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Inside Out Story 

Riley Andersen is born in Minnesota. Within her mind's Headquarters, five personifications of her basic emotions — Joy, Sadness, Fear, Disgust, and Anger — come to life and influence her actions via a control console. As she grows up, her experiences become memories, stored in colored orbs, which are sent into long-term memory each night. Her five most important "core memories" (all happy ones) are housed in a hub; each powers an aspect of her personality which takes the form of floating islands. Joy acts as a de facto leader, and since she and the other emotions do not understand Sadness' purpose, she tries to keep Sadness away from the console.

At the age of 11, Riley and her parents move to San Francisco for her father's new business. Riley has poor first experiences: the new house is cramped and old, the moving van with their belongings is misdirected, and her father is under stress from his business. When Sadness begins touching Riley's happy memories, turning them sad, Joy tries to guard them by isolating her. On Riley's first day at her new school, Sadness accidentally causes Riley to cry in front of her class, creating a sad core memory. Joy, panicking, tries to dispose of it, but accidentally knocks the other core memories loose during a struggle with Sadness, deactivating the personality islands. Joy, Sadness, and the core memories are sucked out of Headquarters and taken to the maze-like storage area of long-term memory.

Anger, Fear, and Disgust try to maintain Riley's happiness in Joy's absence with disastrous results, distancing her from her parents, friends, and hobbies. As a result, her personality islands gradually crumble and fall, one by one, into the "Memory Dump", an abyss where memories are forgotten. Finally, Anger inserts an idea into the console, prompting Riley to run away to Minnesota.

While navigating through the long-term memory region, Joy and Sadness encounter Bing Bong, Riley's childhood imaginary friend, who suggests riding the train of thought back to Headquarters. En route to the train station, Bing Bong tearfully watches his rainbow wagon rocket being thrown into the memory dump along with other unused childish artifacts. The three eventually catch the train, but it halts when Riley falls asleep, then derails entirely when "Honesty Island" collapses due to Riley's theft of her mother's credit card. In desperation, Joy abandons Sadness and tries to ride a "recall tube" back to Headquarters, but the ground below the tube collapses, breaking it and plunging Joy and Bing Bong into the Memory Dump.

At the bottom of the abyss, Joy begins to lose hope and breaks into tears, but then discovers a sad memory of an ice hockey game that turned happy when Riley's parents and friends comforted her. Joy finally understands Sadness's purpose: to induce empathy in others, prompting them to reach out to Riley when she is emotionally overwhelmed and needs help. Joy and Bing Bong try to use the wagon rocket to escape the Memory Dump. After several tries, Bing Bong, who is already fading away, jumps out to allow Joy to escape and is forgotten.

Joy reunites with a despondent Sadness and takes them to Headquarters, only to discover that Anger's idea has disabled the console, rendering Riley apathetic. To the surprise of the others, Joy hands control of the console to Sadness, who is able to extract the idea, reactivating the console and prompting Riley to return home. As Sadness re-installs the core memories, turning them sad, Riley arrives home to her parents and tearfully confesses that she misses Minnesota and her old life. Her parents comfort her and admit they, too, miss Minnesota as much as she does. Joy and Sadness work the console together, creating a new amalgamated bitter-sweet core memory in Riley's Headquarters; a new island forms, representing Riley's acceptance of her new life in San Francisco.

A year later at the age of 12, Riley has adapted to her new home, made new friends, and returned to her old hobbies while adopting a few new ones. Inside the Headquarters, her emotions all work together on a newly expanded console with room for them all.

Inside out   Story[edit]

Doctor recruited a story crew to help develop the film's plotline. Although animation, as an industry had been dominated by men, half of the story crew, were women, in an attempt to have more diverse input. The choice to focus the film on a girl came from research that claimed that females age 11 to 17 are more attuned to expressions and emotions than others. The idea to have Riley play hockey came from Del Carmen, who observed that the sport is very popular in Minnesota. Initial ideas for the film found the main character, Riley, falling into a deep depression: Docter later felt they were inappropriate and scrapped them, although in the final film Riley does sink into a depression.^[14]

The film was first storyboarded over a period of two to three years, all the while undergoing screenings for Pixar's "Brain Trust," a small group of creative leaders at Pixar who oversee development on all films. After multiple screenings and suggestions from other filmmakers, the picture was put into production. It was again evaluated three months into that process. Kevin Nolting, the editor of the film, estimated there were seven versions of Inside Out created before it even went into production.^[21] The story team attempted to create as much contrast with characters as possible.^[16] They found Joy the most complex character to write for, as she illustrates a broad range of "happy feelings."^[22] The earliest idea present in the final film is that Joy holds onto youth too long, setting about a "social storm" for Riley.^[23] It was not until several screenings later that they came upon the concept of moving to a new place, which created an external conflict that made the story easier to write. Initially, this crisis was to be set at a Thanksgiving Day pageant, in which Riley was hoping to be cast as its lead role, the turkey. Doctor later deemed this idea too "bizarre" and it was replaced.^[24]

Doctor estimated it took four years of development for the film to achieve success in marrying the architecture of Riley's mind and her personal troubles. The concept of "personality islands" helped develop the film's emotional stakes, as they directly affect events inside her mind and in her life. In one draft, the characters fell into "Idea Fields," where they would "cultivate new ideas," much like a farmer would cultivate the crop.^[24] The character of Bing Bong—a discarded old imaginary friend—came about in one draft of the film as part of a refugee camp inside Riley's mind. It was difficult to achieve the correct tone for the film; for example, viewers could not be distracted by Joy's nature or feel negative about the mess she helps steer Riley into. Rivera credited the casting of Amy Poehler, in addition to the idea of moving, with helping the film find the right tone.^[23]

An early version of the film focused on Joy and Fear getting lost together, as it seemed to be the most humorous choice. By July 2012, the project was set for an evaluation screening with other Pixar filmmakers. Doctor gradually began to feel that the story was not working, which made him think that he might get fired. He took a long walk on Sunday, where he began to consider himself a failure, and that he should resign from the film.^[18] While pondering what he would miss about Pixar, he concluded that he would miss his co-workers and friends most of all. He soon reached a breakthrough: that emotions are meant to connect people together, and that relationships are the most important things in life.^[20] He decided to replace Fear with Sadness, which he felt is crucial to renewal. He met with Rivera and Del Carmen that night to explain his change of plans, and to his surprise, they reacted positively to it. At the screening, he informed his superiors that new plans for the film were in order. Although it was a "scary moment", the film remained in production.^[14]

Screenwriter Michael Arndt initially worked for a year on the film's script, calling it "both a brilliantly creative idea but also incredibly challenging," but left the project in early 2011, adding that "knowing the Pixar process, there may not be a single word [I wrote] that remains in the final script! They've had writers work on it since then."^[25] Josh Cooley and Meg LeFauve were credited as co-writers of the screenplay following their contributions during the rewrite. Like Docter, Cooley and LeFauve included experiences with raising their own children into the screenplay. Cooley said "… we treated the emotions like parents for Riley and because all of us in the writing room are parents ourselves, we just reflected on our own experiences as parents to create the characters."^[19] Despite his departure, Arndt received an 'Additional Story Material' credit.

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