#INSIDE OUT THOUGHT TRAIN SKIN#

It's more like an extended dream that interprets itself as it goes along, and it's rooted in reality. it is not, strictly speaking, fantasy or science fiction, categories that describe the rest of the company's output. And this is where 'Inside Out' differs strikingly from other Pixar features. They are visual representations of ineffable sensations, a bit like the characters and symbols on Tarot cards. It's worth pointing out here that all these characters and locations, as well as the supporting players that we meet Meanwhile, back at headquarters, Fear, Anger and Disgust are running the show. The rest of the film is a race to prevent these core memories from being, basically, deleted. A struggle between Joy and Sadness causes 'core memories' to be knocked from their containers and accidentally vacuumed up, along with the two emotions, and spat into the wider world of Riley's emotional interior. This makes sense when you think about how nostalgia-which is what Riley is mostly feeling as she remembers her Minnesota past-combines these two feelings. Sadness has done this once before she and Joy are the two dominant emotions in the film. The story kicks into gear when Riley attends her new school on the first day of fifth grade and flashes back to a memory that's color-coded as 'joyful,' but ends up being reclassified as 'sad' when Sadness touches it and causes Riley to cry in front of her classmates. I live in Canada.' A 'Train of Thought' that carries us through Riley's subconscious evokes one of those miniature trains you ride at zoos it chugs through the air on rails that materialize in front of the train and disintegrate behind it. There's an imaginary boyfriend, a nonthreatening-teen-pop-idol type They're in her phone!') Riley's mental terrain has the jumbled, brightly colored, vacu-formed design of mass market toys or board games, with touches that suggest illustrated books, fantasy films (including Pixar's) and theme parks aimed at vacationing families (there are 'islands' floating in mental space, dedicated to subjects that Riley thinks about a lot, like hockey). ('Phone numbers?' grouses a worker in Riley's memory bank. The heroine's memories are represented by softball-sized spheres that are color-coded by dominant emotion (joy, sadness, fear and so forth), shipped from one mental location to another through a sort of vacuum tube-type system, then classified and stored as short-term memories or long-term memories, or tossed into an 'abyss' that serves the same function here as the trash bin on a computer. The controller hears what the other emotions are saying, and Sometimes Joy is the dominantĮmotion, sometimes Fear, sometimes Sadness, etc., but never to theĮxclusion of the others. There's a master control room with a board that the five major emotions

#INSIDE OUT THOUGHT TRAIN SKIN#

( Lewis Black), a flat-topped fireplug with devilish red skin and a middle-manager's nondescript slacks, fat tie and short-sleeved shirt. Who's a rich green, and has a bit of a ' Mean Girls' vibe and Anger

Smith), who's soft and blue and recessive Fear ( Bill Hader), a scrawny, purple,īug-eyed character with question-mark posture Disgust ( Mindy Kaling), Looks a little bit like Tinkerbell without the wings Sadness (Phyllis

'cartoonish' characters: Joy ( Amy Poehler), a slender sprite-type who Riley's emotions are determined by the interplay of five overtly Move them from Minnesota to San Francisco, separating her from her friends. Riley ( Kaitlyn Dias), who's depressed about her mom and dad's decision to The bulk of the film is set inside the brain of young

Inside out thought train