Pixar's Inside Out review with 8bit Popcorn

8bit Popcorn

Sidey:  Good evening everyone, or good morning, depending on what time you're listening to this.

This is a collaboration we are joined today by the wonderful chats from eight bit popcorn. I've got it right. Good evening, Ryan

Ryan: going? Lovely to be chatting to you.

Sidey: I say collaboration, but I should

Ryan: You're going to have to clarify.

Sidey: watch that word . Because in Jersey that's that can be a very dirty word

Joe: Oh,

Sidey: stems from the older, the occupation of the channel islands

Ryan: Are you at Liberty to go into detail?

Sidey: the Nazis. Some people were accused of being collaborators with

Ryan: Right. Okay. Okay.

Joe: Okay. So world war II, kind of collaborators.

Ryan: We had nothing to do with it.

Sidey: No, I, I don't think

anyone would ever got prosecuted. So you guys are a relatively new podcast. Do you want to tell us a little bit about what you're, what you're up to?

Ryan: Hi, do we pet it, Joe? Could you put a much more elegantly than I could? I'm sure.

Joe: Let's see, I don't know. We are three media experts from Northern Ireland or the North of Ireland, whatever way you want to say it. Ryan here is a professional in the industry, so he like does edit and camera work, Zahra. She is a script supervisor. So she gets worked with like that. And she's also a friend of Christopher

Ryan: best friends. It no, no, no, no. They were best friends. They broken up. If you listened to the

Joe: they were best friends. No,

Sidey: I did hear a comment about that. And I was wondering if it was just cause

Ryan: She loves Chris. She loves Chris, but something's happened and they've

Joe: She talked to him once and she

Ryan: She won't shut up about it yet. So,

Sidey: Maybe it's tenant, maybe it's that shitty film

Ryan: well, I think of a shit, Joel. I don't even make it the whole way through the movie. That's how bad my review was.

Sidey: I sent it twice and I still don't really understand what's going on or why the sound editing choices were made. But anyway,

Ryan: Zara, if you're lessening, tenant was shit.

Joe: And then, you know, just to introduce myself yeah, I was slash, am an actor or a voice actor. And do you know if you listened to the podcast, I've done a master's degree, which I will not shut up.

Ryan: every episode.

Joe: know, I need to, I need to talk about my master's degree constantly. Cause you know, it was immediate degree, so here

Ryan: But can you talk about your publishing is Joe's a writer as well, actually.

Joe: Oh, okay.

Ryan: Oh yes. That thing I do.

Joe: Oh, yes. That book I wrote well, I'm not, not currently published, but in the process of doing all the stuff for it. there will be more on that whenever it is actually is published. And yeah, it certainly will be promoted on it bit popcorn

Sidey: that's very cool. I was listening to your death. I think it was the death of the author episode where you mentioned your. Degrees your qualifications, although it sounds like it

Joe: You could go to Annie episode will happen.

Sidey: And I did hear yeah, a lot of talk about masters and PhDs and stuff like that.

And I'm feeling very intimidated cause Riggs, who's not here tonight, but Riggs he's got the slackers degree or two, two, and I just fucking dropped out. So, you know, I feel like you guys should

Ryan: well, actually, if you listen to one of the other episodes, you'll find that I don't have a master's. I have a degree in film, but not a master's. So that's, what's held over me every week.

So Joe's the odd one out here this week.

Joe: yes. Now I'm in the minority. I don't like it.

Sidey: I'm not even a graduate. So, you know, you've

Ryan: What did you study?

Sidey: When I was there, I was doing something shit like business. I think I dropped out like within days, but I just stayed at college, getting drunk a lot. And then I was going to go back the following year to do something completely different, like uh, sciences or something like that.

And I just thought, no, that's not do that. I just got job, terrible decisions. I've seen a pooling decision. Don't do it.

Joe: I know you're here. So.

Sidey: And now I'm here doing this. Yeah. So, you know, it would turn out right in the end.

Joe: Yeah. 

Sidey: whereabouts specifically in Northern Ireland

Ryan: well, I'm I'm from a little town called antrum, which is about 20 miles just I said of Belfast and then Joan Zara, just to speak for them or from Belfast. Isn't that right?

Okay. You live in Belfast.

You're

Joe: that. Okay. I live in Belfast. Yeah. I'm originally from Lurgan another small time also known as the ghetto. You know, it really is the butt of many jokes over here. So.

Sidey: I've got some family sort of over your way. My my mum is she's from

Ryan: Yeah. My brother lives near Lauren.

Sidey: okay. And then my say there's. Like millions of them, but one, my auntie is still lives out there. She's in Bambridge. Which is like Steve, like a bit of a sleepy backwater to me.

Joe: Yeah. It's not far from Logan actually, so

yeah, you're not

Sidey: my cousin who is this one of the ones from Banbridge he's like been pretty successful in the movie base?

He's he's a VFX artist. He's he did the dragons on game of Thrones and he's currently.

Joe: he work for?

Sidey: Disney he's currently bleed VFX on marbles they're

Ryan: Wow.

Joe: Oh wow. Really?

Sidey: cool. Yeah.

Joe: He's followed up.

