I am excited to share with you another interview from the Inside Out Event in San Francisco in March. Co-Director Ronnie del Carmen and Story Supervisor Josh Cooley shared with us the story process behind Inside Out and how a sequence of the story is taken from script to screen using storyboards.
Ronnie told us that production for Inside Out first started out with Director Pete Docter and himself working together. They knew that they had the concept that Pete came up with, telling the story about the emotions inside a little girls head, but now what? How do that do that? They continue by talking with each other about the about the stories they know from their own life experiences with kids.
Our main laboratory for this film was to go inside our own experiences as parents. I was the cautionary tale because I have older kids, and Pete has not gone through that yet with his daughter. Josh would talk with us about his daughter when we were working on Riley as a baby. She is actually Riley’s voice in the film as a toddler. – Ronnie del Carmen
As a team they wanted to figure out not only what happens inside Riley’s head, they wanted to figure out what goes on inside everybody’s head, including mom and dad. One of the first sequences that they worked on was the sequence of the family at dinner. It is about the conversations that you never hear in each others heads. What would the characters do? What would they say? What would they look like? As they asked each other those questions, they would talk and doodle. Some of their ideas would work, others would not.
Josh and his team of story artists would then work with Ronnie to create the story boards. After they would draw hundreds of story images for a scene, they would pitch them to the director and the rest of the story team. When they give their pitch they put on a little performance that goes with the drawings, talking like the characters, and narrating the story.
Is it fun? Is it slow? Is it too much? They would do that over 3-4 years and would keep the good parts and get rid of the bad. By the time they actually do the pitch they would have worked on a sequence at least a few hundred times. A story sessions it is not only about being creative, but also problem solving. After story, it would then move onto the animation department.
Josh then showed us how to draw Anger from Inside Out. They have to keep their drawings simple while they work in story because they have to draw about 100 drawings a day. These drawings have background, and can include other characters and possible camera movement. They have to move fast which is why they keep the characters in story relatively simple.
How to Draw Anger from Inside Out
It helps to make an angry face when you are drawing him!
1. Draw a simple square. Everything is pretty much inside the square.
2. The next part is his brow.
3. Then the eyes. Draw his eyes right under the brow to show he is not happy.
4. Now the mouth. Go ugh when you are drawing it!
5. Next draw little tiny angry arms.
6. Then draw his shirt and tie.
7. His belt goes right underneath the tie.
8. His shoes and feet go over the bottom of the square.
9. Then draw fire or a simmering mark right on top of his head.
Watch Inside Out in theaters this weekend!
It is a place where we have all been but have never seen before. – Pete Docter