I’ll be honest, I’m not really a huge Amy Poelher fan, but I think she was the best choice to voice joy.
I like the voice of the girl playing Disgust. I heard it during a commercial for a TV show she’s in and thought “Yep, that sounds like the voice of a cartoon”.
Yeah, on second thought, I think I’m associating teasers too much with trailers. It always irks me when the latter doesn’t tell you what’s going on, but for teasers it’s fine.
Probably because all the teaser stuff has had them in the dark. I was expecting it, too.
Who thinks What Easter Eggs will appear in this Film
Like a Pizza Planet truck in the background or the Girl having a Clownish in a Fish Bowl.
I think they will cynel!
It is a Pixar tradition to put Easter Eggs in their movies! I definitely think that the Pizza Planet Truck and A113 will return in Inside Out!
Like what A113 would be the moving vans License plate.
So, supposedly, Disgust originally had a purple dress, and slightly longer hair.
What do you think, guys, prefer original Disgust or final Disgust?
I love her current design, but the purple dress is very nice.
Oh yeah, I remember that! I wonder what made them change it.
It’s a nice dress/hairstyle but for some reason I feel like the green dress/purple scarf and shorter, flippier hair maybe conveys her personality more strongly. Also the characters having a more uniform color scheme (save for Joy I guess whom is both blue and yellow) makes them easier to identify.
I agree with the points you make Leirin. It the color scheme of green and purple along with"flippier" hair does convey Digust alot more. I like the shorter more curled hair
New Poster!
I love it. Sadness, Anger, and Joy just look so completely into their respective emotions.
Gotta say, though, I’m not too keen on Disgust here. Not to say there’s anything really bad with her, I just don’t really think I’d ever guess she was supposed to be representing disgust from looking at her. Felt the same way about a lot of her leaked stuff, actually.
Her facial expressions gives off a disdainful look rather than disgust. Hopefully they change that with the advertisements.
Hi, everyone. Thought some of you might want to know that scoring for Inside Out took place this week, and that much of the movie has now been scored. I am NOT a Pixar employee, but a studio musician who has played on many of Pixar’s movies through the years, and enjoy them as much as my kids do. Please note however, that I keep an absolute, strict “No Spoiler” policy, and will not reveal spoilers of ANY KIND (doing so is bad form, and not my place). But if no one objects, I will answer generic questions about the scoring process, and simply tell you a bit about what the sessions for Inside Out were like.
The sessions happened Monday through Thursday, over at Warner Bros., on the Clint Eastwood Scoring Stage (where Up was scored a few years back).
First thing Monday morning, Michael Giacchino (the film’s composer) went up to the podium with Pete Docter (the director) and his colleagues to greet the orchestra and tell us a bit about the film. Pete started by telling us the general storyline, then talked about his own daughter (who had a speaking part in Up), and the way kids grow up. He then wanted to show us the film’s opening before we started recording… but the audio track was turned off (as when we record music, we usually don’t want to hear it). So they restarted it… but still no change. Then they tried again… but still no go. At that point, someone joked “We have the technology at Pixar!” – and that must have been the charm, for the sound kicked on and we watched film’s opening. After that, we went right to work, recording music for various parts of the film.
The second day (Tuesday) began with us recording the very first cue (piece of music) of the movie… and (as he did with Up), later on Pete Docter joined us for a bit, playing string bass on one of the other cues.
When we all came to work on the third day, there were Inside Out hats hot off the presses waiting for us on our chairs… and later in the day Pete once again joined us to play bass for another cue. Throughout the day, a video crew was also on hand to film the orchestra (perhaps for the DVD, or a making-of?)
The last day started with Pete getting up to say they’ve really been enjoying what’s been recorded so far, and that Pixar would be treating us to lunch today (something of a Pixar tradition)… so when we broke for lunch, there was a food truck outside with great hamburgers, salads, and what have you. After lunch, we went back to a few cues we had recorded earlier in the week to tweak them a bit… and once we were finished with everything to record, we ended the day by playing a Suite of Mary Poppins music, just for the sheer fun of hearing it played live. Then everyone came out to thank the orchestra, the crew, and each other… but there’s still a bit more to go, for though the movie is mostly scored now, there will be one more day in the coming months to record the End Credits (which we didn’t do yet) as well as any possible changes or tweaks.
As he always does, I thought Michael did an amazing job with this score – and it fits the movie perfectly. And the movie itself? Wonderful. It’s funny… and very touching. Absolutely classic Pixar at its very best. You’ll see for yourself next June.
It was interesting once again to see a CGI movie in its uncompleted form. Some scenes looked almost fully rendered, while others were still in the earlier stages. Some scenes had the characters simply “gliding” around instead of their legs being animated… other scenes had missing hair or backgrounds, or only occasional movement. But other parts looked either fully rendered, or in the final stages of the process.
While part of the Pixar crew was down in Burbank with us at Warner Bros., a camera was also set up on the scoring stage, so that those back at Pixar could watch (and hear) the sessions too. And as always, everyone from Pixar was incredibly friendly, hanging with us, filming us, and (in the case of Pete Docter), even playing with us.
It feels a little strange that there’s still about seven months before the film will be released (as often, a film’s score is recorded closer to the release date), but it’s certainly worth the wait.
At any rate, the film has reached the scoring stage (so to speak), and most (but not quite all) of it has been scored.
That sounds like a lot of fun to record. 
I hope there are a lot of brass moments… I love them!
i wonder what would John Ratzenberger’s Role would be.
Disgust looks better. I think I could reasonably guess who she is in this one. And it took me this long to realize she has a belt. 
I never really got Doctor’s comment about how they’re working with energy and the emotions always struck me as the tiniest bit odd looking (mainly their hair, and a couple of them looking fuzzy), but looking at these closeup shots I totally see what they were talking about and why they look like that. I like it.
Is it just me, or does Anger look a lot like Carl? 
a Easter egg perhaps.
Just a random thought.
I’m assuming this movie has no villian, so will that make it the first Pixar movie without an enemy character to provide an external sense of conflict?
That would make it an interesting story, in that all the challenges to overcome are situational, with no-one causing them to happen, just the characters against the environment, so to speak.
Finding Nemo didn’t really have a villain. The dentist kind of kicked the plot off, but he wasn’t malicious and the main characters (Marlin and Dory) weren’t effected by him outside of the initial Nemo grab.