Sidey: I'm going to try and bully him into coming on the show one day

Ryan: you should try and bill him for, well, I don't want to say for you, I'd take a job. If he's offering a shop, I don't do visual effects, but the sounds like fun.

 I was on game of Thrones.

I'm sure everybody in this country has on game of Thrones, but I was on game of Thrones seasons one, two, three, and then the final season I went from being a peasant to a

Royal guard. And then I went to be an Unsullied soldier on the final season. So I had a good character arc.

Joe: you got it all. Cut off.

Sidey: did he go for

Ryan: fill method. Yes. Yes I did. Yes, I did. You talked about the shift hair. Yes.

Sidey: Right tonight, we're gonna talk about a film that I guess Is sort of parenting like, cause I'm, I'm obviously from the bad dads from review podcasts we review films that we missed while we were parenting. And also we do the kid Stevie that we're forced to endure which is sometimes brilliant, but frequently terrible.

So we, but it was your nomination I guess, but this is a film that kind of mashes those two concepts into one it's Pixar's inside out.

Ryan: Is this something you've watched with your family or on your own?

Sidey: No, I watched it on my own for some reason. And I fell asleep and then I had to do it again the next day, which I think was, it was without my daughter, but it was with the misses. No, I was just I'm going to have a dig at my cohost because I do fucking everything on the

Ryan: So we hear, we heard. Yeah.

Sidey: it was.

It was, it was like really late at night, like about half eight and I just fell asleep. So I did, I did see it all in the end, but it's like a couple of goes at it most, most films do I fall asleep in the cinema? I fall asleep at like a metal gig in Iceland. You know, I've like fall asleep all the time, so I don't think I'm fully narcoleptic, but it's not far off.

Joe: Yeah, partially I've only fallen asleep in this cinema once. But it was in the VIP section and it was

those real comfy chairs. So yeah, I just relaxed. It was the book of Eli actually. Really?

Sidey: Oh, well, that's fair enough.

Joe: Now that is fair enough. Yeah. It was a pretty boring film. Never rewatched it.

Sidey: The cinema. I remember like they used to be a thing called the cinema that he used to be able to go to and see

Joe: Yes. That fabled place where people gathered and watched moving images together,

Sidey: Well,

Joe: what a, what a time.

Sidey: in Jersey, we've got a Sydney world. Which, you know, it's like legit cinema. Our let's say sister Island Guernsey. They have nothing at all. Like nothing. I think there's might be a hotel that has like a big tele that they can go and watch, but they've literally got no cinema. But I dunno if Sydney world's gonna survive all this nonsense.

So we may be having to watch stuff just at home forever. I don't know.

Joe: we've talked about that,

Ryan haven't we.

Ryan: was a lot of reshuffling and restructuring and cinemas to survive essentially and, and come up with additional cash flow. But I don't see it regardless as an institution that will ever close. I think even if sending world went financially bankrupt, I wouldn't be surprised if somebody else came in and bought the might.

it'd be a sad day if, if cinemas weren't available anymore, that was a big concern of mine. Actually, I think, I think releasing straight to streaming services is a big mistake and too many companies are leaning hard into that night. And that, that scares the hell out of me because you're gonna be paying more.

It just, you don't get the same experience sitting on your sofa, watching a. Big blockbuster. You know, you want to have that communal experience of sitting in the cinema saran signed big screen, fresh popcorn with, with people, with friends. So

Sidey: yeah, I a hundred percent agree, Dan. Oh, no show. He is not a fan of the cinema. He loves the movies, but he'd sooner just stay at

home and watch them.

So he is categorically wrong. Let's be a hundred percent clear about this. His opinion is wrong. It's a cinema is a must. There's a guy over here called He sort of goes by the name of Sydney staff and he sort of travels around the Island setting up, whether it be parties or at the end of the last lockdown lockdown one.

We couldn't obviously have a cinema cause there's still limits on numbers, but he would do, he would host sort of film nights in hotels. So we went and see, we saw parasite in a Savoy hotel, just down the road from me, which was, which was great. You know, it was not the full cinematic experience, but at least it was like a quirky sort of 20 people in a room with like posh hot dogs and stuff like that.

It was a great, great film as well, you know, helps, always helps when you've got a good film to watch. But yeah. Someone sent a message to send. I sent in my reopens on X date and I was thinking there's no films like around,

Ryan: I believe they'll just rerelease. Do you know? Maybe things like, well, there's big releases, like Quiet players and James Bond and whatnot, the slides come out. But I wouldn't be surprised if they grabbed releases that like wonder woman, you know, movies they send straight in the streaming services that were

Moulin and tenant.

Yeah. I wouldn't be surprised if they brought them back out.

Joe: yeah,

Sidey: did you see? Wonder

Ryan: We did. We,

Joe: did. We had a whole episode on it.

Yeah.

Sidey: did you enjoy it?

a let down

Joe: Yeah, it was a really was Zara kind of enjoyed it. But you know, his art is very easy on the movies, you know, and just put some moving images in front of

Sidey: was, there was things that I enjoyed,

Ryan: Oh,

Sidey: like gal Gadot, but, um, uh, Chris pine

Ryan: I don't like Chris pine.

