Inside Pixar

Parents need to know that Inside Pixar is a documentary series that introduces a different Pixar insider in each episode and explores how their work matters and how they've affected the movies and film shorts they've worked on. Though skeptical viewers may note that the series is a commercial for the superiority of the Pixar method (and presumably its product), and that the series contains many shots of the Pixar logo, its campus in California, and Pixar-created characters, the show is also thoughtful, sensitive, and makes a good case for the power of representation. A diverse group of artists are spotlighted -- with women, people of color, and people with a non-heterosexual sexual identity represented -- and each explains how they've tried to change Pixar's output for the better, and why it matters. Significant teamwork, empathy, and perseverance is demonstrated by these artists and their work. A script supervisor says that if you don't know what to do with a problem that seems too big to handle, "look at what specific tools you have that no one else does." Though Pixar's movies are aimed at kids, this documentary is not, even though it contains very little mature content, save for a few animated action series and a flirtatious look between two characters.

The aptly-named INSIDE PIXAR offers viewers peeks inside the workings of the Disney-owned Emeryville, California maker of such classic kids' movies as Toy Story and Inside Out. We meet such people as writer/director Kemp Powers and script supervisor Jessica Heidt, each of whom explains how they've put their stamp on the movies they've participated in -- and why it matters.

Inside Pixar

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With admirable curiosity and a pleasingly diverse cast of real-life Pixar insiders explaining how and why they do what they do, this series that pokes behind the studio doors is a kick. Film fans typically only get to experience a movie in one way: passively sitting and absorbing the finished final product. But as Inside Pixar shows us, there are many cogs and gears that churn out the final product, each putting their own spin on what we see. Sometimes, the artists and executives provide powerful examples of the importance of representation. Kemp Powers, writer and co-director of Pixar's Soul, speaks of almost being moved to tears when he saw various textures of black hair rendered in a barbershop scene. Script supervisor Jessica Heidt explains how counting the numbers of female characters and their lines of dialogue and providing that data to Pixar's filmmakers immediately and painlessly improved their films' gender balance.

Directed by Erica Milsom (director of Loop) and Tony Kaplan (cinematographer) Inside Pixar episodes offer insight into the personal and cinematic stories and provide an insider perspective into the people, artistry, and culture of Pixar Animation Studios. You can watch the trailer for Foundations below and then check out the entire Inside Pixar series on Disney+.

A documentary series of personal and cinematic stories that provide an inside look into the people, artistry, and culture of Pixar Animation Studios. We bring you our Disney Plus Inside Pixar review.

Ready to see inside the most imaginative animation studio in the world in the same vain that The Imagineering Story took us on a journey of Disney Theme Parks I was left rather disappointed by what followed.

Inside Out is a 2015 American computer-animated film directed by Pete Docter from a screenplay he co-wrote with Meg LeFauve and Josh Cooley. Produced by Pixar Animation Studios, it stars the voices of Amy Poehler, Phyllis Smith, Richard Kind, Bill Hader, Lewis Black, Mindy Kaling, Kaitlyn Dias, Diane Lane, and Kyle MacLachlan. The film follows the inner workings inside the mind of a young girl named Riley, who adapts to her family's relocation, as five personified emotions administer her thoughts and actions.

The scriptwriting, plot, and subject matter were sources of praise.[d] Forbes's Scott Mendelson thought that its qualities of narration provided a purpose,[133] whereas Leigh Singer of IGN conveyed the film's tropes: child devotion, teamwork, and confused chases. Singer expressed the "tried-and-tested" journey had an unprecedented "licence to go".[139] In contrast, Rene Rodriguez, writing for the Miami Herald, expressed concern over the film's plot. Rodriguez cited its aspects, including its story skipping from the beginning to the end, and events involving inside Riley's head having thin goals.[140] Ann Hornaday (The Washington Post) and A. O. Scott (The New York Times) appreciated its entertaining subject matter,[125][141] promoting mental health by The Hindu's Udhav Naig,[142] the body language by ComicBook.com's Chase Magnett,[143] and the human movements by USA Today's Brian Truitt and Reason's Kurt Loder.[144][145] On the other hand, Naig panned the film's misinterpretation of brain functions.[142] Matt Zoller Seitz of RogerEbert.com emphasized the film's script that has clear connections to its aspects, including Joy's comprehension should "what things mean, and what the other emotions ought to 'do' for Riley".[146]

Julie Balise is the business and technology web producer for SFGATE. In November 2014, she launched the "Office Space" print and web series, which gives readers a glimpse inside Bay Area companies. (She'd love to hear about your office!) Julie also covers cars and careers.

Hey, is that a kid sneaking inside the building?

Sadly, the screening room was a no picture zone. But after the short snippets, the Pixar game and movie brass talked about making the game and movie together for the first time. On the left is John Blackburn, general manager of game developer Avalanche Studios; in the middle is film director Lee Unkrich; and on the right is producer Darla K. Anderson. They worked together starting more than 2.5 years ago to build the game as the movie was made.

Disney took over the lobby with a Toy Story 3 Western town and stations where everyone could play the game.

Myth or not? Our tour guide said Steve Jobs designed the Pixar headquarters for collaboration. To get people to come to the central lobby, he asked for the bathrooms to be built close to the center. That way, people would have to get away from their desks and take a break where they could see people from other departments. I supposed it works.

Some have interpreted Riley, the protagonist of Inside Out, as potentially non-binary due to being the only character in the movie shown with both male and female emotions inside her head, while other characters are shown with either all-male or all-female emotions. Director Pete Docter told Cinema Blend the reasoning behind the gender balance of the emotions was a combination of narrative economy and the idea that kids' identities are more fluid in general.

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