of floating (United States)
islands. Joy acts as a de facto leader, and since she and the other emotions do not Running time 94 minutes[3]
understand Sadness' purpose, she tries to keep Sadness away from the console.
Country United States
At the age of 11, Riley and her parents move to San Francisco for her father's new Language English
business. Riley has poor first experiences: the new house is cramped and old, the
Budget $175 million[4]
only pizza is pizza topped with broccoli, her father is under stress from his business,
Box office $857.6 million[3]
and the moving van with their belongings ends up in Texas and won't arrive for
weeks. When Sadness begins touching Riley's happy memories, turning them sad,
Joy tries to guard them by isolating her. On Riley's first day at her new school, Sadness accidentally causes Riley to cry in front of her
class, creating a sad core memory. Joy, panicking, tries to dispose of it, but accidentally knocks the other core memories loose during
a struggle with Sadness, deactivating the personality islands. Joy, Sadness, and the core memories are sucked out of Headquarters and
taken to the maze-like storage area of long-term memory
.

Anger, Fear, and Disgust try to maintain Riley's happiness in Joy's absence with disastrous results, distancing her from her parents,
friends, and hobbies. As a result, her personality islands gradually crumble and fall, one by one, into the "Memory Dump", an abyss
where memories are forgotten. Finally, Anger inserts an idea into the console, prompting Riley to run away to Minnesota, believing
that it will enable her to make new core memories.

While navigating through the long-term memory region, Joy and Sadness encounter Bing Bong, Riley's childhood imaginary friend,
who suggests riding the train of thought back to Headquarters. En route to the train station, Bing Bong tearfully watches his rainbow
wagon rocket being thrown into the memory dump along with other unused childish artifacts. The three eventually catch the train, but
it halts when Riley falls asleep, then derails entirely when "Honesty Island" collapses due to Riley's theft of her mother's credit card.
In desperation, Joy abandons Sadness and tries to ride a "recall tube" back to Headquarters, but the ground below the tube collapses,
breaking it and plunging Joy and Bing Bong into the Memory Dump.

At the bottom of the abyss, Joy begins to lose hope and breaks into tears, but then discovers a sad memory of an
ice hockey game that
turned happy when Riley's parents and friends comforted her. Joy finally understands Sadness's purpose: to induce empathy in others,
prompting them to reach out to Riley when she is emotionally overwhelmed and needs help. Therefore by preventing Riley from
feeling sad, Joy was also keeping her from feeling true happiness. Joy and Bing Bong try to use the wagon rocket to escape the
Memory Dump. After two failed attempts, Bing Bong, who is already fading away
, jumps out to allow Joy to escape and is forgotten.

Joy reunites with a despondent Sadness and takes them to Headquarters, only to discover that Anger's idea has disabled the console,
rendering Riley apathetic. To the surprise of the others, Joy hands control of the console to Sadness, who is able to extract the idea,
reactivating the console and prompting Riley to return home. As Sadness re-installs the core memories, turning them sad, Riley
arrives home to her parents and tearfully confesses that she misses Minnesota and her old life. Her parents comfort her and admit
they, too, miss Minnesota as much as she does. Joy and Sadness work the console together, creating a new amalgamated bittersweet
core memory in Riley's Headquarters; a new island forms, representing Riley's acceptance of her new life in San Francisco.

A year later at the age of 12, Riley has adapted to her new home, made new friends, and returned to her old hobbies while adopting a
few new ones. Inside the Headquarters, her emotions all work together on a newly expanded console with room for them all.

