The purpose behind each operation and structure in the brain is always crystal clear even as the story becomes more and more complex. The design of this inner world is orderly and elegant. Long-term memory feels like a labyrinth: “you can get lost in there!”, Sadness reminds us. Any memories that aren’t “core” are shipped off to long-term memory storage while Riley sleeps, where they are stored on tall stacks of purple-pink elliptical shelves that resemble the folds of the human brain. Riley’s personality is shaped by what is on these islands they represent her values, interests, and individuality. Each personality island is covered with statues and imagery that represents the theme of that particular island: family, friends, goofiness, hockey, and so on. The most important memories of Riley’s entire lifetime are kept in a special container in the center of the control room these “core memories” feed “personality islands” that can be viewed from the control room’s back window. If the emotional reaction is strong enough, that moment or perception will turn into a memory, which appears in the control room as a orb colored with the primary hue of the emotion associated with the memory - yellow, blue, green, red, or purple for Joy, Sadness, Disgust, Anger, and Fear, respectively. When she sees or otherwise perceives something, her emotions react to that stimuli in the brain’s “control room,” which is embodied as a lounge with a central control panel below a wide oval screen that lets her personified emotions see through Riley’s eyes at all times. What happens outside affects what happens in. The film takes place in both the outside world - where we follow 11-year-old Riley as she adjusts to life in a new city - and the inside world of Riley’s brain. But Pete Doctor and the rest of the Pixar team explored the complexities of the human psyche, gave personalities to emotions, and designed an elaborate world within the brain anyway… and were able to successfully present their psychological deconstructions with humor, visual splendor, and elegantly simple metaphors that even a kid could understand. Even for a company as innovative as Pixar, it was an ambitious premise for an animated family film. The rest of movie plays out as an answer to that question. “Do you ever look at someone and wonder: what is going on inside their head?” asks Joy at the start of Inside Out. “Say what you want, I think it’s all beautiful.”
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