The Art of In­side Out

Animation Magazine - - Frame- By- Frame - [Chron­i­cle Books, $40]

Ar­riv­ing be­tween the film’s tri­umphant in­ter­na­tional pre­miere at the Cannes Film Fes­ti­val and its na­tion­wide re­lease this month, the latest Art of … Dis­ney-Pixar tome takes read­ers deeper into the cre­ative minds who helped bring di­rec­tor Pete Doc­ter’s in­ven­tive con­cept to an­i­mated life. Au­di­ences can get pre-ac­quainted with young, con­flicted Ri­ley and her guid­ing emo­tions — Joy, Fear, Anger, Dis­gust and Sad­ness — be­fore tak­ing in the ground­break­ing film in the­aters.

The 176-page vol­ume pro­vides an ex­clu­sive look be­hind the scenes with con­cept art, in­clud­ing sketches, col­lages, color scripts and more, il­lus­trat­ing the cre­ative jour­ney, as well as an in­tro­duc­tion from Doc­ter and a fore­word penned by ac­tress Amy Poehler, who voices Joy in the film. If our fea­ture ar­ti­cle in this is­sue whets your ap­petite, be sure to pick up this book for more in­spir­ing artistry.

trust that, some­how, through all of this churn, this film would find its own legs and start walk­ing on its own.”

Doc­ter agrees: “They are all more dif­fi­cult than you ex­pect. I think you have to have a sort of clue­less op­ti­mism when you go in, kind of like hav­ing a baby. If you re­mem­ber the pain of it, you prob­a­bly wouldn’t do it again,” he says. “But this one was es­pe­cially dif­fi­cult, maybe be­cause we’re still so close to it right now, but I feel like, com­par­ing it to say, Mon­sters, Inc. or Up, this one felt like more work.”

One of the big­gest de­par­tures for Pixar was the story re­quired giv­ing form to very ab­stract ideas that have no vis­ual bench­mark in the real world. What does joy look like? What does the in­te­rior of a young girl’s mind look like?

“On Cars — Mon­sters even — we could re­fer to real-life things and say, well, let’s model it on a bear or a let’s look at this city and we’re go­ing to mon­sterfy it and put fangs in in­stead of roses or what­ever,” says Doc­ter. “For the emo­tions, we wanted them to look like feel­ings feel to us, so they shouldn’t just be made out of wood or flesh and blood, so how are they go­ing to look? And that’s a chal­lenge. ... We thought about it prob­a­bly way more than

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