Voice cast
Amy Poehler as Joy[8]
Phyllis Smith as Sadness[8]
Richard Kind as Bing Bong[9]
Lewis Black as Anger[8]
Bill Hader as Fear[8]
Mindy Kaling as Disgust[8]
Kaitlyn Dias as Riley[8]
Diane Lane as Riley's Mother[10] The film's crew, along with the
Kyle MacLachlan as Riley's Father[10] English and French voice actors,
Paula Poundstone as Forgetter Paula[11] attended the film's premiere at the
Bobby Moynihan as Forgetter Bobby[11] 2015 Cannes Film Festival(from
Paula Pell as Dream Director, Mother's Anger, Teacher's Disgust and left): Lewis Black, Phyllis Smith,
Teacher's Sadness[11] Mindy Kaling, Amy Poehler, Jonas
Dave Goelz as Subconscious Guard Frank[11] Rivera, Marilou Berry, Pete Docter,
Ronnie del Carmen, Mélanie
Frank Oz as Subconscious Guard Dave[11]
Laurent, John Lasseter, Charlotte Le
Josh Cooley as Jangles the Clown[12] Bon, Pierre Niney, and Gilles
Flea as Mind Worker Cop Jake[11] Lellouche.
John Ratzenberger as Fritz[11]
[11]
Carlos Alazraqui as Father's Fear and Brazilian Helicopter Pilot
Nick Pitera and Andrea Datzman as TripleDent Gum singers
Lori Alan as Mother's Sadness[13]
Peter Sagal as Clown's Joy[11]
Rashida Jones as Cool Girl's emotions[12]
Several of the filmmakers also contributed some voice acting, including director Pete Docter as Father's Anger,[11] and co-writer
Ronnie del Carmen as one of the abstract thought mind workers.[11]

Production

Development
As a child, director Pete Docter relocated with his family to Denmark when his father moved to study the music of Carl Nielsen.[14]
While his sisters had an easy time adjusting to the new surroundings, Docter felt he was judged constantly by peers.[15] While other
[16] His social anxiety ended by
kids were interested in sports, Docter sat alone drawing, a hobby that eventually led him to animation.
high school.[14]

In late 2009, Docter noticed his pre-teen daughter, Elie, exhibiting similar shyness.[17] "She started getting more quiet and reserved,
and that, frankly, triggered a lot of my own insecurities and fears," he said.[14] He imagined what happens in the human mind when
emotions set in. The idea to depict it through animation excited Docter, who felt it the ideal form to portray "strong, opinionated,
caricatured personalities".[18] He began researching information about the mind, alongside Jonas Rivera, a producer, and Ronnie del
Carmen, a secondary director. They consulted Paul Ekman, a well-known psychologist who studies emotions, and Dacher Keltner, a
professor of psychology at the University of California, Berkeley. Ekman had early in his career identified six core emotions—anger,
fear, sadness, disgust, joy, and surprise. Docter found surprise and fear to be too
similar, which left him with five emotions to build characters around.[18] Other
emotions considered for inclusion during the development process were
schadenfreude, ennui, pride, and hope.[19] Keltner focused on sadness being an
emotion that strengthens relationships.[18] Both emphasized how emotions organize
[6]
social lives and the structuring of interpersonal interactions.

The smash success of Docter's 2009 film Up encouraged those at Pixar to allow
Docter to create another film with a more sophisticated story.[14] Inside Out is the Paul Ekman served as a consultant
first Pixar film without input from co-founder and former Apple CEO Steve Jobs, of the film.
who died in 2011. In addition, the film did not have as much input from chief
creative officer John Lasseter, who was focused on restructuring Walt Disney
Animation Studios in Burbank at the time of its production.[14] Executives at Disney and Pixar were positive at the proposal of
making Inside Out, but acknowledged it would be difficult to market.[20]

Story
Docter recruited a story crew to help develop the film's plot line. Although animation as an industry had been dominated by men, half
of the story crew were women, in an attempt to have more diverse input. The choice to focus the film on a girl came from research
that claimed that females age 11 to 17 are more attuned to expressions and emotions than others. The idea to have Riley play hockey
came from Del Carmen, who observed that the sport is very popular in Minnesota. Initial ideas for the film found the main character,
Riley, falling into a deep depression: Docter later felt they were inappropriate and scrapped them, although in the final film Riley
does sink into a depression.[14]

