What if you could talk to animals and understand what they’re saying?

That’s the premise behind Disney and Pixar’s all-new feature film Hoppers, in theaters March 6. In the animated comedy, directed by Daniel Chong, scientists at Beaverton University discover how to transfer human consciousness into lifelike robotic wildlife, allowing people to communicate with animals as animals. They call this process “hopping.”

But, as Dr. Sam explains in the film, “This is not like Avatar!”

For the filmmakers, it was important to establish ground rules — “pond rules,” rather — about the differences between animals and humans, as well as the mechanics of “hopping.”

“We wanted to dig into nature and be honest about how intense it can be,” screenwriter Jesse Andrews said. “Early on, we had conversations about, ‘If we’re going to do another animated movie about animals, how can we make it different? What territory feels relatively unexplored?’ Instead of conceiving animals that are simply furry people, we tried to keep them as animalistic as possible, while still making them funny, relatable, and identifiable.”

Enter Mabel Tanaka (voiced by Piper Curda), a passionate, 19-year-old animal lover who is outraged to discover that Mayor Jerry Generazzo (voiced by Jon Hamm) plans to build a new stretch of highway through the tranquil glade she frequented with her grandmother. If she can repopulate the glade with a keystone species, she can thwart Mayor Jerry’s plans — but that’s easier said than done. So, Mabel uses Dr. Sam’s top-secret technology to “hop” her mind into the body of a robotic beaver. Now part of the animal world, Mabel befriends the jovial beaver King George (voiced by Bobby Moynihan), leader of the pond and king of the mammals, who shares three simple rules that help keep nature in balance:

• Pond Rule No. 1: “Don’t be a stranger.”
• Pond Rule No. 2: “When you gotta eat, eat.”
• Pond Rule No. 3: “We’re all in this together.”

According to producer Nicole Paradis Grindle, “We didn’t want [the animal characters] to feel like humans in animal suits, and that’s often what storytelling with animals involves. That’s where Pond Rule No. 2 comes from: ‘When you gotta eat, eat.’ We had to address that issue; animals do eat other animals, which makes sense when you explain it as a way of coexisting. I also love that all the animals are really benevolent. Per Pond Rule No. 1, if you know someone’s name, it’s hard to be mad at them. It’s hard to be mad at Diane [a shark, voiced by Vanessa Bayer]. She’s just doing her job. Once you know her name, she’s nice. That’s true of human society. If you get to know individuals, there may be some things that they have to do in order to survive that you might not agree with — but give ’em a chance.”

Indeed, many of the animals — King George included — subvert Mabel’s expectations, forcing her to reconsider who they are and how they interact. “King George is in charge, but he’s not, like, a true king; he doesn’t believe he should rule over all,” Moynihan said. “He believes that everyone should be equal. He might be naïve, but he is a good beaver.”

Human Nature

Mabel cares for creatures big and small, but she occasionally loses patience with people. So, while it’s easy for her to empathize with the little guys… Mayor Jerry? That’s a tall order, especially for a beaver. “Mabel is a spitfire,” Curda said. “She wants to make the world a better place, and she’s frustrated with all the things that are stopping her from doing that.”

Conversely, Mayor Jerry “is a very happy guy,” Hamm said. “He’s very good at his job. He’s well-loved by his constituents. He loves his gig. He loves family. You think, ‘OK, this guy has probably got a lot of great ideas.’ Unfortunately, one of them is diametrically opposed to [Mabel’s].” And yet, in some ways, they’re two sides of the same coin. “The arc of their journey is very similar, just from opposite directions,” Hamm explained. “The good thing about that is that they both come to understand that they’re part of a bigger community.”

It takes a while for either of them to realize that, of course.

Early on, as a beaver, Mabel successfully rallies the leaders of various animal councils, which includes King George, Bird King (voiced by the late Isiah Whitlock Jr.), Amphibian King (voiced by Steve Purcell), Fish Queen (voiced by Ego Nwodim), Reptile Queens (voiced by Nichole Sakura), and Insect Queen (voiced by Meryl Streep). But getting them to see Mayor Jerry as a major, imminent human threat is more difficult than she predicted.

“I think her biggest surprise is their lack of outrage, because she is filled with so much rage at the injustices that have been put towards this community of animals,” Curda said. “She’s expecting them to also be filled with that rage, and they’re just… not. They’re just kind of happy to be there and making it work. I think that confuses her for a little bit, but she does end up learning from that — because rage can’t be the only thing fueling your fight, you know? There’s got to be something else in there. There’s got to be a little compassion, there’s got to be a little understanding. She definitely learns that from George, for sure.”