Sidey: Was great, but

Joe: was going to say,

Sidey: the film of, yeah, it was, it was such a shame. I think the first one's pretty overrated as well, personally, but

Joe: The first one has like one really good scene, which is the no man's land scene. And I think everybody kind of focuses on that. And then the second one has no good scene.

can't really

Ryan: the one Joel, where she was, there was like a big cheer scene down there, like the freeway and she's jumping from vehicle to

Joe: It was, it was okay. I wouldn't like say, Ooh, I liked that scene, but basically I kind of liked the interactions between wonder woman and. When you call them Steve, Trevor, I thought they were fun. But

Sidey: but, but she technically raped some guy.

Joe: yes, that's what we kind of touched on as well. And the episode, the whole thing of consent, it was strange if it hadn't been the other way around, say, you know, wonder woman was a man.

So it was like Superman and Lois Leanne and Lois lane was in another person's body. That way. Very, very weird.

So Pixar

Sidey: no issues like that in

Ryan: no. You know, I haven't watched this movie in a long, by say a long time. It was out in 2015. I haven't watched it. And then a few years, I don't recall actually enjoying it the first time, Ryan, but then. When Joe put the spin on it saying that therapists are using this with children to explore their emotions.

And I looked at it from that point of view, it's actually a very clever, very clever.

Sidey: Yeah. This is the story of a girl named Riley, whose family uproot and move from.  Minnesota to San Francisco.

So she's feeling, you know, a bit of a fish out of water. She can't play hockey anymore. She's left to a friends, their stuff, doesn't arrive. It's gone to Texas for some reason. I think, you know, blame the dad for that, doing some bad admin. And she effectively having to live like a squatter in this house.

And the way the film sort of works is we are presented with her emotions. They are sort of personified, we've got joy, sadness, fear, disgust, and anger, and it's all about how they work in the background to create these sort of emotional responses and how, how they affect how do they affect her in real life, I guess.

Ryan: immediately I really enjoyed the opening scene where Riley, the, the 11 year old girl was born. And then first emotion that pops up is joy. And she, this one little control panel, do you know? And I just thought it was really understanding that, you know, as obviously developed, she gets just more emotions, just kind of a, just join the fray.

And then they're all taking turns at this kind of command console as opposed to working on it together. There's just, there's so much to enjoy. Like, I, I, I love the that's kinda jumping ahead a wee bit, but I love seeing the mother and the father's emotional States, like who kind of runs their minds.

You know, I thought that was a really fun, really, really playful.

Sidey: yeah, we get obviously that maybe focuses on Riley, but we do get out of jumping ahead, right? To the very, very, very end. You see a whole gamut of different people and how they're being controlled by their emotions. But this sort of has this idea, this sort of construct that there are sort of key memories that form.

Riley's personality and effect, and it manifests in these, these five. Was it five? I think it was five, five islands that are so family and find them whatever they were. But they are basically total pricks to the sadness emotion.

Ryan: They are, what would you say they're all total pricks or was it just more joy?

Sidey: well, it was the ringleader. Like she was a complete prick basically bullied her out of the. Ah, the equation

Ryan: but that's, that is what we do, you know, with our emotions, like sadness, not even just joy, like I think I thought joy had the toughest job because every other emotion. And Riley's hairs is indirect, nearly conflict, joy, you know, anger doesn't go well with joy and sadness. Maybe it doesn't go well with joy and disgust and fear doesn't go well with joy.

So I kind of felt like, although everybody else can get along, joy was the one that was constantly bottling every other emotion. So I felt like her job was actually the toughest. But yeah, she was, she was a bit of a bitch to everybody, you know trying to contain sadness, but to that little.

Circular bubble that she would draw on the floor again, that's just something that we all do.

Joe: And as for like the cast and of the emotions, Amy Poehler was a brilliant choice for

Ryan: Is that how you say her name? Polar. I

thought it was

fuller

Joe: I think so. But no, she was good. Uh, of course, if, if you remember Amy Poehler from parks and rec, she was Leslie Knope who was an internal optimist.

So she is like perfect for plan joy. But yeah, I find I've got an interest in like Euro and I liked seeing whose emotion ruled, whose head, you know, so you saw the dad, he was ruled by anger and the moment she was ruled by. Fear was it sadness? Yeah. Hers was sort of predominantly sadness, but yeah. See, whenever their emotions are a bit more mature, they're not just the one thing, you know, in other people's heads who are a bit more mature.

It's not that they're purely angry or purely sad or anything like that. It's just sort of a mix and they're all working in tandem. Whereas Riley is hitting that puberty stage where your emotions are. Going absolutely crazy. And they're all fighting one another. So it's kind of an emotional, sorry. I, I fell of coming of age, emotional maturity thing.

So

Sidey: They, they started off at school. Cool. And and I'll ask her to basically talk in front of a class and this is where everything sort of kicks off. And the sadness at this point grabs or mistakenly causes this this memory to now become a, I can't remember the term they use for it now off the top of my head, but it's not long-term memory because they're the ones that. She generates every night when she goes to sleep. It's the ones, the key memories, I don't know. But this now the sadness one becomes one of her five sort of key memories and causes her to sort of fall into kind of depression, I suppose. And then the, the guy, the director of this Pete doctor, this is.