The film was first storyboarded over a period of two to three years, all the while undergoing screenings for Pixar's "Brain Trust", a
small group of creative leaders at Pixar who oversee development on all films. After multiple screenings and suggestions from other
filmmakers, the picture was put into production. It was again evaluated three months into that process. Kevin Nolting, editor of the
film, estimated there were seven versions of Inside Out created before it even went into production.[21] The story team attempted to
create as much contrast with characters as possible.[16] They found Joy the most complex character to write for, as she illustrates a
broad range of "happy feelings".[22] The earliest idea present in the final film is that Joy holds onto youth too long, setting about a
"social storm" for Riley.[23] It was not until several screenings later that they came upon the concept of moving to a new place, which
created an external conflict that made the story easier to write. Initially, this crisis was to be set at a Thanksgiving Day pageant, in
which Riley was hoping to be cast as its lead role, the turkey [24]
. Docter later deemed this idea too "bizarre" and it was replaced.

Docter estimated it took four years of development for the film to achieve success in marrying the architecture of Riley's mind and
her personal troubles. The concept of "personality islands" helped develop the film's emotional stakes, as they directly affect events
inside her mind and in her life. In one draft, the characters fell into "Idea Fields", where they would "cultivate new ideas", much like
a farmer would cultivate crop.[24] The character of Bing Bong—a discarded old imaginary friend—came about in one draft of the
film as part of a refugee camp inside Riley's mind. It was difficult to achieve the correct tone for the film; for example, viewers could
not be distracted by Joy's nature or feel negative about the mess she helps steer Riley into. Rivera credited the casting of Amy
[23]
Poehler, in addition to the idea of moving, with helping the film find the right tone.

An early version of the film focused on Joy and Fear getting lost together, as it seemed to be the most humorous choice. By July
2012, the project was set for an evaluation screening with other Pixar filmmakers. Docter gradually began to feel that the story was
not working, which made him think that he might get fired. He took a long walk one Sunday, where he began to consider himself a
failure, and that he should resign from the film.[18] While pondering what he would miss about Pixar, he concluded that he would
miss his coworkers and friends most of all. He soon reached a breakthrough: that emotions are meant to connect people together, and
that relationships are the most important things in life.[20] He decided to replace Fear with Sadness, which he felt is crucial to
renewal. He met with Rivera and Del Carmen that night to explain his change of plans, and to his surprise, they reacted positively to
it. At the screening, he informed his superiors that new plans for the film were in order. Although it was a "scary moment", the film
remained in production.[14]
Screenwriter Michael Arndt initially worked for a year on the film's script, calling it "both a brilliantly creative idea but also
incredibly challenging", but left the project in early 2011, adding that "knowing the Pixar process, there may not be a single word [I
wrote] that remains in the final script! They've had writers work on it since then."[25] Josh Cooley and Meg LeFauve were credited as
co-writers of the screenplay following their contributions during the rewrite. Like Docter, Cooley and LeFauve included experiences
with raising their own children into the screenplay. Cooley said "… we treated the emotions like parents for Riley and because all of
us in the writing room are parents ourselves, we just reflected on our own experiences as parents to create the characters."[19] Despite
his departure, Arndt received an 'Additional Story Material' credit.