According to director Daniel Chong, “Thematically, the movie is about questioning power. Mabel has no power. Jerry has all the power… But when Mabel hops, she enters a world where she suddenly has some power. Once she goes to the council, she gets even more power. Then the question becomes: ‘Once you have that power, what do you do with it?’ We combat some of the heaviness of all that through comedy. We’re having fun with the absurdity of the situation, with all these wild characters who have interesting personalities.”

Another major theme in Hoppers is “the importance of connection,” Andrews noted.

“Because this is about nature now, in this present moment, I knew this story would also be about change,” Andrews said. “Mabel is finding her way through it. It makes the movie emotionally richer.”

Lush Landscapes

Just as rich as the storytelling are the settings, which required multiple departments to collaborate and develop an all-new technological pipeline. The natural world can create a lot of visual noise, so to find the right balance, the lighting and effects artists created a custom workflow that allowed them to put brushstrokes on their models. This, in turn, allowed them to simplify backgrounds without losing the rich texture of the environments.

“The natural world environment is so visually complex,” visual effects (VFX) supervisor Beth Albright said. “There’s so much detail — and it’s beautiful — but it’s a lot. If you put characters into that, and they’re moving, it’s hard to focus the eye. It’s too much to look at.”

Paradis Grindle elaborated, saying, “We had these very stylized characters, and they needed to fit into a natural world that can’t be busy. We wanted to give people the feeling of being in nature without the harsh reality of what a 3D environment can look like. Ultimately, it was about the emotion. We wanted people to feel relaxed, to feel connected, and we wanted the characters to pop in that. We wanted your eye always to follow the characters.”

Once the “cute, chubby, and fuzzy” character designs were done, Albright said, they were able to home in on getting the settings right. “We needed everything to speak the same visual language,” she said. “We also needed to maintain the scale of nature, because if you simplify things too much — or if you make things too cartoony — you can lose the stakes.”

To ensure each environment had “an artistically tactile, handcrafted look,” the compositing, lighting, modeling, shading, and VFX teams collaborated to create the new technological workflow. “I think the quickest way to figure out how to do something crazy is to tell someone smart that they can’t do it,” Albright said. “All of a sudden, things are happening!”

Once completed, they were able to take each individual leaf, turn it into a point, and then replace it with a painted brushstroke. “We’re preserving all that really saturated, really vibrant color detail, and all the shading and lighting work that went into it, and then putting an artistic texture on it,” Albright said. “Ultimately, that helps to ‘quiet’ the setting.”

All that effort was worth it, according to Hamm.

“I’m really impressed with the incredible amount of artistry that went into making this, from the animation and the sound effects to the writing and directing,” Hamm said. “It’s a tremendous team effort. It took a long time to create this, but the proof is in the pudding.”

Disney Cruise Line welcomed its newest ship, the Disney Adventure, to its rapidly expanding fleet in a dazzling entertainment showcase that celebrated the beloved Disney stories, characters, and music that come to life onboard. The elegant artistry of the christening ceremony punctuated the introduction of the cruise line’s first ever ship to sail in Southeast Asia.

In the Walt Disney Theatre aboard the ship, guests witnessed the magic of Disney storytelling come to life through regional vocalists and musicians, incredible video effects, and star-studded surprises, including special appearances from Captain Mickey Mouse and Captain Minnie Mouse. A 23-piece orchestra, Hollywood Performing Arts Hall of Fame inductee Jed Madela, and international recording artist of Eurovision fam Dami Im guided the show through classic Disney, Pixar, and Marvel melodies accompanied by stunning visuals that sprung to life on screens that surrounded the stage and seemed to engulf the audience.

Chairman of Disney Experiences and incoming Chief Executive Officer of The Walt Disney Company, Josh D’Amaro, and President of Disney Signature Experiences, Joe Schott, joined the artists on stage to mark the momentous occasion.

“The Walt Disney Company has always been built on the power of storytelling and innovation – and Disney Cruise Line brings those values to life in extraordinary ways. Our cruise ships are ambassadors of our brand that carry joy, wonder and enchantment to destinations around the world,” said D’Amaro. “As our first ship to homeport in Asia, the Disney Adventure represents a new chapter for Disney Cruise Line and will introduce Disney to audiences who may be experiencing our magic for the very first time. It offers fans across this region an opportunity to immerse themselves in unforgettable ways and create memories that are uniquely Disney.”

