The Incomparable

254: You`ve Ruined Pizza


  and comfortable t-shirts are on sale [TS]

  until july eight so go now to the [TS]

  incomparable dot-com / shirt or be sad [TS]

  forever or until we make sure it's the [TS]

  incomparable number 250 for july 2015 [TS]

  welcome back everybody to be [TS]

  uncomfortable podcast on your host races [TS]

  now we're here to talk about a film that [TS]

  is in theaters now which very rarely [TS]

  happens but if we get enough people [TS]

  who've seen it and if I've managed to go [TS]

  out and see it which is tricky [TS]

  what with the the problematic children [TS]

  and all but a little less difficult when [TS]

  it is a pixar film because I can take my [TS]

  children with me to see it which I did [TS]

  and that's why we're going to talk about [TS]

  inside out [TS]

  i'm joined on this podcast by other [TS]

  people who have fortunately also seen [TS]

  inside out and therefore can talk about [TS]

  it [TS]

  indian tacos out there hi Andy I'd like [TS]

  to talk like Richard kind for this whole [TS]

  show but I think that's why would I shot [TS]

  my locker yeah that was good that was a [TS]

  good Richard continue it was very it's [TS]

  very polished David lower hello hello [TS]

  hello I'm i'm really excited to talk [TS]

  about this and I just know this this [TS]

  episode is going to become a core memory [TS]

  good John syracuse out there wouldn't [TS]

  talk about pixar without John yeah Jason [TS]

  I would have an opening statement if i [TS]

  had seen this movie more than once but [TS]

  it's so no I've only seen it once it's [TS]

  true it's that new and my own personal [TS]

  bing-bong mi I'm Marilyn that does [TS]

  explain the cotton candy smell but well [TS]

  it's part of that it was you know [TS]

  animals were popular then that's great [TS]

  because if you make them cry at the end [TS]

  we got caramel em candy for my eyes it's [TS]

  good to have you here thanks [TS]

  we're not talking about we will leave [TS]

  the debate about whether the cat talks [TS]

  and kiki's delivery service to be able [TS]

  to celebrate high notes are right i [TS]

  would not be pasted will go to the end [TS]

  we'll get that up down all right inside [TS]

  out [TS]

  I directed by the this is a film 4 2015 [TS]

  always not about whether it's from and [TS]

  it's from now because it's in theaters [TS]

  now [TS]

  ah we got you got your Amy Poehler as [TS]

  joy you got you got your uh you got your [TS]

  Phyllis from the office of sadness lot [TS]

  of lot of [TS]

  NBC sitcom kind of traditionally night [TS]

  alumni from mad about you [TS]

  yeah he was a must-see TV here bill [TS]

  hader the rare he's on a different from [TS]

  a different night of NBC lot of NBC [TS]

  people here and Lewis Black who I [TS]

  believe has never been allowed on NBC's [TS]

  air when I first heard about this movie [TS]

  it was in an article that was describing [TS]

  have a crazy hippies and pixar we're [TS]

  doing things that nobody understood and [TS]

  how could it ever be a movie and it was [TS]

  literally like a movie that's all about [TS]

  that takes place entirely inside the [TS]

  mind of a child like how could they do [TS]

  that they're they're nuts it'll never [TS]

  work kind of thing and I kept thinking [TS]

  about that as i watched it that that [TS]

  that's how you take a premise that seems [TS]

  so out there and you end up with a film [TS]

  that is I think beautiful and [TS]

  interesting and has a lot to say about [TS]

  actual like human beings and how they [TS]

  behave while also being very [TS]

  entertaining so i'll let you know just [TS]

  off the top well let's let's uh you know [TS]

  what what did you all take away from [TS]

  inside out [TS]

  we're gonna we're gonna start with that [TS]

  John what would you know what did you [TS]

  walk away with this film thinking about [TS]

  you remind me of the of hearing about it [TS]

  in that sort of adds to our contract [TS]

  remember that they're crazy how could i [TS]

  forget that movie it once it became [TS]

  concrete I forgot all of that and I got [TS]

  down to the business of how they're [TS]

  gonna sort sort out this tension between [TS]

  the world inside the head and the world [TS]

  outside the head and when I was watching [TS]

  the movie that's primarily [TS]

  intellectually what I was watching for [TS]

  how do you tell the story I because it [TS]

  what's going on inside the head you [TS]

  don't care about unless you also care [TS]

  about what's going on outside [TS]

  how do you balance it 5050 is it mostly [TS]

  inside the head is it mostly outside [TS]

  with just like a little angel or devil [TS]

  popping up on the shoulder you know that [TS]

  kind of trip this is sort of like the [TS]

  inversion that rope that's what i was [TS]

  thinking about when I was watching this [TS]

  movie and the other thing that struck me [TS]

  as I was watching it again [TS]

  intellectually more than the other [TS]

  emotional parts of the the story that [TS]

  i'm sure we'll talk about it at length [TS]

  was and i'm not sure about this you guys [TS]

  can help me and see what you think [TS]

  but kept thinking is this a movie made [TS]

  for parents that kids might like or [TS]

  system we made for kids that parents [TS]

  might like [TS]

  and obviously i am a parent and a lot of [TS]

  times you watch moving you think this [TS]

  movie is made for me there watching this [TS]

  moving like has there ever been a movie [TS]

  made aimed more squarely like moms and [TS]

  dads then this supposedly quote-unquote [TS]

  kids movie like isn't even a kids movie [TS]

  or is it a parent's movie that has stuff [TS]

  in it the kids might enjoy so that's [TS]

  really my strongest first impression [TS]

  that movie the balancing of the two [TS]

  worlds and that inside out as a parent's [TS]

  movie dangerously like an opening [TS]

  statement but not one Merlin what do you [TS]

  think [TS]

  inside-out going into it even as [TS]

  recently as a couple weeks ago three [TS]

  weeks ago maybe my expectations were [TS]

  impossibly low i seen the trailer and I [TS]

  was just like oh boy not feeling great [TS]

  about this because I mean yeah okay I [TS]

  get it I see what you're doing here like [TS]

  you know I i think i get with weather [TS]

  going with this but you know kind of [TS]

  like you said in the opening they manage [TS]

  to do this impossible thing where they [TS]

  had this they basically told the story [TS]

  by analogy that was incredibly [TS]

  compelling and I guess I got a little [TS]

  bit of buzz of powerline had written one [TS]

  of the games you guys know a platform [TS]

  the internet he wrote one of the game's [TS]

  the Infinity game for this and he's like [TS]

  you seriously like this is really good [TS]

  does maybe the best thing it down while [TS]

  you're drunk you're totally drunk a [TS]

  couple my pals and pixar it said like [TS]

  hey don't like this and sounds like okay [TS]

  you know whatever and i had made the [TS]

  similar thoughts to what John had we're [TS]

  like I'm not sure I can tell who this is [TS]

  for my feeling is that like toy story 3i [TS]

  think this kind of is one for the [TS]

  parents may be evidence best by the fact [TS]

  that the biggest laugh and the entire [TS]

  movie is when joy and sadness slam in [TS]

  the window at the end like a huge left [TS]

  the two times that I've seen it but now [TS]

  but I was only night we'll talk about it [TS]

  length I was very it's obviously I felt [TS]

  a lot of extremely strong emotions and I [TS]

  cried a lot but the thing i'm still [TS]

  turning over my head is how they managed [TS]

  to pull off what they pulled off that's [TS]

  the part of find the most amazing is the [TS]

  the craft [TS]

  of not just you know making this the [TS]

  sappy story but you know who would have [TS]

  guessed that you return sadness into the [TS]

  hero of this story and i'm still turning [TS]

  over my head how they did it and i think [TS]

  it was a triumph [TS]

  yeah it's certainly an interesting i [TS]

  it's it's a philosophical take that I [TS]

  didn't expect going into the film which [TS]

  is that this is a movie that in some [TS]

  ways is about appreciating being a [TS]

  well-rounded person and that you've got [TS]

  to have levels and that sadness is [TS]

  actually part of life and one of the [TS]

  ways you appreciate life which again I [TS]

  think this may be leading to the idea [TS]

  that this is a layer more for parents [TS]

  than four children perhaps because [TS]

  that's a level that's kind of nuanced [TS]

  level but certainly I i was surprised by [TS]

  that when i saw it [TS]

  Andy you've got some opening thoughts [TS]

  about inside out [TS]

  yeah I I went into this with a lot more [TS]

  optimism then many people did because to [TS]

  me this is exactly the sort of movie [TS]

  that I hope that pixar makes i'm also [TS]

  looking forward to the minions movie [TS]

  because I thought their hysterically [TS]

  funny and in the group movies but we [TS]

  don't want AI I don't expect or want [TS]

  pics are to make a simple movie like [TS]

  that that's it's it's funny it's [TS]

  entertaining it's great what I'm looking [TS]

  for from pixar something that is just [TS]

  bizarre that you just don't immediately [TS]

  see what the story is about you don't [TS]

  know where this story is headed where [TS]

  you don't feel as he feels that they're [TS]

  really making one entire unit of a movie [TS]

  as opposed to connecting a whole bunch [TS]

  of some scenes will be fun to animate [TS]

  some scenes be fun to joke about some [TS]

  good voice work and so you have this [TS]

  idea of here is a movie in which the [TS]

  entire playing field of this movie is [TS]

  abstract it's not where you're looking [TS]

  at the life of this little girl and [TS]

  occasionally there cutaways the inside [TS]

  of her head [TS]

  it's no no the entire thing it exists in [TS]

  a plan in a world in which they have to [TS]

  invent everything from start to finish [TS]

  where if they decide that they want to [TS]

  do a scene in which everything is just [TS]

  an abstract shape like the dotted line [TS]

  of the chuck jones short from the [TS]

  sixties they can do that and if they [TS]

  want to invent new rules and breaking [TS]

  rules they can do that too [TS]

  I mean I really felt coming out of the [TS]

  theater that this was like a google moon [TS]

  shot you know where it's a crazy idea it [TS]

  shouldn't work the only way to prove [TS]

  that it's not gonna work is to actually [TS]

  try it and then you find out that I'll [TS]

  be darned this actually works for their [TS]

  problems with it but we can actually fix [TS]

  them [TS]

  there's nothing more satisfying than [TS]

  walking out of the theater seeing [TS]

  something that you feel as though you've [TS]

  never ever seen before and that really [TS]

  is what what I how I walked out of this [TS]

  movie [TS]

  David what are your initial thoughts [TS]

  about inside out [TS]

  well you know I went into it optimistic [TS]

  because i'm at the point where you know [TS]

  they've won my trust right I'll go with [TS]

  them pretty much anywhere even the [TS]

  sequel's okay that I mean you have cars [TS]

  2 i'm not gonna watch cars to that many [TS]

  times but I didn't hate it you know and [TS]

  so this you know just sort of like this [TS]

  was the kind of thing I wanted to see [TS]

  them doing 20 years in right you know [TS]

  they're not just doing shrink five [TS]

  they're doing something different there [TS]

  doing something original and they've had [TS]

  a huge opening with it I mean you know [TS]

  forget the stupid dinosaur movie and it [TS]

  really is a stupid dinosaur movie but [TS]

  this is this is the best original movie [TS]

  opening of you know how many years and [TS]

  it the the it's such a hard sell [TS]

  you know and it's not it's not from 3d [TS]

  tickets and it's not from expensive [TS]

  tickets it's a it's a movie for kids and [TS]

  it's still keeping up with jurassic [TS]

  world pretty well so you know what does [TS]

  that say it's a really good movie and so [TS]

  so I was optimistic going in and the [TS]

  thing that the thing that makes me think [TS]

  it's for kids though as much as as we're [TS]

  getting out of it is that you know about [TS]

  about a third of the way in I thought [TS]

  you know my ten-year-old is going to go [TS]

  bananas for this right and we all went [TS]

  so we're all sitting there and you know [TS]

  and I don't talk about this much but he [TS]

  does have anger issues sometimes anger [TS]

  and fear and just you know just getting [TS]

  very tense and lashing out at sudden [TS]

  moments and he's never been able to [TS]

  verbalize this or explain why this [TS]

  happened [TS]

  or when this happens you what is it the [TS]

  triggered it [TS]

  I don't know I forgot right and watching [TS]

  this by the end of the movie he was [TS]

  bananas for it right because now he had [TS]

  an analogy now he had a way to describe [TS]

  what was going on in his head [TS]

  now he had some way of visualizing what [TS]

  anger could do to him and what could [TS]

  happen if you let the anger get away [TS]

  with it right and that loan [TS]

  I mean yeah we're gonna go see the [TS]

  minions movie we're not going to get [TS]

  that kind of Revelation out of the [TS]

  minions movie [TS]

  this was just you know I i would have [TS]

  loved it as is but just the insight into [TS]

  his brain for both of us not just not [TS]

  just him but for me and the sea change [TS]

  that's come over him since we've seen it [TS]

  because now he is able to sort of put [TS]

  the brakes on and say wait nope i'm [TS]

  letting that get out of control i can't [TS]

  do that or or to be able to accept [TS]

  sadness like you know when when we [TS]

  talked about it after its you saying [TS]

  well you know it made me think of when [TS]

  grandmother passed away and I was very [TS]

  sad and I didn't know what to do and [TS]

  this this sort of let him except that it [TS]

  was okay to be sad sometimes and that's [TS]

  an important thing for kids I mean that [TS]

  is the lesson the joy learns right you [TS]

  can't always be happy you can always put [TS]

  a smile on it and just get past it [TS]

  sometimes you do have to be sad and a [TS]

  lot of the modern world these days is up [TS]

  just put on a happy face you'll be fine [TS]

  and no it is okay to be sad [TS]

  so so i think i think it's equally for [TS]

  parents and kids I somebody in the [TS]

  chatroom said and I had the same thought [TS]

  to that these analogies will be used by [TS]

  I think lots of people you know that [TS]

  could be good or bad but I think [TS]

  thinking about your emotions and and how [TS]

  they how they affect you and that end [TS]

  and how you access them having a [TS]

  metaphor for that even if it is [TS]

  something that has taken from a movie [TS]

  could be could be really valuable and [TS]