This is what happened to him. This is his his story of his, his upbringing, where his family left their home and they moved to Denmark. So the father could study the music of Carl Nielsen,

Joe: Wow.

Sidey: And his two sisters got on fine. They've just immediately integrated and we're fine, but he was very isolated and withdrawn.

And so that was the inspiration for the story. So that is how What, what sort of happens to Riley? She withdraws from her classmates. She doesn't really connect with anyone on a, on a friendship level and she's, she's quite resentful of her dad for making them make this journey. I think.

Joe: Yeah. It's interesting that you say. Said she had disengaged or associates, you know, from our emotions. There's that scene where she tries to run away. And this is actually what prompted me kind of looking into inside out because I was watching a video bites. It was like a therapist reacts to insight.

They've got a YouTube channel on. They were talking about that scene specifically were her whole emotions shut on and you know, they're not responding. Then they can't like take control of her. And she is just sort of trying to run away from everything. And they used that scene in particular to educate children on educate their families on Engage in with your emotions and letting yourself sort of feel them, because those are the things that drive you on a few to sorta do disengage from them.

Then you can make, you know, very odd decisions or very rushed decisions where you're not fully aware of what you're feeling then. So you just kind of run from whatever it is. And so I find that quite interesting whenever I actually stumbled across it. Yeah.

Sidey: my my daughter's having a few I wouldn't say. Like completely withdrawn, but just, I think the effects of like being locked down for so long and not having seen anyone or really been able to have people round and play and do kids stuff, you know has really started to take its toll on her.

So she's becoming she doesn't really know how to cope with it. You know, when my daughter is seven years old, you know, she's not geared up for that sort of emotional stuff. So it's sort of interesting to see how something like this. Can open your eyes to what's going on in a child's mind and just give you a bit of an understanding, a bit of empathy about it.

You know, the shit is difficult,

Ryan: Let's see, it's hugely

relatable.

Joe: she's taken away from her friends and or family and everything and were totally taken out of our routine at the minute. And if your daughter's missing her friends and everything, then maybe, I don't know, this movie is quite relevant

for

Sidey: I'd say it is.

Yeah, definitely.

Ryan: They were driving home this message early on about how you need sadness to kind of a joy into perspective. So be it, even with something as simple as bottling up our joy sadness and put her in the little bubble or even kind of sprinkled throughout.

So whenever the dad was having problems with the, his job or with the kind of the delivery of their home furniture and everything. The scene where the daughter riding, who was the bed and the mom was telling her to just keep smiling just for her dad. She's essentially communicating idea of just, just, just be happy.

Just pretend to be happy, just kind of bottle up that, that, that sadness. Forget about it. Just put on a smile. And I just love those little moments where they're sprinkling this whole idea of it's just what we do even subconsciously, as we always try to try to bottle up that, that sadness

Sidey: joy has this realization that you need the sadness for people too. Rally around you, you know? And and that will create these different memories that that you need, you know, you can't just be a one dimensional happy person all the time that, you know, you, she, she understood that she has this sort of Eureka moment which means that she has to go now find sadness.

And that that's where the sort of adventure part of the film takes place. I there's loads of goods, like what we've talked about, the. The message and, and all that sort of positive. Stuff's really good. I didn't think that this visually was Pixar some summer Pixar's best work personally.

Ryan: of people

Joe: Yeah, I would actually agree with

Ryan: I would agree, but a lot of people thought that it

Sidey: I thought it was a lot of bubbles.

Ryan: But a lot of people, it was one of the things that I kept seeing up on the internet was how gorgeous this movie looked. And I thought there's been better movies out there. You know, something like cars in my eyes, something simple, just like beautiful.

Joe: Yeah, I think because it's so fantastic. You wouldn't really have anything to reference. Whereas the lecture of like recently toy story four, it looked class, but it's because we know what those materials look like. Whereas, you know, you're inside somebody's head. What does joy look like?

Sidey: that was the film I was going to reference. Cause toy story four. I think that you could, you could just pause any.

Scene, you know, every frame is just absolutely spectacular. There's I get the bit, you know, with the forgotten memories, that's dark. And did you that's on purpose? I get that, but a lot of it was just, it was just round balls on a shelf.

Some of it, you know, I just, I found it a bit stale to look at it occasionally. I was going to go on a big tirade about how I think Pixar are really overrated actually.

Joe: go ahead.

Sidey: If you go, let's be controversial. So 23 films currently toy story, obviously, you know, that's a landmark film. Bug's life shy.

Ryan: you didn't like bugs. Oh

Joe: Labor's like one of my childhood movies. I loved books.

Sidey: answers the better one.

Joe: No, that's the

Woody Allen one or something.

yeah.

Problematic.

Sidey: toy story two great monsters, Inc. I don't care for it. Finding Nemo

Joe: if

monsters, Inc. No.

Ryan: Most of the university sucked.

