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D23 2017 – a quick rundown of yesterday’s Pixar highlights

D23, Pete Docter, Pixar

Posted by Joanna • July 16, 2017

As if we weren’t already wowed by all the Pixar news released at this year’s D23 Expo’s opening, yesterday’s events delivered even more surprises and exciting bits and pieces. Here’s a quick rundown of the highlights.

  1. The “Creating the Worlds in Pixar’s Universe” panel gave some wonderful insights into how Pixar movies are made

In a presentation by directors of photography Sharon Calahan and Kim White, production designers Ralph Eggleston and Harley Jessup, and producer Katherine Sarafian, examples across Pixar’s entire repertoire of movies helped teach the audience how the studio’s staff built these worlds that we’ve all come to know and love over the years. A focus was put on believability, collaboration, and creativity. Pixar have transported us to worlds both real and fantastical, and it’s the worlds that we have never seen before that present the biggest challenge. Even seemingly simple things like the colour of the sky are thrown into question when you’re building a world from the ground up.

  1. The “Evolution of Pixar Characters” panel delved into the world of character design

Pete Docter was joined by Daniel Arriaga, Tia Kratter, Deanna Marsigliese, Chris Sasaki, and Jay Shuster  to give an inside look into how Pixar’s characters are conceived and designed, and the changes that are made along the way.

  1. New Pixar themed attractions are coming to Walt Disney parks

These new additions include Toy Story Land at Disney World, a Ratatouille themed attraction at Epcot, and the grand opening of the Pixar Pier at Disneyland Resort, along with a limited time Pixar Fest event. Toy Story Land and the Pixar Pier are to open in Summer 2018.

  1. The world of Toy Story is coming to Kingdom Hearts 3

Incredibly confusing plotlines aside, the popular video games series Kingdom Hearts involves Sora, Donald, and Goofy traversing Disney Pixar worlds and saving them from the Heartless. It was revealed yesterday that the Toy Story world will be featured in Kingdom Hearts’ next instalment in 2018! A trailer was released, showing the game’s protagonists meeting Woody, Buzz and the gang for the first time. With its updated graphics, it’s amazing to see how the character models look almost indistinguishable from the ones that we’re used to seeing in the movies – it’ll be interesting to see how Woody and his flailing limbs fare on the battlefield.  The attention to detail is positively heart-warming – Sora’s Toy Story-themed keyblade features a western style cactus, little Buzz-inspired wings, and a cute alien keychain.

 

Footage and photos of some of yesterday’s highlights have also now been made available online – there are photos on Pixar’s instagram, and a video of the performance at the end of the Coco presentation. There are still more Pixar-themed D23 events to come later on today , including a demo of Pixar in a Box, a signing with composer Michael Giacchino, and a drawing demo with Daniel Arriaga.

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Ed Asner to Honor Pete Docter and Jonas Rivera at AutFest

Inside Out, Jonas Rivera, Pete Docter

Posted by Nia • April 21, 2017

Courtesy of AutFest

Courtesy of AutFest

Inside Out director Pete Docter, and producer Jonas Rivera, will be attending AutFest this Sunday as they receive special honors from the festival in celebration of its debut. This weekend will be the 1st Annual AutFest International Film Festival, located in Los Angeles, CA. AutFest is a unique film festival that celebrates autism and strives to promote autism awareness while supporting autistic filmmakers and artists.

Courtesy of AutFest

Courtesy of AutFest

Scott Badesch, President of Autism Society of America, describes AutFest’s goal and motivation as follows: “The first Annual AutFest International Film Festival is a perfect opportunity for us to celebrate the role film is now playing in autism awareness. We are proud to honor outstanding filmmakers Ben Affleck, Pete Docter and Jonas Rivera, for their cinematic portrayals of the complexity of human emotions, as we can see with our two spotlighted films The Accountant and Inside Out.”

Ed Asner will also be honoring Pete and Jonas following a screening of Inside Out and a special Q&A afterwards this Sunday, April 23rd, at 12:20pm. If you’re in the Los Angeles area, be sure to stop by AMC Orange, 30 in Orange County to re-watch Inside Out (or see it for the first time) on the big screen.

For more information on AutFest and other films that will be playing this weekend, check out their website here.

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You Can Now Take A Pixar Storytelling Course Online For Free!