  III [TS]

  I suspect something that my wife said at [TS]

  dinner tonight went because she knew we [TS]

  were going to be talking about this was [TS]

  she's already seen just in her daily [TS]

  life like working at the library that [TS]

  people come in and you know are angry [TS]

  and she's like yep there's somebody back [TS]

  there you know pushing your buttons [TS]

  that's what's happening it's just like [TS]

  just to personify that a little bit more [TS]

  about how you know why why are people [TS]

  behaving the way they are and thinking [TS]

  at that level about it and and and [TS]

  creating some imagery around that I [TS]

  think is interesting i mean i thought it [TS]

  was fascinating that if you if you pay [TS]

  attention [TS]

  look at who's the central emotion ya [TS]

  notice anyting each head as you see it [TS]

  so i can the bus driver [TS]

  they're all anger but in in the mother [TS]

  its sadness absent father had anger [TS]

  yeah and and that was just that and they [TS]

  didn't edit in lean on that didn't like [TS]

  how it out it was just there and I [TS]

  noticed immediately as soon as that I [TS]

  had I hadn't noticed in the trails which [TS]

  is testament to how much as movie wraps [TS]

  you into this world during the trailers [TS]

  they showed the same seems like the [TS]

  dinner table and whatever didn't notice [TS]

  at all once i was into the movie the [TS]

  second they cut inside the moms had one [TS]

  just like it sadness is then charging [TS]

  her head because they've trained you to [TS]

  watch the movie by that point if they've [TS]

  got you into the conceit around and you [TS]

  know it now [TS]

  whereas in the trailer you just go up [TS]

  funny thing what did she say you know [TS]

  yeah and it also kind of made me think [TS]

  is it possible that the emotions in this [TS]

  world can actually undergo transitions [TS]

  because seeing how confident and assured [TS]

  and not mopey sadness was inside her mom [TS]

  said does that mean that at some point [TS]

  sadness when you transitioned into [TS]

  adulthood becomes coping knows [TS]

  yes it seems it seems like an [TS]

  interesting note that at that picture [TS]

  was saying it was sending with that [TS]

  yeah they're in a dress differently as [TS]

  well and I really like the at the bit at [TS]

  the end they do emphasize that the [TS]

  control panel changes significantly more [TS]

  buttons more more levels of detail and [TS]

  now i have access to all the curse words [TS]

  time for a sponsor break i want to talk [TS]

  to you about our good friends over at [TS]

  Harry's I like hairy stuff I use Harry's [TS]

  products on my face you know I don't go [TS]

  into an office every day I might shave [TS]

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  I'm fast and loose like that but when i [TS]

  do shave shave with Harry's stuff now [TS]

  shaping can be a pain bad equipment can [TS]

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  burn you get nicks I used to go back and [TS]

  forth between different blades of you [TS]

  know two blades and three blades and [TS]

  four blades and sometimes use an [TS]

  electric but then I'd have to use a [TS]

  blade on top of that it was ridiculous [TS]

  that was us [TS]

  I i entered a shame spiral of shaving [TS]

  but now i'm out of it and Harry's has [TS]

  been a huge part in that now half the [TS]

  price of the big branded blades that's [TS]

  what you get for Harry's Harry's is not [TS]

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  whole factory they like the blades they [TS]

  got from the factory in Germany so much [TS]

  that Harry's bought the factory you get [TS]

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  glass cabinets at the drugstore and find [TS]

  a clerk and get them to unlock it [TS]

  great starter set that they've got [TS]

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  the moisturizing shave cream and you get [TS]

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  men women it doesn't matter [TS]

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  well and do not suck this is the moment [TS]

  where I have to tell you and I know some [TS]

  people are tired of hearing this for me [TS]

  but i love the shape cream from Harry's [TS]

  I i loved the razor i use the harris [TS]

  razor everyday it's changed the way i [TS]

  shave i follow their approach you know [TS]

  you shave down menu shave up but their [TS]

  shape cream which has got this mild min [TS]

  sent I've actually switch from my main [TS]

  my big brand shaving gel to the shape [TS]

  because i like how it feels and I like [TS]

  how it smells i was very smell sensitive [TS]

  i don't like I've always buy unscented [TS]

  it's very hard to find the unscented [TS]

  shaving cream [TS]

  Harry's shave cream is scented but it is [TS]

  very gentle a very little mint smell [TS]

  that I can smell when it's going on but [TS]

  by the time I watch my face off at the [TS]

  end of my shave the smell is gone and it [TS]

  doesn't linger with me all day which I [TS]

  hate [TS]

  so I love [TS]

  that about Harry's to alright shipped to [TS]

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  what more do you need go to Harry's [TS]

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  off and thank you so much to harry's for [TS]

  making men and women have smooth skin [TS]

  without the hassle the moms the moms [TS]

  people are all sitting around the table [TS]

  all dress very seriously unlike a huge [TS]

  console-like there at nasa mission [TS]

  control right whereas inside the Riley's [TS]

  head there dressed more fancifully their [TS]

  control panels more like fisher-price [TS]

  toy type of thing like that at every [TS]

  level they really thought about all the [TS]

  different things and some of them ended [TS]

  up being important plot point someone [TS]

  and it being gag lines and some of them [TS]

  end up unmentioned at all like we're [TS]

  just talking about the just they're just [TS]

  the background of the movie but they all [TS]

  ended in the giant like let's brainstorm [TS]

  everything that we can say about the the [TS]

  interior of the mind is clear that some [TS]

  of them were elevated to this is going [TS]

  to be an important part of the story [TS]

  brothers were like this is a good idea [TS]

  to that's just part of the world but [TS]

  this isn't else is also interesting that [TS]

  you have these the islands of what what [TS]

  her world is really all about [TS]

  I thought I was actually kind of scared [TS]

  when I start co she's losing her ability [TS]

  just to be a nut like okay I understand [TS]

  that you become older and your ability [TS]

  to simply say I don't I all I just want [TS]

  to spin in circles until I throw up you [TS]

  lose that you know hopefully when you [TS]

  get into your teenage years but then say [TS]

  oh god she's losing hockey she does that [TS]

  mean that she's not gonna be she's going [TS]

  to not want to play hockey anymore and [TS]

  then when family starts to crumble that [TS]

  starts oh noes that mean that she's [TS]

  losing her connection her anchors to to [TS]

  reality of and love I thought was really [TS]

  interesting to see that you sort of the [TS]

  the message of if there was one was that [TS]

  it's not as though these things go away [TS]

  forever but you rebuild a new version of [TS]

  family that includes san francisco now [TS]

  and you have a new version of hockey [TS]

  that doesn't include the people that you [TS]

  were playing with before but you [TS]

  basically you had to destroy the old one [TS]

  in order to build a brand new one that's [TS]

  going to work for you for the next five [TS]

  or six years [TS]

  yeah that's definitely a parent message [TS]

  because the message of other kids movies [TS]

  is there is some sort of conflict is a [TS]

  challenging your [TS]

  for coming and you come out the other [TS]

  side and so you have overcome it and [TS]

  this one [TS]

  like I don't know how much kids get from [TS]

  this but like part of my feeling coming [TS]

  out of the movie was just general cut [TS]

  like there's like different melancholy [TS]

  because it's like it's emphasizing the [TS]

  thing that we all know as adults is that [TS]

  as you get older and you know getting [TS]

  more sophisticated control panel doing [TS]

  all that stuff like it comes with [TS]

  sacrifices those islands that crumble [TS]

  and fall into think they don't come back [TS]

  up and the ones that replace them are [TS]

  different that they're there are parts [TS]

  of yourself that are going to be [TS]

  destroyed in painful ways not like [TS]

  triumphantly destroyed and the Phoenix [TS]

  comes from the ashes but as in you're [TS]

  never going to get that back [TS]

  that's like sort of the pain of growing [TS]

  up right and kids maybe they're kind of [TS]

  getting it but a lot of kids haven't [TS]

  gone through that yet like in the movie [TS]

  was unashamedly saying like this part of [TS]

  you is going away and it's sad when it [TS]

  goes away and the things they replace it [TS]

  will be different and not as good and [TS]

  deserving obviously be more [TS]

  sophisticated more complicated more [TS]

  interesting have their own interesting [TS]

  challenges but the old you is dying and [TS]

  the death of the old you is sad and for [TS]

  a kids movie have that messages i don't [TS]

  know it's it's a it's pretty [TS]

  sophisticated and pretty serious i think [TS]

  we any and the message the message of [TS]

  the contestants just to underscore what [TS]

  you're saying the the message that comes [TS]

  out of that is not that this will be [TS]

  replaced with something even more mature [TS]

  or it will be replaced with something [TS]

  different and the by analogy is [TS]

  displacing other things it's like [TS]

  literally getting rid of their going [TS]

  into the memory dump they're gonna go [TS]

  away and i think there's there's [TS]

  something about that i think that's [TS]

  ultimately what makes this movie its [TS]

  wife for me the scenes in the memory [TS]

  down for the ones that tore my heart out [TS]

  the most was because that whole idea of [TS]

  like one has a you know it made my kid [TS]

  cry twice because I mean the idea of [TS]

  like an unloved stuffed animal kind of [TS]

  notion right there's this thing that I [TS]

  remember used to used to like that not [TS]

  only think about anymore isn't that [TS]

  strange even a kid can get that but for [TS]

  a parent I mean there's so many levels [TS]

  that works on where you find yourself [TS]

  thinking about me again why I can't help [TS]

  but think of toy story 3 especially that [TS]

  in the last act or III where it's about [TS]

  so much more than toys and kids it's [TS]

  about i mean the the the toy story 3 of [TS]

  the parents we all know that we're the [TS]

  ones that are needed where [TS]

  once they're gonna go in the Attic [TS]

  that's that's the part that becomes so [TS]

  brutal as you're thinking like I [TS]

  remember actually getting emotional but [TS]

  I remember one day realizing that I [TS]

  don't have that many memories that [TS]

  precede being 45 years old up and i [TS]

  remember having to stay with my kid was [TS]

  in probably just about finishing [TS]

  preschool was like wow it's very [TS]

  unlikely that she's gonna remember [TS]

  anything that happened to her before [TS]

  this time she might remember one or two [TS]

  things there might be things that we [TS]

  help her build a memory about but like [TS]

  all these things that like constitute my [TS]

  entire relationship with my child are [TS]

  going to be utterly obliterated miss [TS]

  it's around the age of five between five [TS]

  and 10 is when a huge amount of a [TS]

  child's memories are very naturally kind [TS]

  of wiped away and replaced with kind of [TS]

  information so i don't know i think it [TS]

  works on a lot of levels and it's it's [TS]

  it's you know it but it can get to a kid [TS]

  too and it's not you know i think that's [TS]

  that's what makes a great pixar movies [TS]

  you can take something this weird and [TS]

  abstract and using things like [TS]

  characters that are a certain color can [TS]

  like take this out where the abstract [TS]

  idea and make it something that's [TS]

  incredibly affecting well and and you [TS]

  know the again thinking of toy story 3 [TS]

  about about halfway through something in [TS]

  my brain clicked and now I mean I love [TS]

  toy story 3 and I've said for years that [TS]

  I mean we walked out of that and I went [TS]

  that's the divine comedy i mean it's [TS]

  it's purgatory paradise and hell it's [TS]

  all there [TS]

  and this is almost i would love to know [TS]

  if if anyone involved in it [TS]

  intentionally or unintentionally made it [TS]

  into the pilgrims progress by john [TS]

  bunyan it's it's the same kind of thing [TS]

  an abstract journey from one place to [TS]

  another and the growth of a person as [TS]

  they run into all these extra things i [TS]

  gotta say the word David it's an hour [TS]

  and it is what is it that's what analogy [TS]

  it's an allegory yeah and and it's it's [TS]

  just so artfully done and just being [TS]

  able to look at this and go all right [TS]

  this is this is a little more ambitious [TS]

  than cars too [TS]

  well I mean but I mean something [TS]

  something about it is is what these [TS]

  characters represent because you could [TS]

  look at somebody like Bing bong I'm i [TS]

  mentioned writing bomb right again great [TS]

  woman great rich great Richard kind [TS]

  performance to always liked him [TS]

  I think it's just perfectly match [TS]

  he's now often in front and a cat in the [TS]

  back and I don't have gotten the middle [TS]

  somewhere but a character like that not [TS]

  that different in some ways from you [TS]

  know from your your Sully and monsters [TS]

  and ink or something like that right not [TS]

  that doesn't have a different but it's [TS]

  it's what he represents in this story [TS]

  and in in the allegory here and that [TS]

  that this is the the loss of innocence [TS]

  and that he's a he's a UH a purified [TS]

  fragment of childhood sweetness that is [TS]

  doomed [TS]

  yeah I noticed that I such respect for [TS]

  Pixar that sometimes to my detriment I'm [TS]

  think I'm trying to get ahead of the [TS]

  movie and thinking oh bing-bong he's [TS]

  pink and none of the emotions are pink [TS]

  so I bet that he gets to like graduate [TS]

  out of this place and he becomes like [TS]

  another part of the control room and he [TS]

  turns into another emotion when really [TS]

  love rationally there really was only [TS]

  one way for that for his storyline to [TS]

  end he he was he was living he was [TS]

  living where he was living because he [TS]

  had no role and he was lucky to and he [TS]

  just the there's he had there's no use [TS]

  for him in the world that was coming as [TS]

  a parent I immediately saw a big bong [TS]

  and he was like a red shirt and star [TS]

  trek I'm like oh man we have to see [TS]

  because the the imaginary friends don't [TS]

  survive right they don't survive so I [TS]

  immediately liked 00 Big Hmong it's not [TS]

  gonna go well right so I knew that he [TS]

  was doomed going in because I I you know [TS]