Casting
The film's voice cast of emotions, Amy Poehler, Lewis Black, Mindy Kaling, Bill Hader, and Phyllis Smith, were first announced in
August 2013.[26] With the release of the film's trailer in December 2014, it was revealed that Diane Lane and Kyle MacLachlan were
cast in the film as Riley's parents.[10]

Hader, who had previously cameoed in Monsters University, was cast to voice Fear, a role that he felt he "weaseled" his way into by
being a "huge fan" of Pixar's filmography.[27] Hader toured the studio over a week, and also "helped out" in the story room.[28] He
was invited to play Fear by the end of his stay there, but was also asked to contact fellow Saturday Night Live (SNL) veteran Amy
Poehler, whom the team viewed as perfect for the character of Joy. "They said: 'Would you mind calling Amy? We don't want to call
her and have her think we're some weirdo,'" he recalled. He phoned Poehler and explained the story to her, noting that her role would
be the driving force in the film.[28] When the story was pitched to Kaling, she broke down in tears, explaining "I just think it's really
ficult to grow up and it's OK to be sad about it."[18]
beautiful that you guys are making a story that tells kids that it's dif

Smith was chosen by Rivera while he was watching Bad Teacher and saw her in a lunch scene. He called Docter and said "I think we
found our Sadness."[29] As the film contains several veterans of SNL, the film's team spent a week at that program for research on a
live television sequence.[27]

Richard Kind, who had previously starred in A Bug's Life, the Cars series, and Toy Story 3, portrayed Bing Bong. Kind tried to
convey the same "sort of innocence" of his previous Pixar roles, and wound up not taking part in pre-release promotion as the
producers decided to keep the character a secret.[30]

Animation
The film's art design is intended to reflect 1950s Broadway musicals.[14] Docter imagined that with emotions for characters, they
could "push the level of caricature both in the design and in the style of movement to degrees [they'd] never done before". To this
end, they emulated animators Tex Avery and Chuck Jones.[24] Docter informed supervising animators Shawn Krause and Victor
Navone to push the graphic caricature of each character rather than sticking to the rigid behavior of each RenderMan model. This
required an artist to draw over characters in the film during dailies, using a Wacom Cintiq.[31] One of the first scenes the team
worked on was the dinnertime scene, in which viewers rapidly switch between the real world and Headquarters inside the family's
minds.[21]

In envisaging how the mind's interior would be depicted, the filmmakers concentrated on the word electrochemical; Ralph Eggleston,
the film's production designer, explained, "It meant thinking of things as energy or energy-based, excitable."[32] Each emotion has a
glowing, "effervescent quality" to them (particularly Joy), which was difficult to animate as it could be viewed as distracting.[33]
"The characters are created with this energy because we are trying to represent what emotions would look like. They are made up of
particles that actually move. Instead of being skin and solid, it is a massive collection of energy," Docter remarked.[34] The team
worked for eight months on Joy's "sparkly" aura, but was prepared to delete it, as it would affect the film's budget. However, Lasseter
requested that it be applied for each emotion. "You could hear the core technical staff just hitting the ground, the budget falling
through the roof," recalled Eggleston.[33]
The film is localized to accommodate international audiences: in the Japanese version, for example, Riley is disgusted by green bell
peppers, rather than by broccoli (the only topping offered by the local pizzeria), to reflect the fact that broccoli is generally less
undesirable to Japanese children.[35]