Behind The Scenes, Khan Academy, Mark Andrews, Pete Docter, Pixar in a box, The Art of Storytelling

Posted by Nia • February 24, 2017

Have you ever dreamed about being able to learn from some of the greatest storytellers in the industry? Or what about gaining specific insight in animation from some of your heroes like Pete Docter and Mark Andrews? With Pixar’s new online course, you will be able to do just that.

This month Pixar launched the first course of their 6-part online curriculum on “The Art of Storytelling.” The program will be helmed by Docter, Andrews, and a plethora of other top notch animation talent from the studio. The course is aimed to guide anyone who is interested in learning more about the Pixar storytelling process – the segments will give tips on how to create original stories, captivating characters, and diverse worlds. The courses will also offer a variety of techniques other than your typical video and reading assignments; there will be firsthand exercises that will even teach some newcomers the ABC’s of taking an original idea and seeing it through to the story boarding phase. Pixar’s online class will disperse their different lessons throughout the year, so stay-tuned for more production wisdom from the studio!

Pete Docter’s own statement on the course should give you enough motivation to give it a try: “We hope that by sharing how we tell stories, we’ll inspire students all over the world to tell their own stories.”

“The Art of Storytelling” can be accessed through the online-education website Khan Academy.

Have you already taken the course or are thinking about trying it out? Let us know on Twitter and in the comments below.

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Inside Out wins Best Animated at the Oscars!

Inside Out, Jonas Rivera, Oscars, Pete Docter

Posted by Simoa • February 29, 2016

Joy is in the air as Inside Out took home the golden statuette for Best Animated Feature at last night’s 88th Academy Awards! The film was also nominated for Best Original Screenplay. While the win deserves to be celebrated, as many pointed out, it deserved a nomination in the Best Picture category as well.

Woody and Buzz, in a nod to Toy Story‘s 20th anniversary, were part of a brilliant animated segment to present the Oscar. They were stationary onstage before springing to life and engaging in some good natured ribbing. (Can they host next year’s Oscars please?)

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Oscars 1Not surprisingly, Pete Docter’s acceptance speech (watch here) was humble and inspiring. The film has had such a profound impact on audiences and is already starting important conversations about emotions and how to respond to them. Docter took the opportunity to speak to kids growing up, anyone in middle or high school who is having a rough time or suffering. Inside Out is a glowing look at the beautiful and painful process of growing up. But it, like Docter’s speech, does offer hope for anyone struggling to find the beauty in this process. But no matter if you feel sad or angry or scared, you can always make stuff. “It will make a world of difference.” It certainly has for Pete Docter.

 

Oscars 2

Congratulations to Pete, Jonas, and the entire cast and crew for their win!

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Jonas Rivera Wins PGA Award

Academy Awards, Inside Out, Jonas Rivera, Pete Docter, PGA Awards, Pixar

Posted by Nia • January 27, 2016

Congratulations to Inside Out producer Jonas Rivera who took home a Producers Guild Award for Best Animated Feature on Saturday’s ceremony.

Disney/Pixar

Disney/Pixar

The Good Dinosaur was also nominated along with Anomalisa, Minions, and The Peanuts Movie. The PGA Awards honor the best producing work in film and television and are usually a precursor to what takes home the gold during the Academy Awards. Next to the Oscars, it’s one of the most anticipated events in the industry. Here’s hoping that Inside Out also wins the Oscar for Best Animated Film next month! Best of luck to Jonas Rivera, Pete Docter, and the team at Pixar!

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Pixar at the Oscars

Academy Awards, Animation, Inside Out, Interview, John Lasseter, Jonas Rivera, Lava, Michael Giacchino, Pete Docter, Pixar, Sanjay's Super Team, Short Film, The Good Dinosaur, UP

Posted by Nia • January 16, 2016

Congratulations to the talented folks at Pixar for receiving not one but THREE Oscar nominations during Thursday’s announcement. Inside Out was nominated for Best Animated Feature Film and also scored a nomination for Best Original Screenplay; it will be the only animated film competing in that category. Sanjay’s Super Team took home a nod for Best Animated Short Film.

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"Sanjay's Super Team" Comes to the Con ? Director Sanjay Patel and producer Nicole Grindle are taking Pixar Animation Studios' new short to San Diego's Comic-Con International next month for its North American premiere and a peek behind the scenes of the production process. The Super Story Behind the Pixar Short "Sanjay's Super Team," slated for Thurs., July 9 at 11 a.m. in the Indigo Ballroom, Hilton Bayfront, reveals the unique inspiration for this incredibly personal film that features superheroes like never before. The short debuts in U.S. theaters in front of Disney-Pixar's "The Good Dinosaur" on Nov. 25, 2015.