  I've seen that I've seen that happen and [TS]

  like Merlin said like you'll bring it up [TS]

  to your kid remember your imaginary [TS]

  friend over the like they're like what [TS]

  you're talking about i never had an [TS]

  imaginary friend you remember it because [TS]

  they had when they were three or four [TS]

  but they have no memory of it at all [TS]

  unless unless you work to keep reminding [TS]

  them of it and there but like if you [TS]

  wait a couple years and go ahead [TS]

  remember when you were three and you [TS]

  have an imaginary friend will be like [TS]

  you don't know I didn't like it like it [TS]

  really goes to the memory dump and is [TS]

  you know replaced by something else [TS]

  entirely and the the kid is none the [TS]

  worse for wear a little you know it's [TS]

  like paternalism or maternal isn't like [TS]

  feeling like you have our have to [TS]

  protect your travels but that's that's [TS]

  where this movie hit me a lot as a [TS]

  parent is that [TS]

  these things that are happening the kids [TS]

  internal world the thing is crumbling [TS]

  and the difficulties or whatever in the [TS]

  movie and you know in our hearts we feel [TS]

  like that this is this is our fault [TS]

  somehow and some of it is like we got [TS]

  the new job and moved to the new city [TS]

  how to suspect your kid everything you [TS]

  do affects your kid in ways you can't [TS]

  possibly imagine [TS]

  is it like your fault these things are [TS]

  happening and then you want to protect [TS]

  your kids from like I don't want parts [TS]

  of their world to crumble I don't want [TS]

  their first day of school to end in [TS]

  tears and yet it has two and you have no [TS]

  control over it and this is what's going [TS]

  to happen and should you never have [TS]

  moved they have to live in a bubble like [TS]

  that your kid is going to go through all [TS]

  these things and grow up and have the [TS]

  same category experiences that you do [TS]

  and you don't want this stuff to happen [TS]

  but it's going to and that's why I gotta [TS]

  have that the melancholy feeling for the [TS]

  the parent angles like in many respects [TS]

  it's outside the parents control and [TS]

  it's all the parents doing you know [TS]

  indirectly like not really but you do [TS]

  you feel that way you know you can see [TS]

  them when my mom talks in the kid and [TS]

  says you know thanks for being so happy [TS]

  for us or whatever like you feel [TS]

  terrible if you've ever said something [TS]

  like that because I can you know do you [TS]

  realize what you're putting on your kid [TS]

  at that point maybe you do maybe you [TS]

  don't maybe you had a bad day like this [TS]

  is a brutal movie for kids or parents [TS]

  like it could I'd like that the kids are [TS]

  never going to get that I wouldn't have [TS]

  gotten to know you know ten years ago [TS]

  like it's just it's just brutal i can [TS]

  and in a way like that the parents but [TS]

  we aren't perfect parents to do the [TS]

  right thing all the time and and the [TS]

  parents aren't saving Riley from all [TS]

  this pain and they can't and sometimes [TS]

  they're making it worse and I mean they [TS]

  come through in the end that's all we [TS]

  can hope to do man it's like daggers to [TS]

  the heart [TS]

  well and just like just like accepting [TS]

  for Riley that sadness or joy rather [TS]

  that sadness is important sometimes [TS]

  that's also important for us to accept [TS]

  that we're not going to be perfect [TS]

  parents we can't be [TS]

  we can't always save the day and we just [TS]

  have to know when is the right moment to [TS]

  save the day you know at the end of the [TS]

  movie they come in and and they do the [TS]

  right thing at the right moment and it [TS]

  all clicks and when we in the memory [TS]

  where she loses the hockey game they [TS]

  came in at the right moment and they [TS]

  knew how to fix that and and you're [TS]

  being able to accept that [TS]

  yeah we're going to have those moments [TS]

  and hopefully we'll have a lot of those [TS]

  and hopefully that's the majority of the [TS]

  moments we have but we're not always [TS]

  going to be there we're not always gonna [TS]

  be able to save the first day of school [TS]

  I don't think it was an accident that [TS]

  the screen that I went to there was a [TS]

  lie here I heard a lot more grown-up [TS]

  crying oh yeah oh yeah oh my god this is [TS]

  this is one of those when i looked when [TS]

  bing-bong looks down at his arm and it [TS]

  starts fading and I idea I was like I [TS]

  know exactly what's gonna happen now and [TS]

  he's gonna jump out of the wagon and [TS]

  she's gonna get up there and and that's [TS]

  the hero's journey right the mentor the [TS]

  friend sort of falls by the wayside to [TS]

  let the hero continue that is the [TS]

  purpose the parents journey to isn't it [TS]

  is it is absolutely i gotta let this [TS]

  person going to fade away into the [TS]

  background of this person's life and [TS]

  Undertaker to the moon that's my job [TS]

  that's exactly what John was saying that [TS]

  like I'm having to realize every day is [TS]

  that the the better i am at my job the [TS]

  more I am figuring out the right time to [TS]

  stay completely out of the way which is [TS]

  a very difficult thing to accept much [TS]

  harder than I ever expected and in a [TS]

  case of something like that it's we [TS]

  talked about this last night on Twitter [TS]

  little bit Andy but the just the fact [TS]

  that the way to use a wrestling term the [TS]

  way bing bong sells it [TS]

  I love that he's not sad in the pit [TS]

  that's what makes it kind of 8 12 times [TS]

  worse is he's like she's gonna be okay [TS]

  is like don't feel bad you know he [TS]

  doesn't signal feel bad about me is the [TS]

  whole implications my whole job is to be [TS]

  here I serve at your pleasure and like [TS]

  just go take over the moon for me you [TS]

  know like go do it this is our job [TS]

  this is what we have he died with a [TS]

  sword and shield in his hand which is [TS]

  everything that you kind of want to do [TS]

  also the env parents like it I i took my [TS]

  kids to see this and then they enjoyed [TS]

  it but i think i think very much it was [TS]

  one of those things where they found an [TS]

  enjoyable and have thought about the [TS]

  emotion stuff afterward but it the there [TS]

  is an emotional kick that parents get [TS]

  that the kids don't get and I think it [TS]

  stems from we talk about toys you [TS]

  mentioned had that and and I was [TS]

  thinking about this the when I was [TS]

  putting my son to bed the other night [TS]

  that you know his toy that he sleep with [TS]

  every night to him is something that [TS]

  he's going to give up at some point and [TS]

  it's going to become kind of an abstract [TS]

  fond memory [TS]

  like oh yeah I had that monkey that that [TS]

  you know slept forgiven or whatever [TS]

  whatever it is an identifiable primate [TS]

  that that that he has next has been [TS]

  every night and for him that's going to [TS]

  kind of fade away and and and that'll be [TS]

  that for me [TS]

  that thing is a representation of his [TS]

  childhood and so in the end it's way [TS]

  more sentimental for me it's way more [TS]

  important emotionally for me than it is [TS]

  for him even though i don't need to have [TS]

  it next to my bed when I go to sleep he [TS]

  does eat indian he will put it away and [TS]

  that'sthat's all the stuff that I'm [TS]

  thinking about when I'm when I'm looking [TS]

  at bing bong is his you know his job is [TS]

  to be is to fade away but you know as a [TS]

  parent you also you know you mourn him [TS]

  fading away because that's childhood [TS]

  fading away [TS]

  it's like I've I've got this paddington [TS]

  bear sitting on my nightstand that I've [TS]

  had for 35 years and so he still there [TS]

  I haven't I haven't totally put him away [TS]

  but when i was little he had a voice he [TS]

  had a personality he interacted right [TS]

  you know i was doing the whole jim [TS]

  henson thing with them and it had [TS]

  nothing to do with the actual Paddington [TS]

  books or anything he abuses this totally [TS]

  different personality that's good [TS]

  because I'll be unauthorized fanfiction [TS]

  David yes and I wouldn't I wouldn't do [TS]

  that we want to talk about the star trek [TS]

  place it but a couple years ago [TS]

  you know I i picked him up and I thought [TS]

  you know can i still do the voice [TS]

  because you know that was before my [TS]

  voice changed so it was a very high sort [TS]

  of free voice and and i was able to [TS]

  approximate but he sounded older and he [TS]

  didn't you know the character didn't [TS]

  quite come all the way back and it [TS]

  wasn't quite the same and and obviously [TS]

  I don't play with him all day long [TS]

  because you know I'm not nine anymore [TS]

  I know it's hard to believe and and and [TS]

  that was that it was a similar kind of [TS]

  sadness for me that that was like all [TS]

  right this was a huge part of my life [TS]

  this was a very important thing to me at [TS]

  one point and it's not that I've [TS]

  forgotten them it's not that I've let [TS]

  him go completely but I can't quite get [TS]

  that back and and that's not gonna come [TS]

  back and it bent it's ok that it doesn't [TS]

  compare but that's the irony is that [TS]

  even I still got my first and second [TS]

  stuffed animal they both been passed I [TS]

  was a big fan of stuffed animals they [TS]

  both passed on my kid [TS]

  one of them is a stuffed dog my parents [TS]

  got me was in the hospital when I was to [TS]

  any other ones a teddy bear that i had a [TS]

  few years after that even though I look [TS]

  at them and it's a husk of what it was [TS]

  because it doesn't it doesn't mean the [TS]

  same thing so that's the other part of [TS]

  this is even if you are like a memory [TS]

  hoarder and you keep all the stuff [TS]

  around the the the essence of what made [TS]

  that thing special when your kid is gone [TS]

  because you're not a kid anymore and [TS]

  that's that's ultimately the sadness [TS]

  inside of the sadness is that you know [TS]

  you got what you want to still be really [TS]

  into that stuffed animal will know [TS]

  there's a part of you that knows that [TS]

  that's gone that is in the memory dump [TS]

  and will never come back even if being [TS]

  more still around [TS]

  they will be looking cute thing we think [TS]

  about twice a year but that that's [TS]

  that's the part that really gets me is [TS]

  that a no I thought I'd love to talk a [TS]

  little bit about the mechanics because [TS]

  it sounds obvious but like to talk about [TS]

  the mechanics of how you take this [TS]

  really abstract idea using things as [TS]

  simple as these avatars and these colors [TS]

  the way the role of color and this is so [TS]

  important to wear by the end I mean like [TS]

  I my note here my first know right down [TS]

  like that the moment I see a memory [TS]

  that's blue and gold [TS]

  I'm making that is one of the most [TS]

  brilliant cinematic strokes I've ever [TS]

  seen [TS]

  I like it started crying you explain [TS]

  right but you explain that to somebody [TS]

  it sounds it sounds so trite it sounds [TS]

  so silly but like the the ability to [TS]

  take all those incredibly abstract [TS]

  emotionally heavy ideas but then create [TS]

  what you call what you want the [TS]

  mechanics or there they give the world [TS]

  building a visual language gym right [TS]

  time for a sponsor break let me tell you [TS]

  about casper mattresses obsessively [TS]

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  when you go to a mattress store you [TS]

  might lay down on a mattress for a [TS]

  minute or two people start looking at [TS]

  you funny feeling down for an hour to [TS]

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  we have to make a guess when you're not [TS]

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  how you sleep now the other part there's [TS]

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  Casper will deliver a mattress straight [TS]

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  if you're afraid you're like I don't [TS]

  know how it's going to feel I don't know [TS]

  if I'm if I'm gonna like it try it and [TS]

  if you don't like it you just send it [TS]

  back [TS]

  pretty neat they sent to me in that [TS]

  little box opens and expands to fill the [TS]

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  size mattress and it's super comfy [TS]

  I i can only tell you the truth I would [TS]

  not lie to you my friends podcast [TS]

  listeners it's actually a really [TS]

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  to have my casper mattresses now casper [TS]

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  thank you so much to Casper for [TS]

  sponsoring the incomparable this is a [TS]

  difficult this high difficulty paying [TS]

  high degree of difficulty right if [TS]

  you're in the Olympics and you you tried [TS]

  I've that's got a certain number of [TS]

  flips right you they say it's a high [TS]

  degree of difficulty [TS]

  this is that I to me that it's hard i'm [TS]

  a little bit i think getting started it [TS]

  is i think it shows the skill that the [TS]

  story department has that the brain [TS]

  trust has that that that Pixar has [TS]

  building these things because you need [TS]

  to have done this is pro level stuff you [TS]

  need to have done a lot of these two to [TS]

  get this right and I do think they get [TS]

  it right because there is so much [TS]

  world-building in the first 15 [TS]

  minutes where they have to show you the [TS]

  mechanics of what happens inside the [TS]

  head and how it how it works outside in [TS]

  the in the person that the the balls go [TS]

  around and there's the thing that goes [TS]

  to long-term memory and there's the core [TS]

  thing that happens with the core [TS]

  memories that glow and I have to admit [TS]

  that there was a moment where I thought [TS]

  wow this there's a lot of information [TS]

  here like this is this is complicated [TS]

  it-it-it past pretty quickly and after [TS]

  about 10 or 15 minutes i thought well [TS]

  you know even if that was a lot of work [TS]

  now it's all pay off because now i [TS]

  understand how this world works but it [TS]

  was it is not a simple you know it's not [TS]

  like what would it be like to be an and [TS]

  it right it's it's a little more [TS]

  complicated than that [TS]

  hey the toys come to life they lead [TS]

  another thing we do understand which is [TS]

  we understand how people are born and [TS]

  their babies and they grow so they [TS]

  started out with the baby and the [TS]

  control panel with the one button and [TS]

  the one emotion of joy and then [TS]

  switching just feel like they I think it [TS]

  was a brilliant way to introduce the [TS]

  world because if they had dumped you [TS]

  right into Riley with her sweet of [TS]

  people on her control panel [TS]

  it might have been a lot to take in but [TS]

  by bringing you by taking you through [TS]

  all she was a baby and she had one [TS]

  button and it was basically she was [TS]

  happier she was said and moved up and [TS]

  became you know like that that sort of [TS]

  brings you along it tells it tells you [TS]

  the rules of the world by analogy two [TS]

  stages of development that you do [TS]

  understand and then we spend most of the [TS]

  movie and the however all she is [TS]

  nine-year-old ten-year-old and that that [TS]

  feels comfortable to us because we have [TS]

  advanced through you know things and [TS]

  showing you [TS]

  they do a couple of like montages you [TS]

  know of of the world building inside and [TS]

  things happening outside and that is a [TS]

  pretty even split between inside outside [TS]

  inside outside with like a voiceover and [TS]

  and the the whole setup I felt like it [TS]

  was very smooth i didn't feel [TS]

  overwhelmed at any point and I I i saw a [TS]

  little bit of the wires how they were [TS]

  doing it but I thought that was fine [TS]

  because I like I said by the time but [TS]