Soundtrack
Michael Giacchino composed the film's score; this was his fifth collaboration with
Inside Out: Original
Pixar and his second collaboration with Docter after Up. The producers first met
Soundtrack
with Giacchino to explain the film's concept and screen it for him. In response, he
composed an eight-minute suite of music, unconnected to the film, based on his Soundtrack album by Michael
emotions viewing it.[24] Rivera noted that while both Giacchino and Docter were Giacchino
.[24]
musicians, they discussed the film in terms of story and character Released June 16, 2015
Recorded 2014–2015
Walt Disney Records released the soundtrack on June 16, 2015.[36]
Studio Warner Bros. Eastwood
Track listing Scoring Stage in
Burbank, CA
All music composed byMichael Giacchino.
Genre Soundtrack
No. Title Length Length 59:43
1. "Bundle of Joy" 2:48 Label Walt Disney
2. "Team Building" 2:18
3. "Nomanisone Island/National Movers" 4:20 Producer Chris Gottron (executive
4. "Overcoming Sadness" 0:51 music)
5. "Free Skating" 0:59 Tim MacDougall (music
6. "First Day of School" 2:02 supervisor)
7. "Riled Up" 1:02 Pixar film soundtrack chronology
8. "Goofball No Longer" 1:11
Monsters Inside Out: The Good
9. "Memory Lanes" 1:22
University Original Dinosaur
10. "The Forgetters" 0:50 (2013) Soundtrack (2015)
11. "Chasing the Pink Elephant" 1:55 (2015)
12. "Abstract Thought" 1:47
13. "Imagination Land" 1:25 Michael Giacchino chronology
14. "Down in the Dumps" 1:47 Jurassic Inside Out Zootopia
15. "Dream Productions" 1:43 World: (2015) (2016)
16. "Dream a Little Nightmare" 1:50 Original
17. "The Subconscious Basement" 2:01 Motion
18. "Escaping the Subconscious" 2:09 Picture
19. "We Can Still Stop Her" 2:54 Soundtrack
20. "Tears of Joy" 3:39 (2015)
21. "Rainbow Flyer" 2:58
22. "Chasing down Sadness" 1:45
23. "Joy Turns to Sadness/A Growing 7:49
Personality"
24. "The Joy of Credits" (includes the hidden track 8:18
"TripleDent Gum Jingle" performed by Nick Pitera
and Andrea Datzman at 8:05)
Total length: 59:43
CD bonus track
No. Title Music Length
25. "Lava" (From the Disney•Pixar Short Film Lava [37]) Kuana Torres Kahele and 5:46
 Napua Greig

Release
Inside Out was first announced in August 2011 at the D23 Expo. In December 2012, Bleeding Cool reported the title of the film
would be The Inside Out,[38] while ComingSoon.net reported it would be Inside Out the following February.[39] In April 2013,
Disney officially announced the title on Twitter as Inside Out, during CinemaCon.[40] Prior to its release, the film underwent a test
screening for children, due to concerns from executives that it would be too complex for younger audiences—a fear quelled when the
audience reacted positively to the picture.[22]

The film premiered on May 18, 2015, at the68th Cannes Film Festival, in an out-of-competition screening.[41] In the United States, it
premiered on June 8, 2015, at the El Capitan Theatre in Hollywood,[42] and received a wide theatrical release starting on June 19,
2015, in 2D, 3D, and selectIMAX 3D theatres.[43][44] It was the first animated movie to be released in Dolby Vision format in Dolby
Cinema and the second for Disney following Tomorrowland.[45] Also notable was the fact that it was one of two feature films (the
other being The Good Dinosaur) released by Pixar in the same calendar year,a first for the company.[46]

A short animated film, titled Lava, accompanied Inside Out during its theatrical release. This musical love story was directed by
James Ford Murphy and produced by Andrea Warren. The story was inspired by the isolated beauty of tropical islands and the
[47]
explosive allure of ocean volcanoes, and takes place over millions of years.

On June 18, 2015, Skype added faces of the five "emotions" of the film as emoticons available for use in its IM service for the next
three months,[48] later leaving them as standard.

Home media
Inside Out was released by Walt Disney Studios Home Entertainment on Blu-ray (2D and 3D) and DVD on November 3, 2015,[49]
while a digital release was released on October 13, 2015.[50] The Pixar's theatrical short, Lava,[51] was included. A short film set in
the world of Inside Out, titled Riley's First Date?,[51] and directed by Josh Cooley, the head of story on the film,[52] was included
exclusively in the Blu-ray and the digital release.[53]

Video games
Disney Infinity 3.0.[54]
An Inside Out play set featuring all five emotions as playable characters was made available for

A mobile game, Inside Out: Thought Bubbles, was released on June 18, 2015, by Disney Mobile Games on Apple App Store, Google
Play, Amazon Appstore, Windows Store, and Windows Phone Store. Playing as Riley's emotions, players have to match and sort
) inspired by the film's locations.[55]
memory bubbles through 485 levels (as of May 2016

Reception

Box office
Inside Out grossed $356.5 million in the USA & Canada and $501.1 million in other countries, for a worldwide total of $857.6
million against a budget of $175 million.[3] Deadline Hollywood calculated the net profit of the film to be $279.51 million, when
[56]
factoring together all expenses and revenues for the film.