Via Disney/Pixar

It was indeed great news hearing that Pixar was nominated for several awards, but it’s also hard not to acknowledge the slight disappointments regarding snubs to both The Good Dinosaur and Lava. In an ideal world, all four films released from the studio would have been nominated for Oscars. They all followed the Pixar standard of challenging both art and technology, paving the way for future animated films. The Good Dinosaur alone was revolutionary in it’s technical aspects and successful blend of animation against hyperrealistic backgrounds. Lava also showcased stunning backgrounds that were brought to life through the use of song; depicting the romance between two volcanoes without dialogue but only through a love ballad. Lava‘s catchy song was clearly absent from the Best Original Song nominees. Also missing from the Best Original Score category was Michael Giacchino’s beautiful work on Inside Out.

In the past, an animated film has even been nominated for Best Picture, such as Pete Docter’s last film Up. If an animated film can be nominated for Best Picture, then it’s director should also be recognized in the Best Director category. Inside Out was incredibly inventive and something we haven’t seen before. It cleverly took us inside the mind of a young girl and created relatable characters out of her emotions… not to mention simultaneously hitting us all with a wave of childhood nostalgia. Docter spent 4+ years working on the film; from writing the screenplay, approving every minute detail most audience members might miss, to even guiding a brilliant team of artists into crafting his vision. That time frame is longer than most live action directors work on a film.

In an interview with Screencrush, Pixarian Kelsey Mann explains why animation directors are just as worthy as notable live action directors in receiving acknowledgement from The Academy:

“From the ground up, directors at Pixar are in charge of everything from the story to the individual blades of grass. We start from nothing. Literally nothing. And it all has to be built from the ground up. And Pete is involved in every decision.”

Slowly audiences (and even The Academy) are beginning to realize that animation isn’t only for children, but it’s an art form entirely of it’s own; crafting stories a thousand times better and more original than most of the live action films released in Hollywood. Here’s hoping that one day an animated film will not only be nominated for Best Picture again, but will win it too.

We will definitely be keeping our fingers crossed for Pixar to take home all of the awards on the February 28th Oscar ceremony.

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Inside Out wins Best Animated at the Golden Globes!

Golden Globes, Inside Out, Jonas Rivera, Oscars, Pete Docter, Pete Sohn, The Good Dinosaur

Posted by Simoa • January 12, 2016

Not surprisingly, Inside Out won the top prize at the Golden Globes this past Sunday. If you’re like me and missed the telecast, you can watch Pete Docter and Jonas Rivera accept the award here.

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via Disney-Pixar

We want to congratulate Pete, Jonas, and the entire crew for the much deserved win. It’s definitely more reason to jump for Joy!

Here are Pete and Jonas backstage with the Globe.

via Disney-Pixar

via Disney-Pixar

Click the photo for the original instagram post.

As 2015 was the first year with two Pixar films, both Inside Out and The Good Dinosaur were nominees at the Golden Globes and could be “competing” once again at the Oscars next month.


The list of Oscar nominees will be announced on January 14th. Check back here to see if both Pixar’s films are in the race once more!

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Pixar in 2015

Inside Out, Lava, Pete Docter, Pete Sohn, Pixar, Pixar in 2015, Sanjay Patel, Sanjay's Super Team, The Good Dinosaur, Toy Story, Toy Story 20th, Upcoming Pixar

Posted by Simoa • December 29, 2015

2015: the first year with two Pixar releases, significant especially when you consider their yearlong absence following 2013’s Monsters University. But the two feature length films – Inside Out and The Good Dinosaur – represent a lot on their own besides Pixar’s return to the silver screen.

InsideOut53a470f0039ddPixar’s short films this year were significant too. “Lava”, a tribute to the Hawaiian islands and music from director James Ford Murphy, premiered with Inside Out this summer. Though seven minutes long, it’s Pixar’s first full fledged musical. Pixar’s anthropomorphic characters have long been personified since Luxo, but no Pixar character, human or otherwise, has ever sang before! It’s almost unavoidable to compare this short to “The Blue Umbrella”, which also concerns two living objects finding love, but the love story in “Lava” is on a grander scale. The short’s subject matter is somewhat divisive, but it does provide breathtaking visuals. Can we expect more Pixar musicals? Seems likely!