  I'm they're up to any of the scenes that [TS]

  were in the trailer i was completely [TS]

  sold on on the mechanics of how they [TS]

  were going to the movie like it was a [TS]

  second nature for that [TS]

  yeah I i had some drive home thoughts [TS]

  that kind of bad away thinking that well [TS]

  it doesn't make sense that if this is [TS]

  true that maybe that shouldn't have been [TS]

  true and they stated a rule that's [TS]

  beginning that didn't seem to be [TS]

  consistent at the end but it'sit's me [TS]

  write it really is about degree of [TS]

  difficulty where the overall impression [TS]

  that this movie made me with such that [TS]

  it doesn't matter it's this is like [TS]

  arguing that that tomato is not actually [TS]

  a vegetable you just sound you're [TS]

  technically correct but you sound [TS]

  foolish because you're not able to see [TS]

  the reality that's around you and [TS]

  there's just I mean so much that's [TS]

  deeply resonant and unfortunately i [TS]

  don't have kids and after a movie like [TS]

  this that is one of those times where i [TS]

  am the am compelled to say that [TS]

  compelled to say that the sad that I [TS]

  don't have kids and even then even there [TS]

  there's a lot of deep residents for the [TS]

  people that you feel as though you were [TS]

  serving rolls you're hoping that you're [TS]

  serving a certain role in people's lives [TS]

  are hoping that you're doing the right [TS]

  job for them in your own life you [TS]

  recognize the times when boy that was [TS]

  really really tough and I did that thing [TS]

  that I had to do and part of me did [TS]

  crumble away and die and it was replaced [TS]

  by something else but it was something [TS]

  that is not correct to call it [TS]

  necessarily something better but it's [TS]

  something different and that's just sort [TS]

  of the natural way of things and they're [TS]

  very few I mean they're do I can't think [TS]

  of many movies that are intended for [TS]

  kids that can really just said its hooks [TS]

  that deeply you what when the complaints [TS]

  that i've been reading off and on online [TS]

  is that this is not something that kids [TS]

  are really going to get but that's ok [TS]

  there how many great movies have I seen [TS]

  where I enjoyed them on a certain level [TS]

  when I was nine ten or eleven but only [TS]

  when i became an adult and had different [TS]

  perspective was able to really see [TS]

  everything that was going on it because [TS]

  it just opens new layers as you get more [TS]

  layers of sophistication in your own [TS]

  self is a ticking time bomb for kids [TS]

  yeah i watch it now that we're 30 and [TS]

  they have their own because they're [TS]

  gonna watch it again and go all my god [TS]

  movie is destroying me what is happening [TS]

  i'm seeing it again for the first night [TS]

  the the other part i agree with you and [TS]

  there's times where I thought like you [TS]

  know in that world building if if said [TS]

  it touches something that supposed to [TS]

  turn blue that doesn't always happen i [TS]

  had this [TS]

  I'm kind of thoughts but there's another [TS]

  part of me and this is I guess my is [TS]

  Kiki really talking to the cat part for [TS]

  this one excellent and thank you [TS]

  that wouldn't be a visit without me [TS]

  doing that actually I have a I have a [TS]

  kitty cat thing i have a Kiki note 2 so [TS]

  yeah but the but there's a part of me [TS]

  that also think that somebody who is [TS]

  very interested in the idea of [TS]

  mindfulness as i get older and I think [TS]

  more about where emotions come from the [TS]

  the movie they can see the movie that [TS]

  really that works is that there's this [TS]

  control panel in your head and your [TS]

  emotions are guiding what you do the [TS]

  thing that they couldn't do without [TS]

  overcomplicating it is the idea that we [TS]

  also do have control over our emotions [TS]

  right so like when my daughter now we're [TS]

  talking about tonight as tony was kinda [TS]

  stressing out as I couldn't really have [TS]

  that many smart things to say about this [TS]

  what should we talk about it was telling [TS]

  her how like she said well you know she [TS]

  really liked the scene where anger goes [TS]

  against the light bulb how great is that [TS]

  power and plug it in and it's like we [TS]

  were like yeah but you know hangers [TS]

  hangers doing the best he can [TS]

  in that case but like think about what [TS]

  really happened there what we say is [TS]

  we'll anchor had this idea that we can [TS]

  fix this [TS]

  logistical problem my problem of the [TS]

  mechanics of the film basically we fix [TS]

  this problem by running away and that's [TS]

  the story but let's say what really [TS]

  happened rally was mad so she decided to [TS]

  run away from home like when you put it [TS]

  in those terms like any other movie that [TS]

  wouldn't be as interesting but in this [TS]

  case there is this interplay between [TS]

  like what I don't know how you talk [TS]

  about the different parts of ourselves [TS]

  you know without sounding like a loon [TS]

  but like we do have some control over [TS]

  our motion motion an awareness of our [TS]

  emotions and we can with practice get [TS]

  good at deciding who gets to push the [TS]

  button and it but I mean I think if [TS]

  they'd added that as an overt thing that [TS]

  O'Reilly was like that Riley was up [TS]

  sending you know something in a [TS]

  pneumatic tube that they had to all [TS]

  agree on like that that's not the point [TS]

  the emotions are these different island [TS]

  island sorry term of art but these do [TS]

  these different characters with these [TS]

  different jobs different roles but we as [TS]

  people as we get older have more and [TS]

  more executive function over what those [TS]

  emotions will do will do so you know the [TS]

  mechanic they couldn't have without [TS]

  overcomplicating it is the rally also [TS]

  has an impact on her own emotions and as [TS]

  she gets older she'll have more and more [TS]

  ability to do that and but i think i'm [TS]

  glad they didn't overcomplicate that I'm [TS]

  glad they gave us the mechanics [TS]

  understand the vocabulary of how this [TS]

  movie is telling the story and you know [TS]

  it's one of those things where like you [TS]

  know what I like you said and like I [TS]

  don't care if it's all exactly right [TS]

  according to the rules if it feels right [TS]

  it feels emotionally right that this is [TS]

  this is how it feels to be a person [TS]

  the beauty of the of the screen the [TS]

  light bulb there is that you know you [TS]

  have moments of crystallization that [TS]

  come from an emotion and then you move [TS]

  from there and you have to act on them [TS]

  and I felt like that was the metaphor [TS]

  that we really got with screwing in the [TS]

  anger light bulbs and you can't give you [TS]

  a light bulb unscrewed yeah and great [TS]

  for the idea which was you could run [TS]

  away and then she acts on it right but [TS]

  its I like that idea that it's like this [TS]

  is a gem of an idea that comes out of [TS]

  anger but anchors not in the driver's [TS]

  seat the whole time after that it's just [TS]

  like that was the moment that end and [TS]

  you know I think we all feel that way [TS]

  you you have an idea and if you are [TS]

  mindful enough if you if you are enough [TS]

  connected to your own emotions you can [TS]

  be like all right I know where this is [TS]

  coming from and I can you know I can [TS]

  manage this idea and if you have any if [TS]

  you have less of that then you just act [TS]

  out because that idea is there but i [TS]

  think it's interesting the way the way [TS]

  it's it's it's visually put in the movie [TS]

  with the light bulb that goes in it's [TS]

  like we're going to let anger put this [TS]

  in there and then it's in there and it's [TS]

  an end and you're on the path that point [TS]

  she's on that well and I think some of [TS]

  that is is latent that if you if you [TS]

  think about it [TS]

  where do they all sit and Riley's head [TS]

  they're all kind of running around [TS]

  haphazardly where's by the time you get [TS]

  to the mom's head they all have seats at [TS]

  a console right there organizer roll [TS]

  their insurance close they know what [TS]

  they're doing and end up having Los [TS]

  Angeles some have when when you get to [TS]

  see the other adult characters into [TS]

  their heads and and you know to varying [TS]

  degrees but they're there in much more [TS]

  of a controlled much more of an [TS]

  organized fashion than in any of the [TS]

  kids heads are the animals hits which I [TS]

  guess we'll get to later I hope we get [TS]

  to later because i love the cat but you [TS]

  need so i think that is there but again [TS]

  they didn't they didn't call a lot of [TS]

  attention to it they didn't go hey look [TS]

  at us we're doing this extra layer of [TS]

  organization to these [TS]

  characters they just they let it be and [TS]

  they focused on Riley's emotions which I [TS]

  thought was was the right thing and it [TS]

  definitely works mean it [TS]

  what I liked about anger is that it's it [TS]

  again message because top of the movie [TS]

  if it's not necessarily correct [TS]

  psychologically but you have to sort of [TS]

  you there's a residence the fact that [TS]

  anger does the best that anger can just [TS]

  like joy does the best that joy can wear [TS]

  Joy's answered everything is well what [TS]

  if we just force ourselves to be happy [TS]

  anger is like I've gotta do something [TS]

  now I've got to do something active I've [TS]

  got to do something aggressive and of [TS]

  course his his aggression wasn't simply [TS]

  run away but i'm going to all of our [TS]

  memories are back home let's go back [TS]

  home and we'll get them back again [TS]

  without understanding that no you can't [TS]

  go backwards you can only evenly really [TS]

  go forwards but it's I think that one of [TS]

  the most important things about this [TS]

  movie when the most healthy things about [TS]

  this movie is understanding that the [TS]

  emotions that in a lesser movie would [TS]

  have been the villain sadness and anger [TS]

  teaming up just to undermine undermine [TS]

  Riley and every at every event this is [TS]

  the statement here is that no no both of [TS]

  these emotions have a seat at the table [TS]

  I mean one of the many things that you [TS]

  reflect upon when you think about the i [TS]

  will say saintliness of Mister Rogers is [TS]

  that he one of his best songs was have [TS]

  never been so angry that you want to [TS]

  just bite and at entire segment [TS]

  basically telling kids don't be afraid [TS]

  of your anger don't be ashamed of your [TS]

  anger you were you the reason the the [TS]

  reason why your brain is wired to be [TS]

  angry about things sometimes it's [TS]

  because it's a natural emotion and so it [TS]

  had you have to you don't always have to [TS]

  express it but you always have to [TS]

  process it and so if I am I don't want [TS]

  to get ahead of ourselves here but the [TS]

  I've when the other things that struck [TS]

  me immediately when i was coming out of [TS]

  this movie was that I had no idea that [TS]

  one day I would say that the most [TS]

  brilliant scene I've ever seen animation [TS]

  ever was the scene was a scene in which [TS]

  three people simply hug each other [TS]

  because that is just the weight of [TS]

  10,000 anvils just striking the ground [TS]

  outside your house your house shaking [TS]

  everything [TS]

  and the subtly in which this was not [TS]

  only with the great subtlety with which [TS]

  this was rendered animated the [TS]

  performances that pixar got out of those [TS]

  three actors and also the importance of [TS]

  that simple thing the entire movie comes [TS]

  together with a hug and I'm sure that [TS]

  anyone who's listening to this is [TS]

  already heard this before but just in [TS]

  case i want to give the context but the [TS]

  fact that this was all with the movie [TS]

  was about it's not going to be the this [TS]

  is gonna be a frantic car chase through [TS]

  san francisco and it's going to be got [TS]

  cars are going to be leaping over hills [TS]

  and it's going to be a big helicopter [TS]

  shot over the over the bridge as they [TS]

  chase after something rather it's going [TS]

  to know it's going to basically this is [TS]

  going to crisis is gonna end the way [TS]

  that would end for real and it's going [TS]

  to end the most difficult way to write [TS]

  in the difficult way to act and that [TS]

  both as an emotional closer to the [TS]

  storyline and also a representation of [TS]

  everything that makes this a truly great [TS]

  movie [TS]

  it's all there in three and a half [TS]

  minutes but that's why this movie it [TS]

  doesn't end up not being completely [TS]

  devastating to parents because for most [TS]

  of the movie from the parent's [TS]

  perspective you see that this child is [TS]

  in trauma and then in freefall [TS]

  practically the whole world that these [TS]

  parents worked to build up and are they [TS]

  built they built her happy life they [TS]

  built her into a healthy happy person [TS]

  with hobbies and interests and [TS]

  achievements and skills and personality [TS]

  and as it's all crumbling down you see [TS]

  how how powerless the parents are to do [TS]

  anything about it how little awareness [TS]

  they even have that things are that [TS]

  things are going wrong and it's like a [TS]

  horror movie for parents and to the to [TS]

  bring it back at the end it's like to [TS]

  give you hope to say even though parents [TS]

  you're going to be clueless and you're [TS]

  going to be dealing with the moving [TS]

  truck that's lost and you're not going [TS]

  to understand that your child is because [TS]

  growing up and these things are [TS]

  happening and like it you know in the [TS]

  end if you are just there at the right [TS]

  time with like you know that you don't [TS]

  have to that these things are going to [TS]

  happen they're going to be bad [TS]