Joe: Yeah. Monsters university is my,

Sidey: I haven't seen most of university finding Nemo. I don't like it. The Incredibles I did enjoy, but my friend, Jim has a hatred for that film, which is beyond belief. He thinks it's some sort of weird propaganda movie. I don't, it's hard to really understand this, but he really hates it. I quite enjoyed that because I think it's crap rata.

Terry's good. Wally is amazing up me and rigs disagree about

Ryan: Oh, the opening scene. No, the opening scene is the best exposition. I loved it

Sidey: Yeah, but that's

Ryan: while the rest of

Sidey: is, in my opinion, the feeling is

Ryan: Yes. Okay. I love the intro.

Sidey: Yeah, but rakes thinks that it makes sense. He's the best villain. I think it's rubbish.

Toy story three is absolutely incredible. I would say that is their best costume. No brave. They're not saved monster university inside out. I'll give you my verdict. Like a good dinosaur. I've not seen it, but I had it's rubbish

Joe: nothing. I

Sidey: finding Dory. No cars. Three, no Coco. I've not seen it. Incredible is too. Yeah.

Toy story four. I enjoyed toy story four, but you know, you could say it's

unnecessary after

Joe: yet,

Ryan: very unnecessary, and they just shoot her. They just kicked buzz to the sidelines. And no, I just, I hated the new characters. They should've just left it at three.

Joe: I had no compunction to see toy story four because I just thought toy story three was a good leaving off point. I mean, it

Ryan: Yeah. Well, you can see just behind me. I do love toy story. Yeah.

Joe: You're actually just a

 pixels to me at

Sidey: I've got a slinky dog somewhere.

Ryan: Is he free to take a free day, a

Sidey: Uh, and then what have we got left onward? I've not said we started watching it, but it didn't finish it soul. We watched recently. And

Ryan: I heard it was bad.

Joe: haven't seen it yet.

Ryan: A lot of different

Sidey: No, well, I enjoyed it. It's it's  and I, you know, he's pretty

Ryan: I think he's

Sidey: Um, no, it's, it's good. Well, he's just, he's

Ryan: I loved him. And,

Joe: If he, if you like him, you like him.

Sidey: Yeah.

So I, you know, if I'm going to go through that list like that, I'm saying that at least 50% of Pixar films are no good.

Joe: Yeah. Well, yeah, I would, I would agree that they are kind of over it. They went through a period of Being really hyped in the thing it was around the time of up was nuts. You know, where people were like, they've actually crossed over into high art and your rights that opened up. It's the only good part of that movie really after that, it's just really super standard.

But you know, as a, as an animation studio with the, do we push the boundaries, like with toy story four, as unnecessary as it was, they really did push the boundaries of what. Like, I think they use physically be a surrender and I'm not too sure. Whenever they were rendering that, but they certainly used the pioneered Juul focus techniques for CG, you know, you can get them and you might know about this run where you can focus on two different points

at the same time while everything else is, are to

Ryan: Well, while everything else set a focus I haven't come across that. And I

actually,

Joe: dunno. It's a particular type of lens. Yeah. And the pioneer dots and automation on. So, you know, it was certainly an automation. They're not overrated, but in terms of storytelling, I do think that I agree with you in that a lot of the time of day is kind of

blown out of proportion as to

Sidey: Dyke they are amazing. But I think people just forget about the bad ones and just say you know, just that's a Disney film was that, you know,

they

Joe: They just

write it off.

Ryan: Well, perfect point and key is toy story three, where they hand over the reins, you know, they hand over their ends to the kind of younger generation. They give away the toys and it is so sad that probably one of the only movies I would a jerk, a tier two. Yeah.

Joe: What a way to put it.

Sidey: was that when the the sex pest John Laster got the boot.

Joe: then, you know, Disney stepped in. Like, we need to get that in histology. We still got toy story right. To Disneyland. So we got to make another movie to get people there, you know, so we can't leave this franchise out in the cold.

Sidey: But yeah, so this one then I don't know. Do I want to it's really good. I had, I don't know why Mr. I think it was what, this was a classic case of like the parenting thing and I never got around to seeing it, but. Whilst I really enjoy the message and the the sort of the themes are really relevant and important.

It's not as visually impressive as some of the other stuff. So I was kind of left a

Ryan: Does that

Sidey: by that. And also. No, but also when I see Carl McLaughlin, I want to see something weird and quirky from him and not just like just a boring dad, like I'm a boring dad. I want to see twin pigs kind of stuff that I call the doctors and, you know,

Joe: some David Lynch stuff in the middle of inside out. Yeah.

Sidey: I didn't, I didn't even know this was David. This was that carbon doctor until the credits roll. And I was like, fuck.

Ryan: I'd like to  when you look at the different emotions, actually, I thought a lot of people were saying that this movie is a very sad movie. Okay. There's a lot of cries. I, one of the saddest moments for me actually was I suppose, when you actually get an insight into the heads of the mother and the father, and you can see the emotions that's running their psyche, I suppose.

And you see that the fathers is run by anger and the mother's Ryan by sadness, to me, for some reason, I find that that, that, that was hard for me to see that the mothers psyche was drank by sadness. Cause then I think there was something in there to be said that the mother's more melancholy or maybe she's a bit.