“Sanjay’s Super Team” however, is unlike anything Pixar has yet produced. In the visual department, it’s a sumptuous blending of 2D and 3D with eye watering colors and excellent character designs. Still images prove to be as dazzling as the film in motion.

SANJAY'S SUPER TEAMSANJAY'S SUPER TEAM

It’s not only the gorgeous art style that makes this short film so phenomenal. This is the first time a Pixar film has featured a person of color. If “Lava” could signal more musicals, “Sanjay’s Super Team” could do the same for more diverse characters and perspectives in Pixar films. John Lasseter has said as much about broadening the studio’s canon. Most notably, director Sanjay Patel, joining Peter Sohn as the first nonwhite directors to helm Pixar features, drew on his childhood experiences to tell this story.

SANJAY'S SUPER TEAM

This is a deeply personal, heartfelt story about little Sanjay’s struggles to distance himself from his father’s customs. It also mirrors the struggles of adult Sanjay, who was initially reluctant to show something so personal, but who was convinced in the end by his father and Lasseter. The short’s seven minute run-time produces an expertly crafted narrative with glimpses of the Hindu faith. The audience may be strangers to Hinduism, but we can understand Sanjay eventual appreciation of his father’s inner world and how both father and son bond at the short’s conclusion. And for us first generation American kids, the short film is especially meaningful. “Sanjay’s Super Team” is truly a bold step in the right direction.

Click through to read the wonderful responses!

Click through to read the wonderful responses!

2015 also marks 20 years of Toy Story, the first full length Pixar creation as well as the first computer animated film. We recently asked our readers to share their memories of the film; an exercise in nostalgia. But nostalgia aside, Toy Story brims with a timeless appeal. A revolutionary success in 1995, expanding the boundaries of animation and technology, it’s as beloved today as it was twenty years ago.

Earlier this month, Toy Story at 20: To Infinity and Beyond aired on ABC. Strikingly, none of the Pixarians expected the movie to ever become as big as it did. There were constant roadblocks to success and they had to take untested leaps of faith in order to create the movie they believed in. Toy Story and Pixar are world renowned today. That both came to be because of naive risk-takers is inexpressibly inspiring.

The third installment also celebrated five years back in June. Toy Story 3 was the impeccable finale to a trilogy about a motley band of toys and the boy who loved them. Us 90s kids, particularly the ones looking ahead to college, could see ourselves in Andy. Woody, Buzz, Slinky, Rex, Hamm, Potato Head, Jessie…those were our toys. The third film was a bittersweet goodbye to childhood, but not to Woody and the gang.

June 18th was Toy Story 3‘s fifth year anniversary date. Inside Out was released in theaters the following day.

poster 3A film that ventures into the mind of a preteen girl is a tall order, especially when the filmmaker is a man. But Inside Out was borne out of Pete Docter’s desire to better understand his daughter.

The film is really framed as a struggle for parents. Joy, exuberant and star shaped, dominates Riley’s Headquarters. Her number one priority is to keep Riley happy at all times, which ultimately unravels in the wake of chaos from major life transitions. Joy’s attempts to push Sadness away not only speak to parents wishing to shield their children from pain and Sadness, but to everyone who does the same.

This is perhaps the first film, animated or otherwise, that places less importance on attaining happiness, and more on learning to embrace Sadness. It’s such a simple idea; it’s OK and even necessary to be sad. But too often we struggle in vain to never feel sad at all times.

INSIDE OUTInside Out could prove to be as revolutionary as Toy Story, if not more so. This is a remarkably inventive concept; one that further proves animated films can indeed have depth and still be entertaining. And just like the 1995 film, neither Pete Docter nor anyone else expected it to resonate as it has. Could they have known that those struggling with mental illness would be able to use the film to explain the conflicting array of their own emotions? Or that it could be used to help children identify their emotions and learn that the negative ones are beneficial too?

Imagine if your emotions cared about you. (Oh Anger, you do care!) Imagine that your emotions are these distinct personalities made up of glowing particles that help you navigate the world. Imagine you have Personality Islands that power you up, explain your passions and longings. Imagine all the bright, clever silliness of an elaborate Pixar world juxtaposed against a somber coming-of-age tale.

INSIDE OUT - Pictured: Joy. ©2015 Disney•Pixar. All Rights Reserved.

INSIDE OUT - Pictured: Joy. ©2015 Disney•Pixar. All Rights Reserved.