The Godparent of the Disney Adventure, Robert Downey Jr., lent his voice to the ceremonial blessing for good fortune for the ship and all its guests.

“I’ve had the privilege of getting to know the team at Walt Disney Imagineering, and I can tell you Adventure is the perfect name for what they’ve created,” he said. “Being the Godparent of this majestic vessel is an honor, and I have some serious duties to perform, so let’s make it official, shall we?”

Downey Jr. cued the orchestra, saying, “You bring the theme and I’ll bring the thunder,” followed by the official blessing, “I christen thee, Disney Adventure, may God bless this ship and all who sail upon her.”

The Christening Ceremony culminated with a confetti burst and a multitude of beloved Disney characters in a rousing rendition of “Let’s Set Sail,” a Disney Cruise Line tradition the builds excitement for the journeys that lie ahead onboard the Disney Adventure.

Drawing on more than 100 years of storytelling from Disney, Pixar, and Marvel, the Disney Adventure is filled with epic experiences and beloved characters waiting to be discovered. The ship features seven immersive themed areas, each transporting guests into iconic stories and worlds including San Fransokyo Street from Disney’s Big Hero 6. On board, guests can enjoy a brand-new Broadway-style musical, “Remember;” immersive dining experiences; signature fireworks at sea; imaginative clubs for kids of all ages; a dynamic collection of bars and lounges for adults; and thrilling attractions, including Disney Cruise Line’s first-ever roller coaster at sea, Ironcycle Test Run.

The Disney Adventure marks Disney Cruise Line’s eighth ship and its largest to date. The ship embarks on its maiden voyage on March 10, followed by an inaugural season of three- and four-night itineraries at sea. The Disney Adventure is part of a multi-year expansion of the award-winning Disney Cruise Line fleet, which currently includes eight ships, with five more planned to join the fleet by 2031.

To learn more about Disney Cruise Line or to book a vacation, guests can visit disneycruise.com, call Disney Cruise Line at 888-325-2500 or contact their travel agent.

This spring, The Walt Disney Company builds on powerful momentum from a record-breaking 2025, with an exciting slate that fans across Lucasfilm, Pixar Animation Studios, 20th Century Studios, and Searchlight Pictures won’t want to miss.

Walt Disney Animation Studios’ Zootopia 2 is now the No. 1 domestic release of 2025, also ranking as the No. 1 MPA animated film of all time worldwide. This milestone marks the second consecutive year that The Walt Disney Studios has delivered the top domestic release — and in 2025, Disney claimed three of the top four domestic films overall with Zootopia 2, Lilo & Stitch, and Avatar: Fire and Ash.

That strength extends to streaming. 20th Century Studios’ Predator: Badlands debuted as the No. 1 film premiere on Hulu since Prey, drawing nearly 9 million global views in its first five days across Disney+ and Hulu. In total, audiences have streamed more than 300 million hours of the Predator franchise globally on Disney’s streaming platforms.

Disney enters 2026 on a remarkable run, backed by a daring slate poised to captivate audiences around the world.

Here’s what’s coming to theaters this Spring 2026:

• Disney and Pixar’s Hoppers — March 6
• Searchlight Pictures’ Ready or Not 2: Here I Come — March 20
• 20th Century Studios’ The Devil Wears Prada 2 — May 1
• Lucasfilm’s The Mandalorian and Grogu — May 22

Disney and Pixar’s Hoppers

Release Date: March 6

Disney and Pixar’s next original animated comedy follows a young animal lover who “hops” her consciousness into a robotic beaver to communicate with animals and protect their habitat. The all-star ensemble features the voices of Piper Curda (Mabel), Bobby Moynihan (King George), Jon Hamm (Mayor Jerry), Meryl Streep (Insect Queen), Dave Franco (Titus), Kathy Najimy (Dr. Sam), and more. Hoppers delivers heart, humor, and a wholly original world to fans of all ages.

Searchlight Pictures’ Ready or Not 2: Here I Come

Release Date: March 20

Let the game begin! Moments after surviving an all-out attack from the Le Domas family, Grace (Samara Weaving) discovers she’s reached the next level of the nightmarish game — and this time with her estranged sister Faith (Kathryn Newton) at her side. Grace has one chance to survive, keep her sister alive, and claim the High Seat of the Council that controls the world. Four rival families are hunting her for the throne, and whoever wins rules it all. The unpredictable sequel raises the stakes on the deadly game that made the first film a breakout hit. Radio Silence’s Ready or Not 2 also stars Sarah Michelle Gellar, Shawn Hatosy, Néstor Carbonell, with David Cronenberg, and Elijah Wood.