  I and it's not hopeless it's not because [TS]

  it is certain point the movie it seems [TS]

  hopeless certain point in the movie [TS]

  you're like well that's it this is going [TS]

  to be serial killer like you know [TS]

  they're just gonna you know forget it [TS]

  just signed the kid up like it's just [TS]

  it's so so you notice how it feels [TS]

  inside the kid's head up [TS]

  and you're busy with other things like [TS]

  is there anything we can do is it [TS]

  hopeless and it's like you're if you're [TS]

  not there ninety percent of the time if [TS]

  you just there for the ten percent of [TS]

  you just there when it counts for that [TS]

  hug at the end right to like the back [TS]

  ensure everything up and that can help [TS]

  build new islands and that you know the [TS]

  the the mixed memory with the blue and [TS]

  then the other thing or the and a lesser [TS]

  movie the triumphal return of the orbs [TS]

  they would have been super bright not [TS]

  just yellow but look at what now that [TS]

  you're an older person they're super [TS]

  bright know they're never gonna be that [TS]

  bright again they're always like that [TS]

  they're always going to be darker like [TS]

  that you know it's not they're not going [TS]

  to be super shiny triumphant white light [TS]

  streaming out of them that's not the end [TS]

  of this movie the parents aren't going [TS]

  to be that white light for the thing [TS]

  like the parents are just absent or [TS]

  screwing up for most of the movie don't [TS]

  even know their kids gone frantically [TS]

  looking for them and just you know it in [TS]

  that moment it sells you parents your [TS]

  there is hope [TS]

  like it's terrible and everything and [TS]

  you're probably doing a bad job with the [TS]

  time but if you're if you know if you [TS]

  get the basics right if you're there [TS]

  when you need to be that there is there [TS]

  is hope I still felt at it you know [TS]

  large overwhelming sadness coming out of [TS]

  this movie but the hopeful barbie and [TS]

  makes it knotted up down or a movie at [TS]

  all [TS]

  well another thing I loved about the the [TS]

  rebuilt islands and and there they are [TS]

  different and they're bigger and you [TS]

  know with different shapes and buildings [TS]

  and everything is the thought and I mean [TS]

  this has been it would studies have been [TS]

  talking about this for a while that we [TS]

  kind of rewrite our memories all the [TS]

  time we we don't always have every [TS]

  detail and and the sharpest details [TS]

  might stay there but then you remember [TS]

  someone is wearing a different colored [TS]

  shirt than they actually wore or you [TS]

  remember we're river pet who was there [TS]

  who wasn't actually there are little [TS]

  things like that and i loved how the [TS]

  rebuilt islands I mean yes she still had [TS]

  a family Island but it was different and [TS]

  she still had the sports our area and it [TS]

  was different and you know it so it was [TS]

  a nice evolution but they were the [TS]

  colors were so much more muted [TS]

  everything was less less whimsical but [TS]

  if she had a sibling born her family [TS]

  Island would have crumbled to dust and [TS]

  disciplines I've seen this happen [TS]

  absolutely and you need a new family [TS]

  I'll it has room for this other person [TS]

  and where the hell did they come from [TS]

  like even just something as simple as [TS]

  that which again like one of the ideas [TS]

  that could have been up on the big board [TS]

  like you got it can't fit in where you [TS]

  can fit in the movie but like so much of [TS]

  that Island analogy and just like it [TS]

  watching them crumble and watching the [TS]

  new ones we built like that that fits so [TS]

  well with so many experiences of that [TS]

  particular phase of childhood for Riley [TS]

  having to share that crummy little attic [TS]

  room with a brother or sister oh my god [TS]

  it's been it's been known to happen [TS]

  don't have my keys cat thing by the way [TS]

  the sophistication that I kept thinking [TS]

  they were going to go to I did actually [TS]

  but I get the more I realize they [TS]

  weren't going to go to the same reason [TS]

  they weren't you like there's lots of [TS]

  ideas that can be up on the big board [TS]

  that can fit in this movie they didn't [TS]

  go to this one it's a good idea because [TS]

  going in this direction does not get you [TS]

  anywhere good but like inside the head [TS]

  of every one of those individual [TS]

  emotions of course are a bunch of other [TS]

  emotions right there you know who's [TS]

  running anger like that's it's not the [TS]

  executive function thing that Merlin was [TS]

  talking about but it's closed was like [TS]

  once you're doing this kind of modeling [TS]

  thing that every sort of actor has these [TS]

  individual components with the control [TS]

  board that just reverses and then you're [TS]

  off to the races [TS]

  alright so they didn't do that even for [TS]

  like a little stinger a post-credit [TS]

  sequence they didn't do that but i think [TS]

  you could do some fun stories will you [TS]

  get out in like I'm creating some of [TS]

  this from slate culture culture gabfest [TS]

  but I didn't like lust or maybe [TS]

  ambivalence about that pre-puberty it [TS]

  saves them from a lot of stuff that's [TS]

  why they had the gags at the end if you [TS]

  get into a post pretty yes you need more [TS]

  players at the table because a little [TS]

  bit weird why you'd see on the parents [TS]

  control panels a similar suite of people [TS]

  but you know again scope you got you [TS]

  can't fight scope creep here [TS]

  well you know they do say that like [TS]

  taste is made up of like four different [TS]

  for different components and different [TS]

  degrees right so it's like the varying [TS]

  degrees but you're right then that their [TS]

  sub components inside disgust and anger [TS]

  and they they interacted different ways [TS]

  and and they they combine the team up in [TS]

  different ways like schadenfreude what [TS]

  is that a combination of pp doctor was [TS]

  talking about this i think cash I've [TS]

  heard so much about this i forget me on [TS]

  fresh air was talking about i guess [TS]

  originally if you guys know jump in but [TS]

  originally it was supposed to be joy or [TS]

  happiness happiness and fear they're [TS]

  supposed to be [TS]

  yeah the two main characters [TS]

  you guys have any color on that yeah one [TS]

  and I'm sure that was part of the idea [TS]

  behind casting Amy Poehler and Bill [TS]

  Hader together because we know they play [TS]

  well together so I it was that they had [TS]

  a moment where they realized that [TS]

  sadness was a player that needed to be [TS]

  in here and that's when that's when [TS]

  everything changed apparently yeah and [TS]

  then think about sadness in the movie is [TS]

  that give her kind of a dual role as [TS]

  like the touching things turn things [TS]

  boobs like oh is this the thing that [TS]

  makes you sad but then when she shows [TS]

  like it were talking about like that the [TS]

  sophistication of the layout inside the [TS]

  thing we're in Raleigh said they're just [TS]

  kind of running around no no to do a [TS]

  one-point joy is driving a truck circle [TS]

  on the ground and trying to put like [TS]

  that is that is a child sophistication [TS]

  of dealing with their emotions like [TS]

  maybe i can put sadness and a little [TS]

  chalk circle and you stand like they [TS]

  have no idea what they're doing like [TS]

  this how this works and maybe there's no [TS]

  role for this if you just stand over [TS]

  here can you just don't touch anything [TS]

  and let me do this and I'll just take [TS]

  over like that no idea anything is gonna [TS]

  work and so later when sadness show when [TS]

  she talks to bing bong and makes [TS]

  bing-bong feel better she doesn't make [TS]

  big bug feel sad by touching mama said [TS]

  his touch bring bunkie feels bad now [TS]

  like the function of it's not like she [TS]

  is the source of sadness she is how [TS]

  Riley deals with sadness how is not [TS]

  you're not in service [TS]

  right just like get you enjoy understand [TS]

  joint so when she talked to bring [TS]

  bonkers like it [TS]

  joy can't help being bond feel better [TS]

  hey look at me [TS]

  bing-bong everything aren't you all [TS]

  happy no big box not happy he said in [TS]

  joy and sadness sits down next to him [TS]

  and talk to me she can't she can't help [TS]

  that's not that that's her role and she [TS]

  is useless to damaging and that's it is [TS]

  it's inside the kind of person who Yanks [TS]

  and that that's the beauty part is when [TS]

  you get to where it's it's like the same [TS]

  thing you eventually learn as an adult [TS]

  is like when somebody has someone in [TS]

  their family died [TS]

  don't tell them back up you know don't [TS]

  tell I'm you know the only thing the [TS]

  only consolation I have to offer anybody [TS]

  is I hope someday this feels less bad [TS]

  and that's the only thing can really say [TS]

  to somebody you know and it like that [TS]

  the rebel again that the mechanics to [TS]

  merrr what I obsess about having watched [TS]

  this twice now just the scrubbing and [TS]

  scrubbing on the emotion and it's that [TS]

  moment of we scrub back and it turns [TS]

  blue and you go [TS]

  ok it's it's my sadness that me on the [TS]

  twisty tree that made these people come [TS]

  to me like that has that is more than [TS]

  just like a piece of damaged to be [TS]

  repaired like this has a role in making [TS]

  me a whole person we talked about the [TS]

  user interface of emotion orbs for a [TS]

  moment [TS]

  yeah I think I was going to school and [TS]

  directions wrong it was nice that they [TS]

  could do that with like that sort of a [TS]

  modern you know it's one of the first [TS]

  thing we're seeing a movie or like [TS]

  making out they can do that without [TS]

  explaining it because everybody knows [TS]

  yeah swiping on a glass smartphone [TS]

  interface for emotions right assume [TS]

  still though [TS]

  yeah so I like I just I thought that was [TS]

  really interesting in as a shorthand yes [TS]

  John it was one of those things of like [TS]

  oh we all get this now but that you just [TS]

  swipe with your finger to go backward [TS]

  and forward through the emotion i [TS]

  thought that was just really clever but [TS]

  also funny that you know in in the [TS]

  intervening however many years it is now [TS]

  we all totally get that metaphor [TS]

  yeah our own version that is a telephone [TS]

  like if anyone picked up something and [TS]

  pretended it was like a telephone or any [TS]

  sort of communication device that [TS]

  involved picking up something with the [TS]

  court and holding it to your head like [TS]

  that was ours that you can do and now [TS]

  apparently it's anything glass you can [TS]

  rub your finger and make things go [TS]

  forward but that was such a brilliant [TS]

  metaphor to because that is just so [TS]

  universally true that you can have a [TS]

  memory that was that is just an awful [TS]

  memory and then 10 years later becomes a [TS]

  good memory because you was an awful [TS]

  time but you know what i actually [TS]

  responded in a way that makes me very [TS]

  very proud and I think I learned [TS]

  something from that and that can that [TS]

  can make you happy and then you have [TS]

  memories of that are just bursting with [TS]

  joy and then unfortunately you lose the [TS]

  family member that the the family member [TS]

  that was part of memory and it's hard to [TS]

  look at that photo again and not feel [TS]

  sad that ok i'm not going to be able to [TS]

  see this person everything exactly its [TS]

  natural i mean that that was one of the [TS]

  things we were talking about afterwards [TS]

  with the kids wear again think about [TS]

  sadness and think about when their [TS]

  grandmother passed away and now it's [TS]

  been a couple years and obviously the [TS]

  one the one kid is older than the the [TS]

  other and but they're both they have [TS]

  they have memories of her but it's not [TS]

  quite as sharp now and and and you know [TS]

  the older ones was worried about that is [TS]

  what if I forget about [TS]

  so you won't forget about her you're not [TS]

  going to remember every day that you [TS]

  spent with her and and that's okay [TS]

  because you're going to meet other [TS]

  people and and you can have more life [TS]

  you know but just the thought that there [TS]

  was there is fuzzyness [TS]

  was there is fuzzyness [TS]

  to his memories that was sort of that [TS]

  sank in with this movie hadn't really [TS]

  thought about that before I the home [TS]

  selective memory thing which again is [TS]

  that this idea that all of us have to [TS]

  process our memories and things go to [TS]

  long-term memory from short-term and so [TS]

  and then things get weeded out and and [TS]

  and trying to conceptualize that in some [TS]

  way and do it with jokes do it with [TS]

  funny jokes i was very impressed by that [TS]

  the the you know like let's just keep [TS]

  heart and soul and chopsticks and lose [TS]

  all the other piano since the people [TS]

  that was just I i was i was super i was [TS]

  laughing and also super impressed that [TS]

  this was getting across this concept [TS]

  with jokes that's like wow again degree [TS]

  of difficulty I was very impressed [TS]

  Mikey related thing by the way since [TS]

  it's all about kiki's delivery service [TS]

  even when it's not is it i wanted to [TS]

  bring up this is a film without a [TS]

  villain and one of the things I love [TS]

  about kiki's delivery service is there's [TS]

  no villain it is about her keys internal [TS]

  struggle and coming of age and this is a [TS]

  movie like that i mean there is an [TS]

  internal struggle in in this film but [TS]

  it's dramatized the characters are the [TS]

  internal struggle which is kind of [TS]

  interesting but even there there's no [TS]

  real villain joy think sadness is the [TS]

  villain but sadness isn't the villain [TS]

  which is which is exactly what joy [TS]

  should think i think so i think it's [TS]

  just the joy is and here and here is [TS]

  where Amy Poehler and where was riding [TS]

  her dialogue just they just deserve [TS]

  Awards it's she's pushy she's bossy she [TS]

  really does think that her job at the [TS]

  job of all of them is to keep keep Riley [TS]

  happy that's how that's gonna be the [TS]

  solution everything and I don't think [TS]

  she's so much bullying sadness so much [TS]

  as hoping that the team is going to the [TS]

  feeling as those sadness is going to be [TS]

  holding the team back and it eventually [TS]

  really does it and any other actress i [TS]

  think it was amy g Amy Poehler she's [TS]

  just smiling and giggling if she's [TS]

  telling you that you got eight months to [TS]

  live [TS]

  it just comes out in a happy way it's [TS]

  and non-threatening I just don't think [TS]

  that it's a very very soft balance they [TS]

  did between making her the bully and [TS]

  just making the point that joy is just [TS]

  clue [TS]

  spot anything that does not involve [TS]

  being happy it's a fine line to walk in [TS]

  the fact that your main characters in [TS]

  this film can't really grow [TS]