Growing up is often devastating. The equilibrium of Riley’s mind gradually collapses – she loses Joy, interests, and friends. Her islands of personality literally crumble and fall away, disappearing forever into the yawning abyss of the memory dump. Suddenly Riley isn’t the same little girl anymore. What a bleak vision of adolescence. But though the process of growing up is painful, messy, and requisitely sad, the rewards are abundant. Riley’s mind does repair itself after all. Through adversity, her inner life is strengthened.

Inside Out is important for its focus on a young girl. Riley isn’t ever boxed into any wrongheaded notions of femininity or lack thereof. She’s just allowed to be a person who’s also a girl. There were skeptics when the film’s premise was announced, those who believed that a film focusing on a girl’s feelings would reinforce cliché stereotypes. But the film proved those skeptics wrong. The mundane realties of a preteen girl on the brink of leaving childhood are given weighty consideration. Mindy Kaling, providing vocal work for the fabulous Disgust, put it best: after reading the script, she tearfully told Docter and producer Jonas Rivera that making a film that says it’s OK for girls to be sad about growing up is profound.

INSIDE OUT

And it passes the Bechdel Test by placing Joy and Sadness at the center; two female characters fighting to protect a young girl. Two female characters who are both flawed, yet earnest and nurturing. The film also offers a quiet, yet resounding affirmation that girls, and everyone, but girls especially, can feel a multitude of ways. And to think this came from Pixar, the boys studio.

Inside Out is arguably Pixar’s most ambitious project since 2009’s Up, which was also directed by Pete Docter. Like Up and Docter’s other film Monsters, Inc., it achieves a seamless balance between absurdity and heartbreak. It’s really nothing short of astonishing. The technical aspects are a marvel, it being the most vast, complicated set that’s yet existed in a Pixar film. That’s to say nothing of the actual story which accomplishes a major feat. It shows us something we all know but have never seen, and it’s a fun, exciting, emotional journey.

On opening day, AMC Theaters screened a brief video in which Docter thanked audiences for watching the movie. It was such a humble, surprising gesture. The video isn’t available to watch online unfortunately, but here’s what Docter had to say:

“Movies, like the ones we make at Pixar, are made by people. And the reason we make them is to talk to folks, to share something about our own experiences of life and to pass that feeling onto others. But that doesn’t happen unless there’s someone out there to listen. I feel so lucky to make movies, and on behalf of everyone at Pixar and Disney, we want to thank you for coming to watch our work. Movies have the ability to take you to different worlds, make you laugh or cry, and remind you you’re alive. None of this would happen without you. Thank you for coming, and we hope you enjoy the film.”

This is the first time a Pixar director has done something like this, and it made Inside Out screenings all the better. Thankfully it wasn’t the last time, as Pete Sohn also introduced The Good Dinosaur to audiences when that film premiered in November.

Sohn described growing up as a child of Korean immigrants and how that helped to inform Arlo’s story. His mother’s TheGoodDinosaur5612ef11d27c8English was limited. When he went to the movies as a child with his mother, Sohn often had to whisper translations of what was happening onscreen to her. But this wasn’t the case with most animated movies. In movies like Dumbo, neither words nor translations were needed. Animation is a universal language that everyone can understand. Sohn wanted to recreate that kind of wordless beauty for this film. He wanted to show how two characters could communicate without speaking the same language and how poignant that communication could be. And in The Good Dinosaur, Spot’s inability to speak only lends more authenticity to the primal bond – and love – that he shares with Arlo.

It’s definitely not an exaggeration to say that people were expecting The Good Dinosaur to fail. Its troubled production history worried a lot of people, particularly because veteran Pixar filmmaker Bob Peterson was unceremoniously removed from the director’s chair. While fans were concerned and saddened, they were confident that a good movie could still emerge. Others were far more cynical, certain that moving the film from its original May 2014 release date to November 2015 spelled disaster. The first year without a Pixar movie? Here Pixar was failing in a very public way, and some people felt it was justified comeuppance.

The Good Dinosaur isn’t the first Pixar movie to be scrapped halfway through production and to switch directors. It’s been done twice before with stellar results (Toy Story 2 and Ratatouille). Even Brave and Cars 2 were worthy if flawed efforts. But there are those who think the film did fail, especially since its story was so simplistic, threadbare even, compared to Inside Out’s voluminous narrative.

