Inside Out 2: Pixar’s Sequel Scores Record-Breaking Box Office & Reveals Creative Process

Pixar’s “Inside Out 2” delivered a blockbuster opening weekend, grossing $155 million domestically and $140 million internationally – the best opening of 2024 so far, surpassing even “Barbie.” The success is a welcome boost for Disney and the animation studio, which navigated a period of uncertainty as animated releases shifted to streaming during the pandemic. Screenwriter Meg LeFauve, who received an Oscar nomination for her work on the original “Inside Out,” returned to Pixar for the sequel, and spoke about the unique collaborative process at the heart of the studio’s storytelling.

Speaking via Zoom, LeFauve emphasized that the primary pressure wasn’t simply delivering a sequel, but ensuring it was “sequel-worthy Pixar.” “You have to explain why,” she said. “Can we go to new places and discover new things in this world? And can we dig into something personal and emotional and vulnerable to share?”

The Brain Trust: Pixar’s Collaborative Core

Central to Pixar’s approach is the “Brain Trust,” a group of filmmakers who provide feedback at every stage of development. Led by chief creative officer Pete Docter (the original “Inside Out” director), the Brain Trust isn’t a fixed entity. It evolves based on who is available and working on projects at the time. Notable members have included Andrew Stanton (“Wall-E”) and Lee Unkrich (“Coco”). Docter, LeFauve explained, is attuned to the core philosophies of the Brain Trust: gathering multiple creative voices to challenge ideas, identify blind spots, and elevate the story.

The process begins with a small group, focused on investigating core concepts. For “Inside Out 2,” director Kelsey Mann initially pitched three ideas to Docter, with the concept of introducing Anxiety as a new emotion ultimately winning out. LeFauve noted Mann’s personal connection to the story, drawing on his own experiences navigating adolescence. “He showed me pictures of himself when he was six and had a birthday party (‘Gaze at me!’) and the next birthday party, he’s getting a little bit more remote; by the time he’s 13: ‘I wish everyone would just go away.’ I was like, ‘Oh, yeah, that’s me.’”

The initial task for Mann and LeFauve was convincing Docter and the Brain Trust that the arrival of puberty necessitated the addition of new emotions – Anxiety, Envy, Embarrassment, and Ennui – to Riley’s existing emotional core of Joy, Sadness, Anger, Fear, and Disgust. This involved a period of intense iteration, pushing the boundaries of creativity and embracing failure as a crucial part of the process. “Pixar is all about, ‘Is this the best story?’” LeFauve said. “It’s about iteration, and it’s about fail fast. So you’re always pushing, pushing, pushing out to the edge of your creativity.”

From Scriptment to Storyboard: A Multi-Stage Review

The development process isn’t linear. It moves from initial ideas to outlines (“scriptments”), then to drafts, and through multiple iterations with the Brain Trust. LeFauve described a process of constant refinement, where feedback could range from enthusiastic approval to complete overhauls. “You go back to outline, you see those notes as symptoms,” she explained. “You’ve got to go back to the core engine of your story. And we go all the way back and we rebuild it.”

The team explored numerous emotions that ultimately didn’t make the final cut, including Schadenfreude and Procrastination Land. While fun to explore, these ideas didn’t serve the central narrative. “It didn’t add to Joy’s journey or Riley’s or Anxiety’s,” LeFauve said. “You start to understand: we want to be with these emotions. And we care more deeply for Anger and Fear and Disgust. It’s about Riley. What do we need to notify their story?”

As the story takes shape, the process shifts to storyboarding. This is a critical stage, where the visual language of the film begins to emerge. LeFauve noted that a storyboard artist’s enthusiasm for a scene is a quality indicator of its strength. Screenings with Pixar employees in storyboard format provide further feedback, leading to more revisions.

Beyond Pixar: A Diverse Filmography

LeFauve’s career extends beyond Pixar. She began her film career as a producer at Jodie Foster’s Egg Pictures, producing films like “The Dangerous Lives of Altar Boys” starring Kieran Culkin, Jodie Foster and Vincent D’Onofrio, which won the 2003 Independent Spirit Award for Best First Feature. According to her Wikipedia page, she also served as a mentor at Meryl Streep’s writer’s lab and currently consults for Screen New South Wales, Screen Australia, and Film Victoria.

She also co-wrote “Captain Marvel” (Marvel Studios) with Nicole Perlman, a project she described as carrying the weight of representing all women through a single character. In a recent interview with The Trevor Project, LeFauve spoke about the challenges of creating a relatable and impactful female superhero. She also wrote the animated feature “My Father’s Dragon” (Netflix) for Cartoon Saloon, based on the beloved children’s book series.

Collaboration with Husband Joe Forte

Currently, LeFauve is writing with her husband, Joe Forte, on an action horror film titled “BackTrack” (Sony). After 30 years of working as individual filmmakers, she described the collaboration as “finally coming home.”

What’s Next for “Inside Out 2” and Beyond?

With “Inside Out 2” exceeding box office expectations, the future of the franchise remains a topic of speculation. While no official announcements have been made regarding a third installment, the film’s success undoubtedly strengthens the possibility. For LeFauve, the focus is on continuing to tell compelling stories, both within and beyond the world of animation. Her commitment to vulnerability, emotional honesty, and collaborative storytelling continues to define her work, and promises to deliver more impactful films in the years to come.