Worldwide, it is the seventh-highest-grossing film of 2015 (placing second among animated films behind only Minions),[57] the
fourth-highest-grossing Pixar film,[58] and the thirteenth-highest-grossing animated film of all time
.

United States and Canada

Inside Out opened across 3,946 theaters in the United States and Canada, of which 3,100 showed the film in 3D.[59] It grossed $3.7
million during its Thursday night showings. This was a record among Pixar films that had Thursday night showings, but behind Toy
Story 3's $4 million midnight showing.[60] The film then earned $34.3 million on its opening day, which is the third largest opening
day for a Pixar film behind Toy Story 3 ($41.1 million) and Finding Dory ($54.7 million).[61][62][63] It ended its opening weekend in
second place with $90.4 million, behind the second-weekend gross of dinosaur thriller Jurassic World ($106.6 million).[64] Although
it was Pixar's first film not to debut at No. 1, its opening-weekend gross was still the biggest for a Pixar original film (breaking The
Incredibles' record), the studio's third-biggest of all time (behindFinding Dory and Toy Story 3), the biggest weekend debut for a film
that did not debut at No. 1 (breaking The Day After Tomorrow's record),[65] and the top opening for any original film, live-action or
otherwise, not based on sourced material, eclipsing the $77 million debut of Avatar (overtaken by The Secret Life of Pets).[7][66][67]
The film's successful opening has been attributed to its Cannes premiere, CinemaCon press screening, its critical reception
(particularly the 98% Rotten Tomatoes score), good word-of-mouth, Father's Day weekend, and a successful Tuesday-night Fathom
screening.[68][69] In its second weekend, the film fell by 42% to $52.3 million and still held the second spot behind Jurassic
World;[70] the rest of the week saw it slightly ahead of the latter.[71] Inside Out reached the No. 1 spot at the box office in its third
weekend, which was Independence Day weekend, with $29.8 million.[72] Overall, IMAX contributed 10% or $36 million (as of
September 4, 2015) of its total North American revenue.[73]

It ended up grossing a total of $356.5 million and became the third-highest-grossing Pixar film (behind Finding Dory and Toy Story
3),[58] the fourth-highest-grossing film of 2015,[74] the ninth-highest-grossing animated film of all time (the highest of 2015),[75] and
the 35th-highest-grossing film of all time.[76]

Other countries
Outside the US and Canada, the film earned an estimated $40.3 million on its opening weekend from 37 countries, which is 42% of
the entire international market.[77] Its largest openings were recorded in China ($11.7 million); the UK, Ireland and Malta ($11.4
million); Mexico ($8.6 million), Russia and the CIS ($7.6 million), Italy ($7.4 million), Germany ($7.1 million), and South Korea
($5.1 million).[77][78][79][80][81][82] In total earnings, its largest markets outside the U.S. and Canada are the United Kingdom ($58.1
million), South Korea ($31.7 million), and Mexico ($31 million).[83][84][85][86] It became the highest-grossing Disney animated or
Pixar film of all time in Mexico (ahead of Frozen), the Philippines (ahead of Big Hero 6),[87] India, and Ukraine and in Russia, it is
[80]
the second-highest-grossing Disney or Pixar film and the first Pixar film to exceed one billion rubles.