But here’s something people don’t seem to realize: Pixar shouldn’t be expected to reinvent storytelling with every single film. Leave the ambitious flair to Inside Out; the second Pixar feature of 2015 does something quite different, even if it isn’t groundbreaking. (And in less noticeable ways, it actually is).

THE GOOD DINOSAUR

The Good Dinosaur’s premise is original. Dinosaurs never went extinct. And that’s not all. The herbivores evolved into farmers while the carnivores like T-Rex are now ranchers. The movie even turns into a western halfway through! In this delightfully bizarre setting, an uncomplicated story begins to evolve. Given the movie’s prehistoric timeline, the straightforward storytelling makes sense. The Good Dinosaur eschews glossy modern appeal to tap into something so much more earthy and primitive.

The movie isn’t primitive simply because dinosaurs still roam the earth. It’s that barrier between languages that makes it so. It isn’t wordy, which is so refreshing. Arlo and Spot start off as enemies. Pixar films are usually about the unexpected friendship between two characters and it’s a trope they pull off extremely well, because the results are different every time. But the stakes are higher in this film because of that language barrier and the harsh world that Arlo and Spot inhabit. They depend on each other for survival, but it grows into something more. Understanding begins to blossom between them in ordinary and profound ways. They become each other’s surrogate family although the world would discourage it. Even if the time and the story are unsophisticated, there are still some potent, timeless takeaways to be had.

This film is a study in brilliant contrasts; cartoony dinosaurs juxtaposed against hyper real, painterly animation; unvarnished story juxtaposed against magnificent artwork; a huge, frightening world that is tranquil and still. There are quiet moments within even as the danger threatens our timid dinosaur hero and his ferociously endearing human boy (two characters who are brilliant, surprising contrasts as well).

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And yet, for all its oddity, The Good Dinosaur is grounded in realism and emotional clarity. Nature is pristine and gorgeous, but also a formidable foe that must be reckoned with. Arlo and Spot bond over their loss of family without ever needing words.

Here’s a movie with talking dinosaurs and a wild boy that doesn’t resort to scatological humor in order to hold the attention of the youngest audience members. Here’s a movie with talking dinosaurs that’s possibly the most sensitive, tender story Pixar has told since their first film twenty years ago.

To borrow from Poppa, sometimes you gotta get through your expectations to see the beauty on the other side.

We hope you’ve enjoyed our coverage of Pixar’s awesome year. Check back here for what’s ahead as we leave 2015!

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Pixar at D23 (UPDATE: Toy Story Land)

Coco, D23, Disney Parks, Finding Dory, Inside Out, Lee Unkrich, Pete Docter, Pixar Employees, The Good Dinosaur, The Incredibles 2, Toy Story 4, Toy Story Land

Posted by Simoa • August 15, 2015

D23 is this weekend, and there’s no shortage of awesome Pixar news! New logos, images, release dates, and synopses have been revealed for their upcoming slate, and the excitement for them has only increased. Without further ado, here’s all the brilliance fans were treated to.

“Riley’s First Date?” Pixar Animation Studios heads back inside the mind with an all-new short. “Riley’s First Date?” made its world premiere at D23 EXPO 2015. Director Josh Cooley, along with Inside Out filmmakers Pete Docter (Up, Monsters, Inc.) and Jonas Rivera (Up), introduced the short, which revisits Riley, now 12, who is hanging out with her parents at home when potential trouble comes knocking. Mom’s and Dad’s Emotions find themselves forced to deal with “Riley’s First Date?” The short will be included as a bonus feature in the digital HD & Blu-ray releases of Disney·Pixar’s Inside Out, which will be available digitally Oct. 13 and on Blu-ray Nov. 3, 2015.

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Anticipation for Disney·Pixar’s The Good Dinosaur was amplified when director Peter Sohn and producer Denise Ream shared breathtaking sequences with fans, including never-before-seen footage of a trio of T-Rexes in action. In theaters on Nov. 25, 2015, The Good Dinosaur features Arlo, a sheltered Apatosaurus who finds himself far from home among a host of intimidating creatures.