  I mean they can in a way in in getting [TS]

  some other their nuanced and getting [TS]

  some of the rough edges sand it off but [TS]

  you know joy doesn't turn into sadness [TS]

  joy learns how to live with sadness and [TS]

  in a normal character in a film you you [TS]

  wouldn't treat like this and i think [TS]

  that I'll add that to the difficulty [TS]

  scale too is that these are emotions [TS]

  personified they can't have the same [TS]

  character progression I think they can [TS]

  be as likely to be in the adult version [TS]

  is there more chill like I said I get [TS]

  the idea is a little off yes but you [TS]

  still have the rules that they have to [TS]

  play well the actual image of joy [TS]

  drawing a truck circling around trying [TS]

  to put sadness and it is such a visual [TS]

  manifestation of so many mental so many [TS]

  poor coping strategies that adults have [TS]

  forget about kids don't sound yeah that [TS]

  this is a viable strategy that if I find [TS]

  said mrs. gimble in a circle and draw [TS]

  the circle around then i'll be happy all [TS]

  the time like it nevermind kids thing I [TS]

  think that's it level of sophistication [TS]

  kids aren't don't have in their own head [TS]

  but certainly many adults like the their [TS]

  strategy for dealing with those guys are [TS]

  running around their heads just is [TS]

  terrible like there's no manuals on the [TS]

  wall like they have here of like trying [TS]

  to fit you know like what you want is [TS]

  these all these characters to get to the [TS]

  point where they're all sitting nicely [TS]

  at the console all with their hands on [TS]

  the controls at appropriate times being [TS]

  called on to you know like working as a [TS]

  team vs in you know in and Riley's head [TS]

  where their adversarial and there's [TS]

  still the possibility that one is going [TS]

  to be like you know like what is our [TS]

  goal our goal is to do exactly just in [TS]

  our goal enjoy defines our goal our goal [TS]

  is to make really happy all the time [TS]

  because that was a viable strategy when [TS]

  she was a baby and either you're angry [TS]

  because you're you're hungry or [TS]

  something or you know like that that [TS]

  that that was the outline everyone else [TS]

  was like subservient to drive is like [TS]

  well you know we did what we all want [TS]

  Riley to be happy right like the whole [TS]

  idea that when you're a kid you think [TS]

  that being happy is the state that [TS]

  you're supposed to be and that you're [TS]

  all you know everything is working [TS]

  towards you should be happy all the time [TS]

  and that is not a a good strategy for [TS]

  adults [TS]

  to have because it's just it will make [TS]

  you miserable in the end and so it's [TS]

  nice with the exception of maybe the bus [TS]

  driver that the adults that seemed to [TS]

  have settled into a spat a job [TS]

  description for all the different [TS]

  components that is reasonable and that [TS]

  involves all of them that one has not [TS]

  come to dominate even though sadness in [TS]

  charge in the moms not sad all the time [TS]

  sadness is very articulate and [TS]

  discussing things and they work as a [TS]

  team to get mom can do things that's [TS]

  very appropriate because the mission of [TS]

  a child keeps changing every year [TS]

  year-and-a-half rest the mission of an [TS]

  adult who maybe soon as you have kids [TS]

  it's pretty little there's very little [TS]

  changes for decades so nothing provokes [TS]

  a team to gel together understand what [TS]

  each one's role is as consistency and I [TS]

  think that's part that I think this but [TS]

  a stability that that that helps out [TS]

  that scenario that we represent one of [TS]

  the biggest laughs at the end comes [TS]

  where the new dashboard comes in and [TS]

  there's a button marked puberty that's [TS]

  covered with you sir turn your key [TS]

  Launch System notice that yet and you [TS]

  just know that the sequel to this is [TS]

  just gonna be really really hard for for [TS]

  everybody it's like that forehead that [TS]

  was the best of visual gag line i think [TS]

  with the the the inside of the boy's [TS]

  head who's justice baby what happened [TS]

  hasn't been actually accurate i think [TS]

  the chaos and girls like that girl that [TS]

  was going but it's just their they're [TS]

  running on the ceilings they're just you [TS]

  know they're hair's on fire [TS]

  it's complete chaos yet that there was a [TS]

  beautiful visual representation of I [TS]

  mean this is about animation can do [TS]

  right is a visual gags like you get the [TS]

  pet if you've established this world [TS]

  that I love that they saved most of [TS]

  those to the end it's like we've we've [TS]

  told the star we're going to take this [TS]

  to tell we have a bunch of really funny [TS]

  ideas for gags didn't fit in the [TS]

  restroom over here they here are the [TS]

  best three of them I felt like that [TS]

  might have come from earlier drafts of [TS]

  the script like maybe one of the [TS]

  approaches to the story they threw out [TS]

  was that you get to see you get to see [TS]

  inside all kinds of people's heads right [TS]

  for they figure out that no we really [TS]

  need to make it it's all about Riley and [TS]

  we're gonna peek into different 444 [TS]

  effect we're going to [TS]

  take peaks once or twice but you you got [TS]

  a wife I felt maybe as though there is [TS]

  going to be as the was supposed to be a [TS]

  scene with the the pizza clerk at a [TS]

  scene with the Tennessee with these [TS]

  other with a bus driver because it's the [TS]

  wastebaskets of pixar they're really [TS]

  good wastebaskets there's a throw things [TS]

  in there and Dreamworks and Fox are like [TS]

  yeah why don't we will do that for you [TS]

  like a home movie at gag and I mean that [TS]

  the beautiful part of it is that you [TS]

  have this overwhelming and melancholy [TS]

  and sadness by the end and then they [TS]

  give you all these quick gags to just [TS]

  sort of leave you on a greased note and [TS]

  just not ready to give you a chance to [TS]

  recover the family's gonna be okay we're [TS]

  not going to leave you worry that [TS]

  there's gonna be hard hard more horrible [TS]

  things coming up and you know I i loved [TS]

  the the glimpse and then in the boy's [TS]

  head but I still love the cabinet this [TS]

  is your I want to bring up some things [TS]

  about this but this is also your time to [TS]

  talk about the cat that this David yes [TS]

  the the thing i love about that is that [TS]

  all of the all of the emotions in the [TS]

  cat's head couldn't care less and it [TS]

  just happens to be that the fear cat is [TS]

  just walking on the console is going to [TS]

  em and you come back and the caps passes [TS]

  out like yes this was this was made by [TS]

  cat owners they know they know they know [TS]

  how it works so I i think it's an [TS]

  interesting theory that there used to be [TS]

  more of this the end credits is a very [TS]

  nice way to use the end credits to be [TS]

  like this is the logical extension and [TS]

  we're going to of of this premise and [TS]

  now we're going to use it to drop it [TS]

  needs these jokes but I want to talk [TS]

  briefly at least i want to mention the [TS]

  scene early on or or the scene in the [TS]

  debt the what is at the dinner table [TS]

  where we see everybody's pilots [TS]

  everybody's emotions and because that is [TS]

  a scene that struck me as as kind of [TS]

  breathtaking in its in the information [TS]

  density and in the like like I've only [TS]

  seen the movie once I imagine that's a [TS]

  scene that I could watch 20 times and [TS]

  get something different every time and [TS]

  even watching it the one time I thought [TS]

  oh my god this is like on a whole other [TS]

  level because there's so much in such a [TS]

  short [TS]

  period of time and then there are funny [TS]

  gags and and you let it wash over you [TS]

  and you laugh at it but i also was just [TS]

  so impressed with there are so many [TS]

  layers there that you were singing [TS]

  you're getting a brief glimpse into [TS]

  everybody else and how they work too and [TS]

  then you sort of swept away and you go [TS]

  back to the plot and and it's done at [TS]

  one moment and it's done basically for [TS]

  laughs but at the same time there's so [TS]

  much in there and there's no time to [TS]

  dwell on it we just move on i was just i [TS]

  that that is the one seen that really [TS]

  left me breathless basically like oh my [TS]

  god what did I just see I cannot believe [TS]

  I just saw that and you know if I was [TS]

  watching it on a on a on a DVD or [TS]

  something i would back it up and watch [TS]

  it again several times i was very [TS]

  impressed by that [TS]

  um i'm gonna i'm going to list some [TS]

  other things that that I I don't think [TS]

  we've talked about that i always want to [TS]

  mention John at one point earlier [TS]

  mentioned his train of thought I i [TS]

  enjoyed the train of thought I thought [TS]

  that was again another another kind of [TS]

  funny gag but that that also had had [TS]

  meaning and it was a nice i love it when [TS]

  you can when you can make the jokes also [TS]

  be meaningful and there's a lot of facts [TS]

  and opinions yeah oh yeah I got a big [TS]

  laugh the two times I thought we have [TS]

  that that's a really good one [TS]

  um I pictures based in emeryville which [TS]

  is across the bay from San Francisco [TS]

  there are lots of San Francisco and [TS]

  Silicon Valley jokes and miss at the [TS]

  expense of San Francisco and Silicon [TS]

  Valley in general and I you talking [TS]

  about we talk about bring I i want my [TS]

  brain t-shirt you ruin pizza to the [TS]

  registry San Francisco you ruin feet and [TS]

  it's just that it's done very knowingly [TS]

  and that's the beauty i heard some [TS]

  people are like haha make fun of [TS]

  Francisco you live there and I'm like [TS]

  yeah they live here too they know [TS]

  exactly what it is a surgical precision [TS]

  Seattle the depiction of the entire [TS]

  feeling of moving to san francisco was [TS]

  so great so perfect welcome to three [TS]

  labs so the timeless and but i will say [TS]

  my wife was annoyed because she loves [TS]

  white pizza with broccoli so and she got [TS]

  in the east coast so artisan pizza place [TS]

  only sold that kind of pizza right key [TS]

  people not just as they did [TS]

  different pieces of putting probably on [TS]

  it but that is the only kind of peace [TS]

  that is of course everybody was a kid it [TS]

  was plausible and and you know dad's [TS]

  gotta start up with funding and that's [TS]

  why they moved its all you know [TS]

  Thank You Silicon Valley for ruining [TS]

  Riley slide yeah and then the key plot [TS]

  of the movie like what happens in this [TS]

  movie a family moved to Minnesota so to [TS]

  san francisco that's it that's and is [TS]

  the crisis in the movie but if you're a [TS]

  little girl it is i want to sidebar and [TS]

  complement the movie for giving the [TS]

  parents that who cannot possibly be the [TS]

  center of this they have to be at the [TS]

  margins but in those few lines they give [TS]

  them they give them a good reason to be [TS]

  behaving the way they're behaving that a [TS]

  move across the country is incredibly [TS]

  stressful dad would be easy to make him [TS]

  into like madmen sort of characters are [TS]

  all I I've moved the family because I [TS]

  we're going to achieve and I've got my [TS]

  goals [TS]

  it's like no he stressed out because [TS]

  look their investors are pulling out he [TS]

  doesn't have too lately people off so [TS]

  his focus is not on the family at this [TS]

  moment the the mom has her focus is not [TS]

  on the family over these next three four [TS]

  days because there's a truck somewhere [TS]

  with all their belongings in it and no [TS]

  one seems to know where it is [TS]

  so you can be so easy to make them into [TS]

  just in a tent of jerks herself involved [TS]

  in some way but they know you you really [TS]

  like these people they're way more [TS]

  well-adjusted an actual parents would be [TS]

  a situation like this is an idealized [TS]

  version we all wish we could be as and [TS]

  even then they end up saying the wrong [TS]

  thing to their kids are ignoring a lot [TS]

  of time but at least they don't blow up [TS]

  their kids will be much more realistic [TS]

  it was actually the dad who stopped the [TS]

  head of that poor Mouse he saw something [TS]

  small and living he had killed somebody [TS]

  but but the nice thing about it is that [TS]

  even at that in their own ways they are [TS]

  worrying about family it's just their [TS]

  priority i have the one worried about is [TS]

  different right and he's worried about [TS]

  not just his own family but his work [TS]

  family who are also dependent on the [TS]

  investors in the success of brang [TS]

  whatever that and and you know the mom [TS]

  is worried about their stuff i mean you [TS]

  can't you can't live without your stop [TS]

  but they also but they also i mean like [TS]

  in in fairness to the parents you know [TS]

  and they end up obviously this ends up [TS]

  being a little bit of a problem is that [TS]

  they think of riley is it basically [TS]

  happy well-adjusted kid right well if we [TS]

  provide these basic things and this is [TS]

  again this place right back into the [TS]

  whole story arc is the joy runs that [TS]

  show Riley has always been a happy kid [TS]

  she'll probably be fine [TS]

  so you know when the mom goes in and [TS]

  says you know we have only all done this [TS]

  you did no one wants to admit this but [TS]

  you have said hey you looking just like [TS]

  the not not a sad tomato for a couple [TS]

  weeks like this is a tough time we all [TS]

  gotta power through this like I didn't [TS]

  see her as being a huge villain in that [TS]

  I saw her as saying like hey you know [TS]

  you're basically happy person can you [TS]

  just be basically happy for a while [TS]

  it's something we all do all the time [TS]

  but it the one moment that they [TS]

  shouldn't have like it's it's exactly [TS]

  the wrong thing to say at the wrong time [TS]

  because like the kid is in crisis and [TS]

  you're saying by the way I know you like [TS]

  that it's not even acknowledging the [TS]

  crisis saying look mommy daddy are [TS]

  having a difficult time here it's tough [TS]

  for everybody liked it we look we're so [TS]

  thankful that you have been your normal [TS]

  happy self [TS]

  this is like and she's like my normal [TS]

  happy what I'm going through you know [TS]

  problems here that had such personal [TS]

  residence to me because i remember a [TS]

  time when I was a kid and my mom thought [TS]

  that she was being some grateful and [TS]

  nice and encouraging which he said [TS]

  something almost exactly like the one [TS]

  you know there's a lot of problems right [TS]

  now and I just it's just makes us so [TS]

  happy to know that we don't have to [TS]

  worry about you and I'm like okay I hope [TS]

  you have god I'll be I'm dying inside [TS]

  but i will make sure that unit now I [TS]

  know I wasn't mad and I feel bad about [TS]

  how I feel bad but now I know there's no [TS]

  hope for rescue the one people in the [TS]

  world do I think are supposed to [TS]

  understand me think everything is fine [TS]

  and are thanking me for everything being [TS]

  fine so my choices here are to [TS]

  disappoint them by not being fine by or [TS]

  you know to create likely but my parents [TS]

  are having prior up there was a problem [TS]

  with my parents but it's like they're [TS]

  voided if the way that i can show [TS]

  gratitude is by not causing more [TS]

  problems by you know again being upset [TS]

  with something happened at school today [TS]

  so I was like oh boy that was a great [TS]

  scene and for the record I've I've [TS]

  decided that bring is a service that [TS]

  comes to your house and takes all the [TS]

  boxes that other stuff was delivered to [TS]

  your house away they take them away and [TS]

  they are they leave without they leave [TS]

  without stealing so it's over but for [TS]

  recycling [TS]

