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m ay . j u n e 2 0 1 5 c g w 1 7 pod. "Riley's emotions are more unstable; she's locked down," Lin says. "So, we only use pan and tilt. In Act 3, the camera being captured is handheld." The camera in the mind world, however, is virtual. "In the mind world, the progressions are more subtle," Lin says. "Act 1 is '30s-style mechanical: slow, deliberate, as if the camera were really big. All the emotions are working well and everything is under control. Late in Act 2 and in Act 3, we move into a more contemporary style, as if the virtual camera were smaller and easier to handle. The pan and tilt is more active, and the speed of the crane is faster." The simple idea of wonder- ing what is going on in a child's mind has resulted in a complex, highly designed film – two films, actually, as the crew points out. Each film has its own produc- tion design, color and lighting, animation style, and photogra- phy, and each affects the other. Few studios other than Pixar could choreograph such an intricate dance. "I think this is a profound film in many ways," Del Carmen says. "Even though the char- acters have friendly, child-like shapes, their potential for being visual tools for conversations about feelings and emotions is enormous. Making this movie has helped me understand that you are not your emotions, but you have a way of enriching your emotional response to the world. Joy isn't the solution to everything. Nor is anger. Sad- ness is empathy. Fear will make sure you're not in danger, but it could be irrational. That kind of character development and storytelling is fun." ■ FEAR Fear protects Riley from potential disasters to keep her safe. He's constantly evaluating the possible dangers, pitfalls, and risk involved in Riley's everyday life. There are very few activities and events that Fear does not find dangerous and possibly fatal. He's fuchsia. JOY Joy is happy all the time. "She doesn't have any shoes – we wanted her to zip around fast," says Co-director Ronnie Del Carmen. Joy's goal has always been to make sure Riley stays happy. She is lighthearted, optimistic, and determined to find the fun in every situation. Joy sees challenges in Riley's life as opportunities. As long as Riley is happy, so is Joy. Joy is golden. She's a light source. She glows. DISGUST Disgust is highly opinionated, extremely honest and prevents Riley from getting poisoned – both physically and socially. She has high standards and refuses to lower them. She's green. She keeps a careful eye on the people, places, and things Riley comes into contact with – whether that's broccoli or last year's fashion trend. ANGER Anger defends Riley. "He makes sure Riley gets treated fairly," says Del Carmen. "But when there's nothing to defend, he has nothing to do." Anger has a fiery spirit and tends to explode (literally) when things don't go as planned. Anger has little patience for life's imperfections. He's red. SADNESS Discovering how sadness can help Riley is a core theme in the film. None of the other emotions understand her role. Sadness would love help keep Riley happy, but she finds it so hard to be positive. Sometimes it seems like the best thing to do is just lie on the floor and have a good cry. Sadness is blue. Barbara Robertson (BarbaraRR@comcast.net) is an award-winning writer and a contributing editor for CGW. HERE! COME IN! VIDEO: GO TO EXTRAS IN THE MAY.JUNE 2015 ISSUE BOX. C G W. C O M