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Ellen DeGeneres (“The Ellen DeGeneres Show”), the voice of everyone’s favorite forgetful blue tang, took a dip with D23 EXPO, celebrating Disney·Pixar’s upcoming film Finding Dory. Joining DeGeneres on stage this afternoon were Ed O’Neill (“Modern Family”), who lends his voice to Hank, a cantankerous octopus; Ty Burrell (“Modern Family”), the voice of Bailey, a misguided beluga whale; and Kaitlin Olson (“Always Sunny in Philadelphia”), who voices Destiny, a kind-hearted whale shark. Oscar®-winning director Andrew Stanton (Finding Nemo, WALL•E), co-director Angus MacLane and producer Lindsey Collins (co-producer WALL•E) offered new details of the all-new story, which reunites Dory with friends Nemo and Marlin on a search for answers about her past. What can she remember? Who are her parents? And where did she learn to speak Whale? Also featuring the voices of Albert Brooks, Diane Keaton and Eugene Levy, Disney·Pixar’s Finding Dory swims into theaters June 17, 2016.

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And finally, Lee Unkrich’s Dia de Los Muertos film has a title, logo, and plot details!

Director Lee Unkrich (Toy Story 3) and producer Darla K. Anderson (Toy Story 3) revealed the title of their upcoming film today at D23 Expo 2015. Disney·Pixar’s Coco is the celebration of a lifetime, where the discovery of a generations-old mystery leads to a most extraordinary and surprising family reunion. Also worth noting that the protagonist of Coco is Miguel, a 12 year old Mexican boy, making him Pixar’s first Latino protagonist.

logos

image via pixaranimation on Instagram.

There’s also the clever, amazing logo for The Incredibles 2!

There is so much to look forward to, we don’t know where to begin. Check back in here for more updates on D23!

UPDATE: It was revealed yesterday that a new Pixar themed ride would be opening at the Hollywood Studios in Walt Disney World. Guests get a toy sized view of the world, made to look like Andy’s backyard, with a Slinky Dog rollercoaster and other amazing attractions. Concept art for the new land appears below.

toy story land 2

It’s always a good time to be a Pixar fan, but now even more so!

 

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Inside Out: highly emotional and highly clever

Inside Out, James Ford Murphy, Lava, Pete Docter, Review

Posted by Simoa • June 18, 2015

For all the technical feats and visual artistry of Pixar films, storytelling remains the true marker of their success. “Story is king” is the mantra oft repeated at Pixar, for good reason. A film can be beautifully animated, but it needs a beautiful story to truly shine. Inside Out, the studio’s fifteenth feature from Pete Docter, has both in abundance. And what a beauty it is. This film follows in the tradition of gorgeously crafted storylines that have come to define Pixar. And it also marks Pixar’s triumphant return to the silver screen after their yearlong absence.

Inside Out takes place inside the mind of 11 year old Riley Andersen (Kaitlyn Dias). While Pixar films have taken us to the outer reaches of space and the depths of the ocean, along with other unique and imagined settings, Inside Out invites us to journey through a place we’ve never seen, but know exists. It’s here in Riley’s mind that a whole world blooms.

Living in this world are her five emotions: Joy, Sadness, Fear, Disgust, and Anger. They are the real main characters of this story, not merely feelings, but actual personified beings. Joy (Amy Poehler) is the first emotion that newborn baby Riley experiences, causing her to laugh. Her parents (Diane Lane and Kyle MacLachlan) are over the moon with love, and Joy is as well. She begins to envision a euphoric life for just her and Riley. This vision is short lived however, when Sadness (Phyllis Smith) arrives on the scene and makes Riley cry for the first time. Joy is understandably less than thrilled, trying to regain control; this theme is echoed throughout the film.

As Joy informs us, Headquarters only becomes more crowded. Fear (Bill Hader) shows up, perpetually frantic and always steering Riley away from anything unsafe. Disgust (Mindy Kaling) is around to make sure Riley avoids everything gross. Anger (Lewis Black) is mainly concerned with Riley getting a fair deal; when she doesn’t, his temper flares and flames erupt from the top of his head. Each of these emotions has their own distinct purpose for guiding Riley through her everyday life, but Sadness doesn’t seem to have one. Joy isn’t all that interested in finding out what that purpose could be but assures us that Sadness is just fine where she is.

The focus shifts once again to Riley, a sweet and boisterous kid who’s had a happy childhood and life thus far. Lining the walls of Headquarters are Riley’s memories, little spheres that glow a certain color corresponding to each of the emotions. Nearly all of them are yellow, for Joy. The core memories depict important moments in Riley’s life which power up each of her personality islands. These islands include family, friendship, honesty, hockey, and goofball.