  I I thought it was a servant more [TS]

  advanced dropbox right what did you [TS]

  bring [TS]

  well we bring this thing over here and [TS]

  never going to [TS]

  it over to you and you can download it [TS]

  here and she is just their boxing but i [TS]

  think the ring is the brain is the [TS]

  opposite of bringing so things were [TS]

  brought to you and now Brandon takes the [TS]

  background and your your your the fact [TS]

  he's from minnesota i believe bring is a [TS]

  way of organizing and cataloging people [TS]

  bringing opted for potluck right so you [TS]

  don't get for noodle salads it's like [TS]

  it's like dude foods roll it's super hot [TS]

  dish superfluous theories about the [TS]

  reason why the funding back out is that [TS]

  they misjudged how many Lutheran's [TS]

  actually live in the Bay Area well [TS]

  that's why I Frank's gonna have problems [TS]

  that's what i'm saying i also want to [TS]

  mention the scene that I think is just I [TS]

  mean it is kind of pics are showing off [TS]

  going completely off model and [TS]

  brilliantly where they entered the area [TS]

  of abstract yeah yeah and yet we get [TS]

  different art styles through that whole [TS]

  segment to the end where they become [TS]

  two-dimensional and you get that great [TS]

  joke like everybody just fall down just [TS]

  fall down or two-dimensional fall down [TS]

  then you can go through the door [TS]

  maybe I'm a scourge but I want to cut [TS]

  that scene really now because I don't [TS]

  think it's brilliant but just because I [TS]

  don't feel like I feel like it was one [TS]

  of those ideas they just couldn't let go [TS]

  because it was too good too good of an [TS]

  idea like it doesn't it doesn't [TS]

  necessary other than I think maybe it [TS]

  makes you think a little bit more about [TS]

  how trustworthy bing-bong is why i think [TS]

  it's i think it's important for Bing [TS]

  bongs trustworthiness or intelligence [TS]

  but i do think it is important to be [TS]

  able to show abstract thought and to be [TS]

  able to say there's there's still stuff [TS]

  we don't understand and even even those [TS]

  of us who live in this place don't [TS]

  understand what's what's going on with [TS]

  other dimensions to I wouldn't realize [TS]

  abstract thought with an analogy to [TS]

  abstract art I wouldn't have gone that [TS]

  far and I feel like they did that seem [TS]

  like I'm not saying it was bad but like [TS]

  I usually they cut everything so perfect [TS]

  and I feel like this one because they're [TS]

  animators is just too good to let go [TS]

  it wasn't very long think that's okay i [TS]

  mean you gotta you gotta sometimes go [TS]

  down the hill and your snowboard and do [TS]

  the do the 360 that was the completely [TS]

  unnecessary just to show how much your [TS]

  enjoying doing this I think that was not [TS]

  we're not we're not we're not talking [TS]

  about lava the shorts that preceded it [TS]

  but one of the things that disappointing [TS]

  me about is that what I love about pixar [TS]

  shorts is that it's we got six minutes [TS]

  to do something completely different use [TS]

  a technique we've never known before [TS]

  done something really experimental and [TS]

  it was just a very [TS]

  dimensional thing so is good with with [TS]

  every single shot in this movie [TS]

  practically being something experimental [TS]

  where it's a canvas where anything can [TS]

  happen the art direction can be [TS]

  literally anything i just thought that [TS]

  at some point they're close enough to [TS]

  just being completely abstract they may [TS]

  as well just have a scene which they [TS]

  just have color form stickers on the [TS]

  screen for for a good three minutes i [TS]

  enjoy the abstract stuff as a in fact [TS]

  I'll honestly a little bit as a respite [TS]

  from the plot at that point just to have [TS]

  some laughs in a row they throw so much [TS]

  at you in that in that part of the movie [TS]

  there's so much stuff it is a little bit [TS]

  like there's a Looney Tunes cartoon [TS]

  that's employees very much like duck [TS]

  c'mon let's stop [TS]

  we're going to do this Looney Tunes [TS]

  thing and then we'll continue with the [TS]

  plot and it's so it's kind of almost [TS]

  just a relief to laugh at how totally [TS]

  left field it is and then move on with [TS]

  the film so I i enjoyed it because it [TS]

  was so daring and weird and I and yeah [TS]

  maybe a little bit of a respite you know [TS]

  i think was actually necessary because [TS]

  that and told the entire sequence it's [TS]

  so tightly allegorical where it's like [TS]

  we are now in the room where all the [TS]

  memories are and now we're in the place [TS]

  where everything looks like a game [TS]

  because it's this it's like it's nice to [TS]

  have those three minutes which know we [TS]

  the audience are completely disoriented [TS]

  we have no tethered to reality just like [TS]

  the characters do it for the animation [TS]

  styles in the movie i thought the the [TS]

  regular part of the movie had enough [TS]

  interest of different things that you [TS]

  know that Pixar and done before i had [TS]

  like the texture of joy skin was not she [TS]

  wasn't a muppet she didn't have fur she [TS]

  wasn't smooth she wasn't fuzzy she was [TS]

  impossible to pin down every time you [TS]

  would try to look at what is joy surface [TS]

  made of it was you know Africa slows [TS]

  yeah I wish it was like watching [TS]

  molecules but as I used up of a bunch of [TS]

  motes of light and was also the very [TS]

  slightest trail like a little tiny [TS]

  trailer pixel like pixie dust when she [TS]

  moves around [TS]

  yeah I'm just brilliant show chill down [TS]

  like if you look at the the joys inside [TS]

  the adults they're not as sparkly and [TS]

  it's like they always do something like [TS]

  some some new texturing or lighting [TS]

  technique or whatever [TS]

  and.and in this movie was on main [TS]

  characters and it was just really i [TS]

  think it lent a visual interest to the [TS]

  movie that like there there's a certain [TS]

  a certain kind of I feel like a pic out [TS]

  maybe i'm picking at render man I don't [TS]

  know what I'm picking out but i can i [TS]

  can pick out a pixar sort of look and [TS]

  feel of how they light their scenes and [TS]

  everything you can show me a shot from [TS]

  brave and shot from strek that are [TS]

  showing like a table and I could tell [TS]

  you which is which because it just looks [TS]

  different and this one I think look [TS]

  different again then all of the earlier [TS]

  pixar movies in an interesting way which [TS]

  is again why I think you didn't need the [TS]

  abstract animation thing because the [TS]

  rest of the movie was also very [TS]

  inventive these weren't just like oh [TS]

  this is exactly how we draw people in [TS]

  toy story 3 and now they're just gonna [TS]

  be a bunch of people running around in a [TS]

  head they really thought about every [TS]

  aspect of that internal world and how it [TS]

  can be different and hyper real and like [TS]

  and the real world was sort of more like [TS]

  hey we can do people now decently [TS]

  whatever but inside the head world if [TS]

  you know is fair game to make things out [TS]

  of clay or shiny plastic or blowing [TS]

  bubbles bouncing around or whatever [TS]

  right but but every other portion of of [TS]

  the interior stuff was very [TS]

  comprehensible and and so I felt I felt [TS]

  it really needed something to say that [TS]

  no we still don't understand every part [TS]

  of the brain and even even they don't [TS]

  understand your project was just the [TS]

  crew just cleaning that was burned that [TS]

  stuff out you know like the idea that [TS]

  there are sections they get messed up [TS]

  and you just burn them out by [TS]

  simplifying them down to their elemental [TS]

  thoughts may just prove away you could I [TS]

  get another way they could have gone in [TS]

  like the early meetings for this is 0 [TS]

  the inside of the mine the whole movie [TS]

  could have been like that the whole [TS]

  movie could have been super abstract [TS]

  experimental like something that you [TS]

  would see on a one-off episode of like [TS]

  the electric company or something they [TS]

  would just blow your brains out which is [TS]

  what i said in the beginning it's sort [TS]

  of like that's what is what when it was [TS]

  first described that's what I wasn't [TS]

  expecting maybe that's what they were [TS]

  initially thinking and then it evolved [TS]

  into society still gotta have a story [TS]

  you know you can't get away with you you [TS]

  gotta have a story cannot be like super [TS]

  abstract and and yet 422 to contain what [TS]

  it contains and still have that story it [TS]

  is [TS]

  yeah it's an impressive achievement to [TS]

  do that [TS]

  or we are running out of time but I [TS]

  wanted to see if there are there other [TS]

  things that you wanted to bring up to [TS]

  talk about that we haven't covered the [TS]

  triple dent gun cum jingle Oh best [TS]

  running gag the last 15 minutes [TS]

  remaining [TS]

  my wife has a as an encyclopedic [TS]

  knowledge of certain TV commercial [TS]

  jingles from her childhood now that it [TS]

  is amazing and so that was a moment [TS]

  where i had to give her a little elbow [TS]

  okay in here but yep yep yep she knew [TS]

  she knew this stuff you just did it [TS]

  stuck in there you can't get it out [TS]

  you want to get out but you can't yep i [TS]

  like to highlight the fact that this is [TS]

  a Pixar movie and the main character is [TS]

  a girl [TS]

  yeah and it hadn't seen that brought up [TS]

  a lot because the concentration is [TS]

  entirely on the the world inside the [TS]

  head of the person you know right [TS]

  and interestingly the emotions inside [TS]

  the head aren't or all girls or boys [TS]

  either but like the main characters [TS]

  movie riley is a girl and it did didn't [TS]

  have to be that you know the issue she [TS]

  could have been a boy in this movie [TS]

  would work just as well and so it was a [TS]

  choice to say you know what we have [TS]

  enough movies where the main character [TS]

  is a boy how about some more the main [TS]

  character is a girl and I think that [TS]

  that goes a long way and then character [TS]

  inside the head [TS]

  joy is female sadness also female given [TS]

  the gender makes inside the head is [TS]

  interesting i don't know if there was a [TS]

  rhyme or reason for that error is just a [TS]

  casting choice or whatever just decided [TS]

  these like why aren't they all girls [TS]

  inside the head you know there's well [TS]

  that you know we we see we see some of [TS]

  the female quote-unquote emotions with [TS]

  mustaches in the dad's head right yeah [TS]

  well it looked like all of the emotions [TS]

  in each of the parents heads were the [TS]

  same gender and I think Riley's clearly [TS]

  a tomboy with with her love of hockey [TS]

  and everything so she hasn't said she [TS]

  hasn't quite decided maybe and you know [TS]

  maybe that involves I don't know [TS]

  well I like I'm none of those things [TS]

  were plot points like yeah she likes [TS]

  hockey so watch is a girl so what like [TS]

  it did and it hasn't come up in any of [TS]

  the reviews of my co take your little [TS]

  girl to see inside out you know which i [TS]

  think is appropriate because no one ever [TS]

  says I'll take your little boys to see [TS]

  whatever the spooky is no just because [TS]

  the makers of the boy [TS]

  obviously you can't take girls it like [TS]

  it is [TS]

  sort of casual up improvements and [TS]

  gender parity and the whole mixed-gender [TS]

  inside the head things for kids is [TS]

  another curves unlike ambience like I [TS]

  don't think that was a big message of [TS]

  the movie but i think it's there i think [TS]

  it will work its way into into people's [TS]

  heads and in the same kind of way that [TS]

  you know frozen is a you know a giant [TS]

  allegory for not enough the side of the [TS]

  right world David tell me for [TS]

  homosexuality like just they snuck that [TS]

  in there and the city movie that [TS]

  everyone going to take their kids to [TS]

  write not in this movie that you know [TS]

  gender identity issues and gender roles [TS]

  and the idea that you can have a summer [TS]

  blockbuster we centered around a girl [TS]

  and everyone will go see it and it's [TS]

  fine and have nobody talking about any [TS]

  of that and just have to be there [TS]

  I like that yeah I don't wanna I wanna [TS]

  bring the place down bring us down [TS]

  Merlin well I you're gonna make this [TS]

  craft you touch it if you touch it it's [TS]

  gonna turn sad [TS]

  don't touch it Merlin it's a half hour [TS]

  past midnight right now and i'll be [TS]

  going to bed about 20 minutes send me to [TS]

  bed just a feeling Carolyn I'm drawing a [TS]

  circle on the floor [TS]

  stay inside the circle grabbed me by my [TS]

  ankle and drag me around [TS]

  well i was gonna be a little time but I [TS]

  mean just I i just think that sadness [TS]

  was a triumph but they have a highlight [TS]

  is I guess the memory dump because [TS]

  that's where I really felt my harp heart [TS]

  ripped out and i think it was so well [TS]

  done and I feel like I you know I could [TS]

  watch this movie a few more times and [TS]

  still gets so much about on the one hand [TS]

  the the emotional arc of the movie [TS]

  really just blows up in the memory down [TS]

  because if you really think what's [TS]

  happening you know joy the the basic [TS]

  emotion the emotion is kind of the boss [TS]

  that runs the the center is gone [TS]

  she's in this memory dump and there's [TS]

  just something so like it maybe even [TS]

  more than the toys headed toward the [TS]

  incinerator in toy story 3 there's [TS]

  something just gut-wrenching about the [TS]

  way that she's picking up these memories [TS]

  that she remembers these are kind of her [TS]

  memories to these these black these [TS]

  charred memories and she's watching [TS]

  disappear around her [TS]

  there's something so affecting about [TS]

  that scene [TS]

  and it's not it's not exactly mawkish is [TS]

  what's weird is it's because you're like [TS]

  you would not appreciate joy as her own [TS]

  character and understand that for joy as [TS]

  a hard-working part of this console team [TS]

  like she knows like that's her memory to [TS]

  going away and just sitting there and [TS]

  watching those go away is was was rough [TS]

  but you know also then when they sing [TS]

  the song and in the end the rocket you [TS]

  know wagon shows up I just like that [TS]

  whole bit was about as dark as you could [TS]

  get and still be so triumphant and I [TS]

  think I feel like that is a master class [TS]

  in a certain kind of economical [TS]

  storytelling down to the the fully of [TS]

  what it sounds like when you tumble down [TS]

  a whole bunch of dying memories down to [TS]

  like how economically they compressed [TS]

  the three different tries that getting [TS]

  up to the cliff did that to me feels [TS]

  like a master course in a certain kind [TS]

  of a certain kind of storytelling that i [TS]

  thought was I thought it was just I [TS]

  thought was brilliant absolutely the the [TS]

  pacing of that is so well done and I [TS]

  mean I always make jokes about Chekhov's [TS]

  gun right you know if you reduce a gun [TS]

  in the first act that has to go off by [TS]

  the third act and so I make jokes about [TS]

  you know all the cops check out the [TS]

  wagon [TS]