Kind of more on the depressed side. Do you want maybe that maybe the father has got

Sidey: think

Ryan: a temper issue?

Sidey: The family dynamic was that they were, they were kind of chasing the old man's dream when they, and she, you know, her, I guess her hopes and dreams have been sort of cast aside and she was just a passenger on his journey. So maybe she was feeling the effects of

Ryan: why the reminiscing over the,

Joe: reading deep into

Ryan: that could have been with the helicopter pilots.

Joe: Yeah. Well, it could be, it could be a case. You know, we saw that Riley was born with her first feeling was joy. You know, what, if the mother's first feeding was sadness? You know, maybe she was separated from her mother at birth or something like that. And then the doc at MIT, he was like one of those crazy babies.

I mean, if my sisters first, if I could pick my sister's first emotion, hers would be anger. She was an angry person and apparently a very angry baby. So I'd say that she was ruled by anger first and

Ryan: Whose fault was that though? Was that your

fault?

Joe: what wasn't I was, I did not exist at that

Ryan: So you're assuming she's

Joe: person.

Yeah,

Sidey: well, this movie could make you sort of look back on your life and try and think about what those sort of milestone moments were that have you know, created your sort of emotional state.

Joe: Yeah. Kind of made me think about that. Let me ask you, is this, I mean, you watch, you rewatched it run and you watched it. So did you cry at any point? Did you tear up at any point or did you find any point watching at all?

Ryan: You

Joe: No.

Sidey: I, yeah, I, I didn't, I didn't cry about it a bit, but the, the sort of the being a parent, you know, and seeing the struggles that our child goes to you know, we've had some. Big stuff to deal with in our family. Like some traumatic events, you know? So you wonder, did those leave a big scar, you know, especially on a child who isn't emotionally mature enough to know how to deal with that sort of stuff.

So when you see that on a film, it's very, very relatable. And and it, you know, that's one of the things that makes it in a way less enjoyable because. It then puts that, almost that worry in your mind of like shit, you know, what she thinks about it. How do we deal with that? And what have I got, you know, so it's, it's like, it's like an education this movie in some ways, because it does open your eyes to, you know, you have to be more emotionally intelligent about what's going on around you.

Joe: Okay. Sorry, I'll let, I'll let you finish. I'm gonna let you finish. Okay. But I'm going to have meconium moment. But No. It's interesting that you took that point of view, you know, because you're a parent, I'm not, you know, so I look at everything completely selfishly, how does this affect me

Sidey: Oh, no, I still I'm still pretty sound first.

Joe: So I, it's good to have your sort of perspective of that because a lot of people did see say it that this movie really wasn't just for the children. It was a really good watch for the parents as well. It's educational for both. So is cool to hear you say that, but I'm gonna let you finish Ryan.

Go ahead.

Ryan: I was just going to say that as everybody I'm sure is I am a, just a huge fan of nostalgia. And I find that when bang bong, that's his name? Isn't the elephant. When he fell down into that pet and he's, he finds that, that memory or that memory ball, and he can see himself playing with Riley as a child. That was probably one of the only moments that BNB actually really feel anything was just because then I wondered how much was I forgetting? In terms of memories and relationships, and you know what? I got up here as a child and I find it that's sad to me because once you've lost your childhood, it's gone.

And there are moments that I can remember. My naitivity growing up when I kind of wish I could remember more of those. I can still remember the first time I learned what a DelDOT was. And I know that's not quite childhood, but I remember I remember Vegas skill and my brother saying Dell do, and I said, what's a Dell.

Do. On a, you told me what a Delta was and I thought I just, I couldn't contemplate. I couldn't understand because I thought to myself, why do women need dildos? I have a penis what's wrong with, why do they need it a fig fit? Well that's yes, that is true. We were talking about inclusivity here, but I just couldn't follow them.

I just couldn't understand it. I did not grasp the idea of why women would use a fake on when we, as men have real ones. It's just one of those. It's just something. It's just a big moment of novelty for

1. No, no, it's it stuck with me. I'm not sure what else that says about me, but,

Joe: Well, what's your most prominent man? What's your

Ryan: well, well,

it's, it's, it's that one. And as a Irish mom, I was a, an ultra boy, like I might have said this to you. Yes. And

I think I must've been about. 10 or 11. And for some reason, the smell of the incense, whatever it is that they're kind of wafting around the church gives me the shuts. And on Christmas Eve?

Joe: I thought it was gonna be like,

Ryan: No, on Christmas Eve, I was up at the alter doing my, my duties and I shot myself in front of hundreds of people. I shot myself. Nobody else knew that it was happening, but I remember feeling it running down my leg. It was like, Oh shit, I need to get out of here.

I,

Oh, I can go to hell for that. I am burning in hell for shedding at the altar.

Yeah. Oh, it's so bad.

Sidey: God, I wouldn't even know what my, where

Joe: Geez. No, I don't know. Nothing really stands out like that to

Ryan: nothing compares.

Sidey: I do have a Dell di related one that I've said on the pod before, but we were, we were up at the zoo and it was this time of year because it was springtime and all the daffodils route. And for some reason I said, Daffodil dose. And my daughter just skipped down the road game.