Chaos soon strikes, disrupting life in Headquarters. Riley and her family are moving – from their beloved Minnesota to San Francisco, where her father is starting a new job. Fear isn’t the only one panicking about this major life event. Joy manages to stay upbeat and positive, constantly looking on the bright side of things while the others complain and fret. They, as well as Riley, don’t have a lot to be happy about. The new house isn’t warm or inviting; her parents are upset and stressed out about various things; and dad has to leave for work before they’ve even settled in. Still, Joy is determined to keep things happy. After some initial disagreement, the others decide it’s for the best as well.

Life outside Headquarters often informs life within, and vice versa. With Riley experiencing a wealth of changes due to the cross country move, Sadness wants to take a more active role in Headquarters. But she’s prevented from doing so by Joy. When the two of them clash during Riley’s first day of school, a disastrous event by all accounts, they’re ejected from Headquarters, leaving Fear, Anger, and Disgust to man the controls. Joy and Sadness, lost within Riley’s mind, need to journey together in order to restore balance to Headquarters.

Balance is key in Inside Out. The film does an excellent job of balancing the two unfolding storylines, shifting from Riley’s mind to the outside world with ease. There’s also a balancing of visuals, from the realistic outside world to the bright, cartoony mind world. The basic animation principles of squash and stretch are used to their greatest advantage here. Mind workers that Joy and Sadness meet are simple in design, but brightly colored and very cartoonish. The mind is so incredibly vibrant and perfectly realized. This is in my opinion, the most imaginative and creative Pixar world yet. Just the sheer size and scope of it are overwhelming, without spoiling any of the fun you have within it. Joy and Sadness travel through a variety of concepts – Abstract Thought and the subconscious for example – which spring up before them and us as actual places. The sequences in both of these locations are particularly inventive and in the case of Abstract Thought, extremely clever and hilarious.

In fact, clever and hilarious can be applied to Inside Out as a whole. The film is able to balance poignancy with levity; each of the laughs it induces are well earned. Trust me when I say this movie is hilarious, one of the most fun times you’ll have at the theater all year. The various ways it answers certain questions about the mind is all done in a silly but brilliant, and of course, clever fashion.

The voice work of the cast cannot be overlooked either. They all turn in great performances, embodying each of the emotions so perfectly. You want the “little voices” in your head to sound just like this. Amy Poehler and Phyllis Smith are able to strike a balance between humor and heartache. It’s amazing and a little ironic how much you feel for these emotions. Richard Kind as Riley’s imaginary friend Bing Bong, who I’ll let you discover and fall in love with on your own, is also stellar, giving one of the most memorable and heartbreaking performances ever heard in an animated film.

The film’s score, composed by that wizard Michael Giacchino, is whimsical and bright. The music is so beautiful to listen to, and matches the gentle moments, along with the more fast paced action ones.

At the core of Inside Out is the relationship between Joy and Sadness. For years Joy has called the shots in joy sadness 1Headquarters, has never understood the purpose of Sadness, and has often tried to keep her from ever driving the console in Riley’s head. When they’re suddenly thrust into the vast reaches of the mind, she starts to learn more about Sadness and just how important she is to Riley, and also to all of us.

What Pete Docter, co-director Ronnie del Carmen, screenwriters Josh Cooley and Meg LaFauve, and the entire story team have been able to achieve is no small feat. It’s a tall concept, but the story is executed quite simply, without abandoning any emotional complexity or depth. It dazzles the eye, mind, and heart. You will have fun watching this film, but you’ll come away with some profound insights as well. And you will cry.

It is the resounding emotional poignancy of this beautiful film, combined with the animation, art, and humor that undeniably makes Inside Out an instant classic.

“Lava”, the musical short film attached to Inside Out is similarly lava1dazzling in the visual department. The story is really quite simple, but a big delight nevertheless. While the short isn’t regarded as favorably as others, I found it charming, heartfelt, and endearingly sincere. You can add volcanoes to the list of anthropomorphic Pixar characters finding love in the most unlikely ways. And once again, the visuals are breathtaking. The love song echoes Israel Kamakawiwo’ole’s haunting rendition of “Over the Rainbow” which James Ford Murphy cited as inspiration. It’s also really catchy; you’ll find yourself humming the tune long after the short ends.

“Lava” features the musical talents of Kuana Torres Kahele, Napua Greig, and James Ford Murphy on ukulele!

Inside Out and “Lava” are released nationwide in theaters tomorrow, June 19th. Be sure to share your thoughts with us! And stay for the credits too!

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