Critical response
Review aggregator website Rotten Tomatoes gives the film a rating of 98%, based on 350 reviews, with a rating average of 8.93/10,
which, as of January 2018, makes it the highest-rated animated film of all time.[88] The website's critical consensus reads, "Inventive,
gorgeously animated, and powerfully moving, Inside Out is another outstanding addition to the Pixar library of modern animated
classics."[89] The film also topped the site's Top 100 Animation Movies list[90] and occupies the third-highest position of a film
released in the 21st century on the Top 100 Movies of All Time list at number 8.[91] On Metacritic the film has a score of 94 out of
100, based on 55 critics, indicating "universal acclaim".[92] In CinemaScore polls, cinema audiences gave Inside Out an average
score of "A" on an A+ to F scale.[61]

Prior to its release, there was concern among the general public that Pixar films were declining in quality, with an over-reliance on
sequels.[93] Likewise, DreamWorks Animation was beginning to flounder in the early 2010s as several films performed below
expectations at the box office, leading to speculation that the "genre" of computer animation was "in a funk".[14] Inside Out has been
[94][95][96][97][98]
hailed as a return to form for Pixar by numerous film critics.

Following an advance screening at CinemaCon on April 22, 2015, the film was well received by audiences. Praise was aimed for its
smart storyline, although some wondered whether the concept was too complicated for young audiences and to attract family
crowds.[99][100] After premiering at the 2015 Cannes Film Festival, the film attracted praise from film critics. Peter Debruge of
Variety was effusive, calling it the studio's "greatest idea" and "a stunningly original concept that […] promises to forever change the
way people think about the way people think".[101] The Chicago Tribune's Michael Phillips called it the studio's best since Up (also
directed by Docter), a "consistently inventive and a heartening corrective to recent, stockholder-driven inferiorities".[94] Todd
McCarthy of The Hollywood Reporter deemed it an "audacious concept" that stands
among the most "conceptually trippy films" for family audiences.[2] "With its quite
literally cerebral bent, I think Inside Out might have some trouble fully connecting
with younger kids, but grown-ups are likely to shed more than a few tears,"
remarked Richard Lawson ofVanity Fair.[102] The Guardian's Peter Bradshaw felt it
"buoyant and sweet-natured", though slightly inferior to Pixar's best.[103] Ignatiy
Vishnevetsky of The A.V. Club, while overall positive on the film, said it "trades the
wordless gracefulness and sense of discovery of the animation studio's best work for
explanatory voice-over and nonstop exposition", also arguing that the Pixar
animators could have been more visually adventurous to match the conceptual
ambition.[104]

Kristopher Tapley of HitFix called it as "one of the best films of the 21st
century".[105][106] A. O. Scott of The New York Times deemed the film "an absolute
delight", reserving particular praise for its "defense of sorrow, an argument for the
necessity of melancholy dressed in the bright colors of entertainment".[96] The
Poehler's vocal performance was
Washington Post's Ann Hornaday considered it "that rare movie that transcends its
praised by critics.
role as pure entertainment to become something genuinely cathartic, even
therapeutic, giving children a symbolic language with which to manage their
unruliest emotions".[9] Richard Roeper of the Chicago Sun-Times found it "bold, gorgeous, sweet, funny, [and] sometimes
heartbreakingly sad", deeming it one of the best films of the year.[107] Entertainment Weekly's Chris Nashawathy extolled it as
"transcendent and touching […] so smart and psychologically clever".[108] Time's Mary Pols felt it a "nearly hallucinogenic, entirely
beautiful" work that "defies the conventions of family movies".[109] Christopher Orr of The Atlantic urged readers to view the
picture, calling it "Pixar once again at the top of its game, telling the kind of thoughtful, moving meta-story it's hard to imagine being
produced anywhere else".[97] Wai Chee Dimock in theLos Angeles Review of Bookscompared the film to the work of neuroscientists
Antonio Damasio, Dacher Keltner, and Oliver Sacks.[110] Betsy Bozdech of Common Sense Media gave the movie 5 stars, stating
that "'Inside Out' is creative, clever, heartfelt, and beautifully animated."[111]

