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Inside Out 2: A Journey Through Emotions and Growth
Mark Nielsen, producer of “Inside Out 2,” has been a vital part of Pixar since 2006, starting with the short film “Mater and the Ghostlight,” which is part of the “Cars” franchise. He played a significant role as an associate producer on the original “Inside Out” and was one of three producers honored with an Oscar for “Toy Story 4.” In the nine years following the debut of “Inside Out,” which portrayed emotions like Joy, Sadness, and a young girl named Riley, Nielsen frequently encountered a consistent inquiry: “Can you give us more of this?”
“I instantly recognized that there was a strong desire for a sequel, particularly if we could approach it thoughtfully and convey a meaningful message,” Nielsen shared with Gold Derby. “It’s important not to create a sequel just for the sake of it. There needs to be surprising elements and an interesting angle—simply rehashing the original won’t suffice.”
Directed by Kelsey Mann, the sequel takes place two years after the original film and revisits Riley, now voiced by Kensington Tallman, as she faces the challenges of early adolescence alongside a whirlwind of new feelings. The most salient of these emotions is Anxiety, characterized by Maya Hawke’s compelling voice performance, who arrives with the intent of challenging and reshaping Riley’s foundational beliefs during her growth phase.
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In selecting Hawke to voice Anxiety, Mann sought a younger performer to create a distinct generational contrast with Poehler’s character, thereby resonating with many parents’ experiences.
“My aim was for the dynamic to mirror that of a parent feeling secure in their knowledge, only to find themselves lost in a new world,” Mann explained. His remote introduction to Hawke occurred over Zoom, while he vacationed with his family at Disney—a fitting backdrop for the collaboration. Mann noted that Hawke quickly grasped Anxiety’s true essence, understanding that the character is not the antagonist.
“What struck me about Maya was her ability to depict Anxiety not as malicious or mean-spirited. Instead, she infused the character with love and a desire to protect. It was evident that she genuinely cared for Riley,” Mann remarked, adding that after their conversation, he felt convinced of Hawke’s fit for the role.
However, Hawke’s role as Anxiety emerged from Pixar’s thorough and disciplined storytelling process. Nielsen pointed out that the version of “Inside Out 2” that ultimately graced theaters evolved significantly from its inception.
“We hold ourselves to high standards,” Nielsen stated. “Over a four-year timeframe, we iterated on the film, developing nine full versions, each time analyzing and refining our approach.”
Initially, one concept for the sequel involved Riley completely abandoning her passion for hockey. This idea was discarded as it became clear that such a drastic change undermined what made Riley relatable in the original tale.
Additionally, the emotional landscape underwent transformations. A character representing Shame was considered for an early draft but was later scrapped due to the weightiness it added to the narrative. Similarly, while early iterations featured up to nine new emotions, the complexity proved unmanageable, ultimately leading to the selection of four key new emotions: Anxiety, Envy (voiced by Ayo Edebiri), Embarrassment (voiced by Paul Walter Hauser), and Ennui (voiced by Adele Exarchopolous), each contributing directly to the story’s themes.
“Pixar has a distinctive atmosphere,” Mann observed regarding the studio’s creative process. “Everyone shares a collective goal: to craft an exceptional film. This ethos isn’t always present in other environments. We continually refine the film, striving for improvement each time.”
Nielsen concluded by emphasizing the filmmakers’ genuine enthusiasm for the project, noting that they are crafting movies that interest them as viewers. “We create content that makes us lean forward in our chairs. What we find amusing is included; what doesn’t makes the cut. Our pursuit involves universal themes and the goal of relating to the essence of the human experience. Regardless of age, audiences will find connections to the themes presented.”
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