Disney & Pixar's "Inside Out 2" has begun its theatrical release in Japan. Including preview night screenings, the film drew 173,738 viewers and earned ¥200,926,430 ($1.4 million) on its opening day (August 1). These figures surpass those of "Deadpool & Wolverine" and "Despicable Me: Minion Mayhem," making it the top-performing foreign film of 2024 on its opening day. The global box office revenue has reached $1,523,889,769 (approximately ¥227.6 billion), surpassing hits like "Top Gun: Maverick" and "Avengers," securing a spot in the top 10 global box office rankings.

Director Kelsey Mann and producer Mark Nielsen, who visited Japan in mid-July, expressed their excitement in an interview, saying, "We never expected it to be received so well worldwide," and "We didn't foresee this level of success."

Interview Highlights

Did you anticipate such a worldwide hit?

Kelsey Mann:
When we started this project in January 2020, our primary goal was to tell a great story. Of course, we hoped it would do well at the box office, but we never imagined it would be embraced globally to this extent. We're excited to see how Japanese audiences respond. In our minds, Joy is in a frenzy right now.

Mark Nielsen:
We spent four years making this film. Even if we believe we've made a great movie, we never know how it will be received outside the studio. We made this film hoping it would resonate with and be enjoyed by people worldwide, so this success is genuinely gratifying. Honestly, we didn't predict this level of success.

In the sequel, Riley has grown from a cheerful, energetic girl into a teenager about to enter high school, with four new "adult emotions" appearing. Do you think this increased relatability to adult experiences contributed to the film's global success?

Mann:
I agree. The new adult emotions introduced—like Anxiety—are ones that don't disappear after adolescence. For example, Anxiety might cause confusion in the film, but it's still trying to help Riley. All emotions exist for your happiness, so it's important not to lose yourself and to love yourself, including the negative emotions. If this message resonated with many people, that's the greatest joy for us.

Nielsen:
Absolutely. Feelings of insecurity and self-doubt don't vanish in adulthood. Many people still struggle with uncontrollable emotions, regardless of age or gender, which likely contributed to the film's broad relatability.

How did you come to direct the sequel?

Mann:
Pete Docter, who directed the first film and is now Pixar's Chief Creative Officer, discussed the possibility of a sequel with me. One of my ideas led to this film. At the end of the first movie, a "puberty button" appears on the new control panel in Riley's mind. This period is marked by emotional highs and lows and is crucial for later life. I believed we could tell a compelling story about this time.

What do you think is the key to making a successful film?

Nielsen:
When we launched this film, the team initially consisted of just Kelsey, writer Meg LeFauve, and myself. One of my roles is to gather the best creative team for the project. Collaboration with staff is a significant part of making a film. Together with Kelsey, we carefully selected the best people for character design, editing, and other roles. We are fortunate to have such talented individuals at Pixar. As a producer, I also manage the schedule and budget to ensure the film is completed on time. I trust the team to do their best and work together effectively.

You chose Japanese creator Yoshiko Murayama as the Character Art Director. Why?

Nielsen:
Yes. She had previously worked as a freelance character designer on "Turning Red." When we offered her the job, she was working with Netflix but joined Pixar.

Mann:
I saw her work and was impressed by her talent. I wanted her to help with "Inside Out 2." She's not only talented but also a wonderful person.

Nielsen:
She also brought her experience of once being a teenage girl like Riley into the project.

Source : ORICON NEWS