Um, that was the definite bad dad parenting moment for sure.

Ryan: How did you correct that

Joe: I, I, you know

Sidey: I just had to know to stop. Did I say a bad word? And I don't know why I said it in a gang, like a seriously evil staff where my misses and you know, what the hell he doing?

Joe: And, you know you know, liquors all sorts, you know, the. The licorice suites. Their mosque Mascato is called birdy Basit as a child. I used to think he was called birdie bastard. So like, I just feel like, can I get some birdie bustards cause a few embarrassing moments. Not as, not as good as daffodil

Ryan: daffodil. Those. I do like that. That's what they should be referred to from my own.

Sidey: this, this film took an unexpected.

Ryan: It did. It took a very

Sidey: expect to have so much dildo chat.

Joe: As it usually does on our podcasts.

Sidey: The budget for this was $175 million. Clearly this one's going to be a winner. I think there's no surprise, but do you have any idea how much money this did make?

Ryan: Ooh, I wouldn't

Sidey: Yeah, it was 850.

Ryan: Yeah. I was going to say I wouldn't possibly, and I didn't think it would possibly in.

Sidey: No, no, well, not yet, but maybe after this

Ryan: Well, there'll be a

Sidey: 150 mil and 858 and counting. So that's

Ryan: So you said their budget was a hundred

Joe: Yeah.

Ryan: it's 175

Sidey: 175, but then there's

Ryan: lot for marketing. Okay. Yeah.

Sidey: Yeah. It's a lot

Ryan: There's a lot of money. Maybe not enough money for Disney these days.

Yeah.

Sidey: Well, my, they got a bottomless pit there and they really, we were talking about end game. That was over 500 million in the end when you had the market again. But we were also looking at Spider-Man into the spider verse and that was only 90 mil.

And when you compare like visually how they

Joe: Yeah,

so good. Yeah.

Sidey: like that to me, When I see animation now, that's like the gold standard, because it was just absolutely not you, not your way. That that film was just incredible.

Joe: Yeah, I rewatched it recently. It was class. The techniques that you used, you know, the ever automated, like on every other frame to emulate sail

Ryan: well, we had that sort of same discussion on the, our Wanda vision finale episode. We were discussing how we felt. dead won the vision compare to end game visually for the money it was spent. It was, that was about 25 million per episode of one division. And we, yeah, so we're kind of Kim, I think it ended up being a little bit more expensive.

Was it, or just shy of end game. And I kind of wondered comparatively, what would you have thought looked better? Joey thought one division.

Joe: Yeah, I thought overall, I mean, I'm not saying like one division had crazy, crazy special effects, you know, like on the scale of an game, but as a complete package, I think it looked better.

Sidey: how did you find the finale?

Ryan: That was all right.

Joe: typical Marvel fair. Yeah.

Sidey: Yeah.

Joe: descended from it's, you know, really creative sit-com type thing into

Ryan: Stayed like that. There was enough to put people off the start. Even I going in with new knowledge whatsoever, even aesthetically, how it was going to look first, two episodes. I thought, what the fuck is this? I couldn't, I just turned, I nearly felt like quitting right then and there, but then we persevered cause we needed to for the show and I really enjoyed it.

Sidey: I felt like it was. I still enjoyed the fidelity now sucker for that mother stuff, but all the interesting stuff that by the different stuff that they've done throughout the

Ryan: call it L Easter eggs and everything and everything. They were hiding in the background.

Sidey: and it was just like

Joe: All the bullshit.

Sidey: and stuff as usual. But I enjoyed it.

I'm not S I was enthusiastic about it before it started. I'm not, I don't share that enthusiasm for the winter soldier and Falcon, this thing.

Joe: no, neither do I now,

Sidey: I'll still watch

Ryan: Is it eight, nine? Is it? I

sin

Friday.

Okay. Well, we're

watching,

Joe: just

Ryan: going to say we're watching the Snyder cut and we're going to do a review on that.

Sidey: are you excited for that?

Ryan: a big fan of DC.

Joe: I think you're less than

Ryan: not a big fan of DC. I love Marvel DC. They kind of have all the shit heroes of my opinion and all the shit villains. Batman is brilliant.

I love Batman. You can't go wrong with Batman, but he's about the only one. Superman is borderline for me. I do love Batman. I did watch Gotham

Sidey: I think Sigma is boring. I mean, it's just unbeatable. So what's the point. So same issue with captain Marvel. She seems like she, you know, she can't be beaten, so what's the point. I'm not excited for the Snyder cut and I hate that fucking toxic fan fucking attitude of give me the fucking cut. I want fuck off. Just fuck off.

Joe: I don't think this one is purely to do with the Fonz. I think this one is

Sidey: No, it does more to it than that. And I didn't realize what a fucking asshole just Wieden was.

Joe: Yeah, we were talking about that as well.

He's a

Sidey: fan. And yeah, it's fucking tainted,

Ryan: How much did they spend on reshoots, Joe? Did you say it was like 70 million?

Sidey: 70 million was

Joe: Oh, for, yeah. For a,

Ryan: It would need to make its money back.