  I always just sort of sit back and let [TS]

  pixar wash over me and and the [TS]

  thirteen-year-old leaned over and said [TS]

  as as joy gets up to the the thing we're [TS]

  in then leaves bing-bong he said that [TS]

  was checkups imaginary friends rocket [TS]

  wagon [TS]

  yeah and I went son of ya NE that's the [TS]

  exact alignment I knew that wagon was [TS]

  coming back i was still surprised an [TS]

  anti delighted by the fact that you guys [TS]

  you know I assumed it would come back in [TS]

  a triumphant seen to a swell of music [TS]

  with rainbows bursting from behind it [TS]

  and it did sort of but not really [TS]

  yeah i mean and it didn't get exactly it [TS]

  didn't fulfill your expectation of it [TS]

  which was just beautiful also died I i [TS]

  was nicely misdirected by that I thought [TS]

  that when the wagon was tossed into the [TS]

  pit into the pit [TS]

  it was basically if not not [TS]

  put being put some place where it can be [TS]

  used again so much as reminding [TS]

  everybody by the way you lose what's [TS]

  that goes back in the pit it never comes [TS]

  back again so here's the spot a danger [TS]

  so wasn't until the characters [TS]

  themselves were thinking gosh we're down [TS]

  here how we're gonna get out there [TS]

  I'm the way I didn't think about that [TS]

  until the other characters did which is [TS]

  something that I really really like you [TS]

  know you did but we talk about the one [TS]

  but maybe this is the one point where I [TS]

  had that sort of okay I can see I can [TS]

  see you solving a problem in the writers [TS]

  room was you have this a lot of comedy [TS]

  from the fact that joy is trying to [TS]

  protect these core memories and bring [TS]

  them back and she's kind of juggling [TS]

  them because of their awkward at all [TS]

  big 1i have a bag you want to want to [TS]

  bang one about your character oh wow [TS]

  that would solve the problem having to [TS]

  animate I me boy that would be a lot [TS]

  more convenient to carry this around in [TS]

  the kitchen sink comes out in a memory [TS]

  dump talking about getting dark [TS]

  the darkest part of this movie I think [TS]

  they don't really go towards busy [TS]

  because they shouldn't is so you've got [TS]

  all these component emotions and [TS]

  characters in the end and she's losing [TS]

  them and then enjoy goes into the memory [TS]

  dump like so many plot points that [TS]

  happen inside this movie are one step [TS]

  away from madness basically saying when [TS]

  this happens when your joy was in the [TS]

  memory dump and disintegrates like [TS]

  you've got problems you know this [TS]

  synthesis you know so many things that [TS]

  can go simple things that can go wrong [TS]

  in terms of people getting lost and no [TS]

  longer being at the console are [TS]

  essentially like terrible mental [TS]

  illnesses or madness [TS]

  it's so close to uniting like we know is [TS]

  a Pixar movie they're gonna you know [TS]

  we're gonna come back was going to be [TS]

  new islands or whatever but it and you [TS]

  like at various points this moving like [TS]

  where they going with this like is this [TS]

  kid like i'd mention you have a serial [TS]

  killer but even just something like it [TS]

  its once you have this world established [TS]

  mundane things that happened in it have [TS]

  massive consequences for the future of [TS]

  that but like what if what if you can't [TS]

  feel joy what if your joy loses a leg [TS]

  right now how is that affect you for the [TS]

  rest of your life what if one of your [TS]

  sadness is giant and eats to your other [TS]

  emotions like you know like what what [TS]

  status designed a stroll you know [TS]

  like the parity and sorry we only have [TS]

  enough thought bubbles for four of us so [TS]

  one of you I think you know what to do [TS]

  I kind of imagined I i had that same [TS]

  thought John and and I was thinking that [TS]

  that what happens if joy were to [TS]

  disintegrate there and my thought is [TS]

  that at some point after some therapy [TS]

  you know a new joy would appear in the [TS]

  hand like a little bit like we were I [TS]

  think alternative read The Sandman I [TS]

  think we're all thinking about how we [TS]

  can help like the light becomes delirium [TS]

  and how dream becomes Daniel I think [TS]

  that those affecting some of our thought [TS]

  processes well and I that's another [TS]

  thing to bring up is we haven't even [TS]

  talked about the dreams the dreams icon [TS]

  which I me not how brilliant was that [TS]

  the reality distortion filter yeah yeah [TS]

  well that was a laugh-out-loud moments [TS]

  for some of us [TS]

  the reality star trek something was [TS]

  believer everyone yeah yeah I thought [TS]

  you had that the dream the the idea that [TS]

  the dream is a movie studio yeah and and [TS]

  all the actors like this little block [TS]

  indistinct blobs but through the camera [TS]

  lens and ya know that was a thing of [TS]

  beauty and then the way they kind of [TS]

  like in incompetently send a message to [TS]

  wake her up and then the clown comes and [TS]

  is terrifying is that was all that was [TS]

  all gold [TS]

  here's a here's a victory lap for you [TS]

  ready for this 94 minutes please believe [TS]

  that I mean like so many of the movies [TS]

  we make all movies 94 minutes long run [TS]

  well yeah well I never well all animated [TS]

  movies are pretty much 90 minutes long [TS]

  so what I mean like we love think it in [TS]

  so well in the last year we have really [TS]

  loved a ton of superior movies the Harry [TS]

  Potter movies have loomed large over the [TS]

  last year but like 94 minutes that is so [TS]

  much story to get into 94 minutes [TS]

  oh yeah and world building and if ever [TS]

  there was a movie that was going to [TS]

  spill out to be two hours would be this [TS]

  one because like there's an infinite [TS]

  number we just went through all the [TS]

  ideas that weren't in this movie that [TS]

  would just be so much so much more that [TS]

  you that you mean I know there's a part [TS]

  of this it is let's be honest certain [TS]

  amount of pixar hagiography pixar takes [TS]

  like apple takes a lot of pride in [TS]

  certain kinds of things [TS]

  Pixar has certain stories that they like [TS]

  to share with you they will hit you meet [TS]

  someone picks are they will tell you [TS]

  about how they took 10 minutes out of [TS]

  the incredibles it's a great story [TS]

  and in this case though I mean like the [TS]

  thing is as you guys on the incomparable [TS]

  like to say it's on the screen that they [TS]

  got all that in 94 minutes without any [TS]

  more like no but no but no but we have [TS]

  to explain this more and they didn't [TS]

  they they put everything that needed to [TS]

  be there on the screen and they got out [TS]

  in like the length of the Merv Griffin [TS]

  Show yeah and that's not that's not to [TS]

  be diminished a little over the weekend [TS]

  i saw a movie that was 14 minutes long [TS]

  and I could see oh my god it's nine [TS]

  minutes to is way way too long i can I [TS]

  can't sit through this entire thing [TS]

  because it is so not need to be a [TS]

  40-minute long movie but as a zebra said [TS]

  you know no good movie is is long enough [TS]

  no bad movie is short enough and pixar I [TS]

  can't actually I I'm not sure haven't [TS]

  seen the two cars movies but I can't [TS]

  think of a single Pixar movie that had a [TS]

  scene that I thought yeah they could [TS]

  have lost this you know if they wanted [TS]

  to make this movie longer like i [TS]

  mentioned at the beginning the balance [TS]

  between the inside the head and outside [TS]

  the head it's clear that when it came [TS]

  time to choose which is more important [TS]

  inside the head one so they had to show [TS]

  you enough of outside Riley for you to [TS]

  understand rally as the character for [TS]

  there to be stakes but there wasn't a [TS]

  lot of plot driven by you get to see [TS]

  Riley doing stuff like it was always [TS]

  your inside the head and then you zoomed [TS]

  out to see what's happening with rally [TS]

  during this time and then back in again [TS]

  and so if you wanted to make the longer [TS]

  movie you could have had more outside [TS]

  stuff but they made the right choice and [TS]

  I think in the balance of concentrating [TS]

  on only pulling back out to show you the [TS]

  context and then go back in that because [TS]

  I mean and that's true to the experience [TS]

  of living like you live inside your own [TS]

  head right you don't live in third [TS]

  person watching yourself for the most [TS]

  part so that was a wise choice and I [TS]

  think that really helps cut down the [TS]

  time even if you could have made sort of [TS]

  like a fuller movie with more with more [TS]

  external outside stuff is important [TS]

  because of steaks but it's also [TS]

  important to keep you connected to the [TS]

  metaphor i think that one of the ways [TS]

  that this film could have lost it lost [TS]

  itself [TS]

  I mean but I mean like really really [TS]

  lost itself it like literally I don't [TS]

  know how this actually it connects to a [TS]

  person and that what I think it would [TS]

  have been really easy to do that that [TS]

  like oh it's an imaginary world inside [TS]

  your head and every time we go back out [TS]

  into the outside world I feel like that [TS]

  it that is one of the things that the [TS]

  film is doing is is resetting it [TS]

  mr. if they stayed inside you would have [TS]

  demanded the thing i mentioned before is [TS]

  it well inside all these characters [TS]

  heads surely there are five people to [TS]

  control panel of joy because suddenly [TS]

  joy becomes the main character and she's [TS]

  on an adventure through brain land [TS]

  that's not the movie and what does it [TS]

  mean what does it mean the joy and [TS]

  sadness or lost and that the other [TS]

  emotions are at the controls what does [TS]

  that mean you have to see how how her [TS]

  emotions change when she's cut off from [TS]

  those emotional her external behavior [TS]

  changes otherwise you lose for that for [TS]

  what happens on the inside to have [TS]

  meaning you have to see something and be [TS]

  able to compare it to like this is the [TS]

  human behavior that it that stems from [TS]

  this thing we're seeing inside her head [TS]

  it can't be just an adventure movie [TS]

  inside brain land it can't be like help [TS]

  joy and sadness find their way to the [TS]

  golden when they make their way to the [TS]

  goal everything will be okay and then [TS]

  we'll show you on the outside that [TS]

  everything is ok that's not what this [TS]

  movie is about right [TS]

  XR they're pretty good at what they do I [TS]

  think bold statement don't they'll do it [TS]

  they're one of the studios that you just [TS]

  you just trust them you can really just [TS]

  trust them whatever whatever they I they [TS]

  I had that first sort of questionable [TS]

  moment with the the pre news about up [TS]

  all i know is that ok it's about a guy [TS]

  in his eighties and he flies away in his [TS]

  house at by tying a lot of balloons to [TS]

  it all man this looks pretty thin and [TS]

  then you just okay from now on I trust [TS]

  pixar they've got twelve dollars they [TS]

  they might not get the second twelve [TS]

  dollars for the second shooting but they [TS]

  definitely get the first twelve dollars [TS]

  alright it's been a pleasure talking [TS]

  about inside out i'm glad we got to do [TS]

  that we we often get requests for movies [TS]

  that are in theaters now on the [TS]

  uncomfortable and we don't do it a lot i [TS]

  did the analysis it's something like I [TS]

  think it's less than 10 10 times we've [TS]

  done in five years [TS]

  it is rare but I'm glad we got to do it [TS]

  and i would like to thank my panelists [TS]

  for joining me tonight and Aiko thanks [TS]

  for being here it's been a slice i'm [TS]

  going to cry a little bit but it's been [TS]

  a slice [TS]

  laughs we cried we learned we grew a [TS]

  little salsa really are [TS]

  David lower thank you I've got a good [TS]

  feeling about this one John siracusa [TS]

  what color are your emotion orbs i was [TS]

  going to say i love you but your friend [TS]

  to basket [TS]

  your question and merlin mann it is [TS]

  always a pleasure to have you when i'm [TS]

  so happy that you can join us [TS]

  crying helps me slow down and obsess [TS]

  over the weight of life's problems and [TS]

  thank you to everybody out there [TS]

  listening to the incomparable we'll see [TS]

  you next week [TS]

  this is jason still something up [TS]

  hi Erica [TS]

  hi Steven what are you doing here well [TS]

  we're talking about a doctor who podcast [TS]

  that we do together called lazy doctor [TS]

  who [TS]

  oh really what's that about it's where [TS]

  you and I watch Doctor Who from the very [TS]

  first episode made in 1963 up to the [TS]

  present day and then we talk about it on [TS]

  the podcast what over 800 episodes of [TS]

  Doctor Who from William Hartnell the [TS]

  Peter capacity all in one sitting [TS]

  no silly we talk about each episode as [TS]

  we watch them or maybe we talked about a [TS]

  couple episodes per podcast or however [TS]

  many we feel like watching in a [TS]

  particular night [TS]

  how on earth are we gonna fit all of [TS]

  these podcasts in well that is the [TS]

  beauty of it we record a podcast [TS]

  whenever we get around to it and for [TS]

  however long we want to talk for or lazy [TS]

  like that so it's a doctor who podcasts [TS]

  where the hosts are kind of lazy so lazy [TS]

  doctor who find it on the incomparable [TS]

  network on itunes or at lazy doctor who [TS]

  dot com thanks for explaining that I was [TS]

  feeling lazy [TS]