Recognition and accolades

Inside Out received fifteen Best Picture, twenty-one Best Original Screenplay, and forty Best Animated Feature nominations from
over 50 different organizations and associations.[112] It won the Academy Award for Best Animated Feature and was nominated for
the Academy Award for Best Original Screenplay at the 88th Academy Awards held in 2016.[113] It received ten out of fourteen
Annie Awards at the 43rd Annie Awards, including Outstanding Achievement in Directing in an Animated Feature Production for
Docter, Outstanding Achievement in Voice Acting in an Animated Feature Productionfor Smith and Best Animated Feature.[114][115]
The American Film Instituteselected Inside Out as one of the Top Ten Films of the Year.[116]

The film received the Golden Globe Award for Best Animated Feature Film at the 73rd Golden Globe Awards.[117] It received three
Critics' Choice Movie Award nominations including the win for Best Animated Feature.[118] The New York Film Critics Circle
awarded Inside Out for Best Animated Film[119] and it was named Film of the Year by National Board of Review with also winning
Best Animated Film.[120] The film was runner-up for Best Animated Film at Los Angeles Film Critics Association Awards[121] and
at San Diego Film Critics Society Awards.[122][123] It received four nominations from Satellite Awards including Best Original
Screenplay, Best Animated or Mixed Media Feature, and Best Original Score. It took the Satellite Award for Best Animated orMixed
Media Feature.[124] The film won the award for Best Animated Film at the 69th British Academy Film Awards in London,
England,[125] and was also nominated for Best Original Screenplay(losing to Spotlight).[126] The film also received a Robert Award
for Best American Filmnomination and a David di Donatello for Best Foreign Film nomination, the Danish and Italian equivalent of
the Academy Awards, respectively.[127][128]

In 2016, the film was ranked at number 41 on BBC's 100 Greatest Films of the 21st Century list, a poll of 177 film critics from
around the world.[129] It was also named the seventh "Best Film of the 21st Century So Far" in 2017 by
The New York Times.[130]
Future plans
On June 24, 2015, when asked if there are plans for a possible sequel, Pete Docter replied, "There's no sequel idea from me at this
point," adding, "Never say never."[131] On January 14, 2016, Docter stated that a sequel is possible, and that he and Pixar will explore
ideas, saying: "We'll see if anything turns up. To me it's not as simple as: 'We liked it, so let's make another one.' What happens is you
design these characters not so much looks-wise but as they are as characters and people for a story. So we'll explore it and see what
happens."[132] In a July 2016 interview, Pixar president Jim Morris said that while demand for a sequel is high, the company has
committed its resources to several original movie concepts from June 7, 2019, onward, and that no sequels to any of Pixar's other
films, including Inside Out, were being contemplated at this time.[133]

Lawsuit
On June 20, 2017, Denise Daniels, a child psychologist from Minnesota, filed a lawsuit against Disney and Pixar for breach of
contract. Daniels had been working on a creative project, The Moodsters, with a theme very similar to Inside Out and had discussed
prospects of a TV production with Disney and Pixar executives, including with the film's eventual director Pete Docter.[134] Daniels
claims that she presented in detail her idea for five color-coded characters representing happiness, sadness, anger, love and fear, who
would live in an abstract world within a child. The discussions were held between 2006 and 2009, and Daniels argued that they
carried an implied contract for her to be compensated if the ideas were used by Disney. On January 31, 2018, her suit was dismissed
by judge Philip Gutierrez, who ruled that since Daniels had released materials related to the project publicly at the time of the
[135]
conversations, there were no grounds for an implied contract between Disney and Daniels.

See also
List of films considered the best
Reason and Emotion
Poison Berry In My Brain
Herman's Head
The Numskulls

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External links
Official website at Disney
Official website at Pixar
Inside Out Production Notes
Inside Out on IMDb
Inside Out at the TCM Movie Database
Inside Out at The Big Cartoon DataBase
Inside Out at Rotten Tomatoes

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