As fans eagerly anticipate the return of Grimsburg for its second season, we had the opportunity to sit down with some of the creative minds behind the show: Jon Hamm, Rachel Dratch, Alan Tudyk, and showrunner Chadd Gindin at New York Comic Con.
Back in March, we were invited to Pixar Animation Studios, where the team was hard at work on the final touches of Inside Out 2. Visiting the studio on my very first press trip, I was assigned to the “Anxiety” group (how fitting!), joining other journalists for an exclusive, behind-the-scenes look at the making of the highly anticipated sequel.
© 2024 Disney/Pixar. All Rights Reserved.
If Inside Out sent you on an emotional rollercoaster, then the sequel is guaranteed to throw you for a loop.
Leading up to the film’s summer release, we visited Pixar Animation Studios to discuss Inside Out 2 with director Kelsey Mann and producer Mark Nielsen, who also worked on Inside Out.
The day before, we were treated to an early sneak peek of the first thirty minutes of the sequel. As a longtime Pixar enthusiast, I was thrilled—though perhaps not as excited as Mann was to push the big red button.
Kelsey Mann, who saw Inside Out as an audience member in 2015 while working on Pixar’s The Good Dinosaur, described his reaction to the first film’s ending as he pointed to Mark Nielsen. “You guys set up [the puberty button] on the console and I’m like, ‘I want that thing to go off. If you don’t set off, I’m gonna be upset!”
He finally gets the chance to do just that as the director of Inside Out 2. He went on to explain that he also set out to cause more chaos than just a blaring puberty alarm.
“[The first movie] ends in a great way where she’s like, ‘we’ve got new friends, a great new house, after all, she’s 12, what could happen?’” he says, “She has such confidence in herself and I wanted to crush that.”
Mann also detailed how they explored challenging Joy’s traditional ideas of who Riley is in this new phase of her life. “That’s where the new emotions come in,” he said, “because they’re like, ‘we understand this teenage world and we know how to play this game better than you do. So you know what? We need you to step aside because we need to take over.”
Once again, filmgoers will see some push and pull at the controls in this new story—just in a different way. “Joy, in the beginning of [Inside Out] learned that lesson that all emotions are valuable, she learned to let Sadness go to the console.” Mark Nielsen says, “And now in this film, she’s like, ‘maybe not ALL of them.’”
© 2024 Disney/Pixar. All Rights Reserved.
The new movie features new additions to the cast, including Maya Hawke (Anxiety), Ayo Edebiri (Envy), Paul Walter Hauser (Embarrassment), and Adèle Exarchopoulos (Ennui). During a press conference session earlier that day, Mark Nielsen had nothing but praise for what they brought to the film. “They’re all very funny,” he said, “Some of them are actual straight-up comedians.”
“[Envy] wasn’t as developed as some of the other emotions,” Mann jumped in to say, “Ayo really helped flesh out who that character was in a positive way.”
Nielsen was also wowed by Maya Hawke’s performance as Anxiety, describing her as the “fastest talker I’ve ever met.”
“She brought an element of humanity to the character,” Mann added.
During those first thirty minutes of the film, we didn’t get the chance to become well-acquainted with Embarrassment, but Mark Nielsen gave us an idea of what to expect from the character.
“Paul Walter Hauser as Embarrassment was amazing—what a gem of a human being,” he said, “We met with him beforehand to talk about the role. On the script, it doesn’t look like much because he’s too scared to talk and barely has any lines, but he’s a really important character in the film. It’s actually a really big role, which is a beautiful relationship he ends up having with Sadness.”
You can check out our interview with Kelsey Mann and Mark Nielsen at Pixar Animation Studios in the video below. “Inside Out 2” will be hitting theaters on June 14th, 2024!
The hilarious spy comedy loved by millions – Spy x Family takes its action-packed movie, SPY x FAMILY CODE: White, to the big screen with Crunchyroll and Sony Pictures Entertainment, offering both English dub or Japanese dub with subtitles out April 19.
“Julia Mazza?”
I was eating lunch in a room off of the main atrium when I heard my name called by a member of Disney’s publicity team.
A week before the Oscars, JX held its JX’24 celebration at JAPAN HOUSE Los Angeles, honoring trailblazers in the U.S.-Japan entertainment industry.
As we know them, fairy tales often involve a protagonist lacking control over her or his fate. Snow White and Sleeping Beauty were driven into hiding, yet were doomed with a sleeping curse anyway—curses that could only be broken had their true love decided to awaken them. Rapunzel is locked away in a tower with no doors, needing a hero to rescue her. It’s exactly this what Siyu Liu set out to deconstruct in her directorial feature debut (and original screenplay) Flaming Cloud.
There are no villainous characters with wicked intentions to be found in Siyu Liu’s fairytale story, but Gods and Goddesses with voyeuristic tendencies and penchants for placing wagers pulling the strings. The story begins when two of the deities boldly place the most consequential wager any of them have ever witnessed—the existence of true love. Because of the wager, a randomly chosen baby, and the story’s hero, Sangui (played by Hu Xian Xu), is doomed to a curse of putting whoever he kisses to sleep, stripping him of agency over his destiny (or so we think?)
Branded a freak by his fellow villagers and socially ostracized at a young age, Sangui sets out on a hero’s journey, albeit one of a long period of loneliness, to the idyllic White Stone City. On his journey, he meets two women who represent fairy tale archetypes we’re well-acquainted with, each with their own wishes, but also unfulfilled needs.
Instead of making their own fairy tale wish come true, each character instead finds satisfaction in growing—by learning what they needed all along. For Sangui, this means finding the courage to confront his fears, and for the “wicked witch” character, who is very much the heart of this story, means facing her regrets. “Regrets can be curses too.” she whispers to Sangui in between exhausted breaths. In using surrealism, Siyu Liu reminds us that realizing what we needed all along can better than anything we can wish for.
Siyu Liu’s use of anachronisms in the costumes beautifully speaks to the timelessness of fairy tales, from 1920s flapper headbands to 1970s boho dresses—even the 1950s Philco Predicta televisions, which the Deities huddled around in sport to watch Sangui for a long period of his life. Combining the motifs and lessons of European fairy tales (and classic Disney films, by extension) and Chinese mythology, she masterfully tells a cross-cultural story, as seen from the moment the story begins with a kingdom of deities placing a wager on a “flaming cloud.”
Perhaps the biggest lesson of all from Flaming Cloud is that true love does indeed exist, but it does come to die one day—and yet, we all still reach for these stories for comfort. “Not everyone believes in true love,” Siyu Liu writes in the final frame of the film. “But we all long for that moment when it arrives with its magic.” Yes, yes we do.
On June 24, Netflix hosted a red carpet for the animated feature Nimona (2023). Cast members, producers, and celebrities dished on the upcoming film’s production.
I had the opportunity to sit down and interview Ryan Braund who is the brain behind the animated feature film Absolute Denial, which centers around a brilliant programmer who builds a supercomputer with unprecedented power.
The Academy Museum of Motion Pictures is hosting the beloved Oscar Week events.
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