20th Century Studios’ The Devil Wears Prada 2

Release Date: May 1

The Devil Wears Prada 2? This spring? Groundbreaking. After two decades, Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci return to the fashionable streets of New York City and the sleek offices of Runway Magazine in the eagerly awaited sequel to the 2006 phenomenon that defined a generation.

Lucasfilm’s The Mandalorian and Grogu

Release Date: May 22

After more than 6 years since Star Wars was in theaters, the galaxy’s favorite duo is about to make their debut on the big screen. When dangerous warlords threaten a peaceful galaxy, the New Republic calls upon legendary Mandalorian bounty hunter Din Djarin (Pedro Pascal) and his young apprentice Grogu to protect everything the Rebellion fought for. Directed by Jon Favreau, The Mandalorian and Grogu also stars Sigourney Weaver and Jeremy Allen White and is produced by Jon Favreau, Kathleen Kennedy, Dave Filoni, and Ian Bryce, with music composed by Ludwig Göransson.

Following a record-setting year in theaters, Disney’s 2026 lineup raises the bar with fresh storytelling, fan-favorite worlds, and big-screen experiences designed to bring audiences together.

This summer, Disney and Pixar return with Toy Story 5 on June 19, followed by Disney Live Action’s highly anticipated reimagining of Moana on July 10. Searchlight Pictures keeps the energy high with the comedy Super Troopers 3 on August 7, before 20th Century Studios closes out the blockbuster season with Ridley Scott’s The Dog Stars on August 28.

On an early morning in late January, the filmmakers behind Disney and Pixar’s Elio were over the moon to learn that the cosmic misadventure — about an 11-year-old boy who desperately wants to be abducted by aliens — had been nominated for Best Animated Feature Film at the 98th Academy Awards^®. It marks the second nomination for director Madeline Sharafian; the third for director Domee Shi, who previously won an Oscar^® for Bao (2018); and the first for director Adrian Molina and producer Mary Alice Drumm.

“It’s great that the Academy has recognized Elio,” Shi said. “Being nominated has almost given this movie a second life — a chance for even more people to discover it and enjoy it.”

And there’s plenty for people to discover, whether it’s their first or fiftieth time watching the movie. But, for Sharafian and Shi, its horror and sci-fi references rank high on their list.

“It was fun to start Elio off with the warm familiarity you get from a classic [Steven] Spielberg film and then twist it to surprise the audience,” Shi said. “I remember how much fun I had watching E.T. the Extra-Terrestrial [1982], but I also remember being scared by it, too. At Pixar, our films tend to make people cry or laugh, so we thought this could be a great opportunity to get some thrills, some tension, and some gasps out of the audience.”

“This movie is a love letter to the sci-fi movies we grew up with, and we put our own spin on the genre,” Shi continued. “We hope it can fit into the library of classic sci-fi films like Contact [1997] and E.T., or that it could even be like a kid’s introduction to John Carpenter.”

“Elio is step one,” Sharafian said. “A few more steps later, you can watch The Thing [1982].”

Because they “had never worked on anything sci-fi” prior to Elio, Sharafian said she and Shi rewatched “all the classic Spielberg movies” for inspiration. “There’s a nostalgic romance to them,” she said. “They’re about aliens and space, where things are unsettling but also beautiful, and I wanted to capture that feeling. All the settings on Earth were drawn from movies like E.T. and Close Encounters of the Third Kind [1977]. There’s something about watching those classics with a new eye that I enjoyed and tried to weave into our own film.”

Because Elio is an original story, it was important to “lay the track” for the audience by including familiar references, Shi said. “We wanted to get them settled in so that they expect one thing and then give them the exact opposite. In that sense, it was really helpful for us to draw on those sci-fi tropes and homages.”

However, Sharafian noted, they were mindful not to overstuff the movie with so many references that it might risk taking people out of the story. “Elio has a sort of pushed design, and the world is crazy. The audience needs something to rest their feet on. If it’s all psychedelic and wacky, if nothing makes sense and you don’t have anything to ground yourself, you can easily fall out of the movie.”