Joe: Yeah,

Sidey: that's just on Henry Cabos, mustache.

Joe: yeah.

Ryan: I do. I do enjoy Henry Cavill.

Sidey: he's a fellow Jersey countrymen.

Ryan: I do. The first thing I noticed on the show was your mustache and your beard. They're very, very, well-groomed. You have a fantastic mustache.

Do you set in toilet at the ends? Do you sit

and play with it?

Yeah.

Sidey: do. Yeah.

Joe: Straight. Magnificent.

Sidey: Yeah. It's so ginger, that only, I

Ryan: comes in, patchy in our family.

Sidey: sometimes I just go to the barber instead. I just reset. Take it off. Yeah. No,

Joe: You can't see, cause the light in here, but like I have like blonde hair on, I've got a ginger beard. So if I grow it, it is pure orange and it's

Sidey: just do it Yeah, go ahead, Joe.

Joe: Oh, okay. Final thoughts. Yeah, I, I enjoyed inside out overall. I liked the message. I kind of agree that it's not the most visually arresting thing. You were saying earlier on around that you kind of got a little bit choked up about the Bing bong thing. That wasn't the bet that got me. It was the end.

And whenever the memories you came to, the realization that memories can not just be like one thing, they can be a mixture of both. And whenever it was like sadness and happiness mixed together, that got me. And it actually made me think about my own memories and sort of looking back on things. So I think that the film achieved, what I set out to do, which was entertaining.

The young people watching it, but also make the older people sort of consider their own past and what things have shaped them. So, yeah, that's my kind of sum up and I enjoyed the film.

Ryan: As someone who's all about aesthetics. I love, you know, camera and lighting and cinematography. And as you were saying , it didn't look as good as it should have, but I did love kind of the small visual cues such as like the ships and the colors of the characters and how they were representing the different emotions and, and Just little things that the control panel and whatnot, like I'm, I'm, I'm a sucker for those kinds of little visual cues.

I love the end message. Just simply being that to put into context, not just joy and sadness, that you can't have one way or the other, but just in every emotion. And I suppose that was reflected at the end of the movie where you see all the different orbs and they're a mix of different colors. And I just loved that.

They were trying to not just tell children, but adults, I suppose, that you really need to embrace every emotion and understand it Philly. To be able to control it, but to be able to kind of get better perspective on your other emotions and other parts of your psyche. And I think it's very interesting that therapists are using it with children.

So yeah, I, I enjoyed it more having seen it from that perspective a second time round. Not so much the first time, but yeah, overall, I thought it was good. 

Sidey: cool. Well, I fell asleep. So that, that tells you everything and he's no no I, I fell asleep purely out of fatigue, nothing to do with the movie itself. Yeah, like, like you mentioned, Joe, don't think that you know, visually I wasn't blown away by it. Certainly when you compare it to things like toy story four, which I think is like, is off the chart.

And I've recently having watched Spiderman, like I mentioned, that is like the gold standard. But on a, on a sort of the message of the film really struck me especially. I don't know, maybe it just hits different when you're a parent, because it certainly with what we're going through and our households with sort of the

Ryan: We will let you know if, and when we, our parents, if we have the SIM, if we have, if we see it from a different perspective,

don't have kids. You said like my dad,

Sidey: Don't do it yourself.

Ryan: why would you want to do that to yourself?

Joe: I

Ryan: Yep. Yes. Yes. Well, my brother was wanted, I was an accident. Andrew was meant to be a girl and Jordan was an accident today.

Sidey: So it does, it does have that message when you're a dad or indeed a mother. It's it does sort of make you think about what's going on in those little people's heads which maybe I hadn't considered in quite so much sort of depth before. So I'm definitely grateful to the movie for that.

Ryan: Did you ever consider maybe what an emotion,

is more in charge in your own head?

Sidey: in mine, probably anger.

Joe: that's you as well, Ryan aren't

Ryan: Oh, thank you very

much too. Yes. I don't consider myself a violent person, but I would consider as a tree and my family we'd be very short tempered. Yeah. So it's something I don't know, a lie people to see. So I'm quite surprised when you're saying anger it's something you don't normally see in people and they internalize that and just kind of push it, dine and dine.

And that's something that I'm working on, but I would probably agree as much as I hate that, but yeah, anger is probably something that's. Has more control than I would like a little bit Juju.

Joe: It's all that testosterone, isn't

it?

Ryan: Yeah, man.

Joe: Yeah. I would, I would say that it's probably like, you know, sadness, cause I'm a sad boy. No, probably it probably is sadness. But I don't really, I don't really see it as a, as a negative thing. Like I've, I've said this to some of my friends when, like you're an actual freak.

Maybe it's the writer in me, but I love when I feel melancholy. Now I'm looking at it at the Ray and I'm like, Oh, on we sadness, you know, it's, it's an odd thing.

Taking pleasure and like sad moments. I don't know.

Sidey: well, that's, that's what this movie tells us though. That's that was the message. I think, you know, one of the key takeaways from this message was to, you know, not be afraid of that emotion.

Joe: I learned it. Lesson learned.

Sidey: So everyone go and watch it and get in touch with your emotions.