“The base of the story, which originally came from Adrian, is about a little boy who makes his first best friend in an alien. That E.T. core has always been there and has never changed,” Sharafian said. “As we began to flesh the story out, we weren’t itching to be like, ‘Let’s put The Thing in this scene.’ You’re just sort of searching for what the movie wants. You realize, ‘Oh, we need another clone scene. We’re a sci-fi movie. What do we both like? The Thing. Let’s draw upon what we love from that and make our own scene.’ It’s all about execution.”

Intergalactic Inspiration

When Elio calls out to the universe, the universe calls back.

But what should that call sound like?

“There’s something about Close Encounters‘ tone that makes you lean in; you want to know more, even if it’s a little unnerving and eerie,” Sharafian explained. “We wanted the first act of the movie to almost feel like a thriller, so that you’re wondering, ‘What is calling [to Elio]? Is it good or is it bad?’ When the spaceship finally arrives, you’re still sort of unsure.”

The directors worked with sound designer Jeremy Bowker to craft the perfect melody, which was influenced by the work Disney Legend John Williams did for Close Encounters of the Third Kind. “The first time Elio hears it, he only hears half of it, so it is a little ambiguous if it’s a friendly or not-so-friendly tone,” Shi said. “Jeremy played us many versions, and some sounded way too scary: ‘Don’t go to the light, Elio!’ We needed a melody that was simple, that you remember, that was mysterious, that was inviting. Once Elio finally arrives at the Communiverse, Rob Simonsen, our composer, takes Jeremy’s melody and finishes it.”

The Communiverse itself was inspired by The Hitchhiker’s Guide to the Galaxy and The Muppets, Sharafian said: “There’s this absurdity, this silliness, but also this pompousness.”

Another trio of ’80s films — Richard Donner’s The Goonies (1985), Walter Murch’s Return to Oz (1985), Disney Legend Jim Henson’s Labyrinth (1986) — inspired some of the other story elements. “As kids, those films helped teach us how to power through scary moments, because there’s a reward at the end — like a cute little worm, who’s going to be your best friend,” Shi said, referencing Elio‘s Glordon. “You just have to power though all those teeth!”

Ultimately, Sharafian said, what makes the sci-fi and scary scenes “so amazing” is knowing “how many departments have to work in concert to make them happen, and how every single one of them has to take it farther than they usually go. We’re really lucky to work in a place where everybody can be together in the same room and hear the same notes and talk to each other in person. I think those scenes came together so well because of that.”

Cosmic Cast

Zoe Saldaña, who voices Elio’s Aunt Olga, has played aliens across the Avatar, Guardians of the Galaxy, and Star Trek franchises — and casting her in Elio was anything but coincidental.

“It’s all intentional,” Sharafian said with a laugh.

Star Trek’s Kate Mulgrew, who voices the museum exhibit narrator, is another such casting example. “My mom and I grew up watching Star Trek: Voyager,” Shi shared. “Being an immigrant, my mom really attached herself to Janeway, and I think she picked up on a lot of English from watching Voyager as well. That was a fun nod to the sci-fi I grew up with. Plus, Kate’s voice is so soothing but also so commanding. Of course, we have her talking about the Voyager 1 space probe. It’s a fun Easter egg for people who recognize her voice.”

From Disney Legend James Cameron‘s The Terminator (1984) to ALF (1986-1990), Elio contains plenty more references and Easter eggs — more than Sharafian or Shi can count. “Our graphics team heads most of that up. Domee and I were so focused on the story that a lot of Easter eggs were snuck into the movie without us even knowing about it,” Sharafian said. “We said to them, ‘We like Easter eggs. Go ahead!’ There is a PDF that has every single Easter egg listed, and I remember looking at it once and being like, ‘What? No way!’”

Hosted by Conan O’Brien, The Oscars will air live on ABC and stream live on Hulu on Sunday, March 15, at 7 p.m. ET/4 p.m. PT from the Dolby^® Theatre at Ovation Hollywood.

When Toy Story was released in theaters on November 22, 1995, it not only won over audiences around the world, but it put Pixar Animation Studios on the map. As the first fully computer-animated feature film, it was considered a gamble — one that paid off, as it opened at No. 1 and went on to become the highest-grossing movie of the year, earning $192 million domestically and $362 million worldwide. Toy Story went on receive a Special Achievement Academy Award^® and earned Oscar^® nominations for Best Original Song, Best Original Score, and Best Original Screenplay, marking the first time an animated film had been recognized for screenwriting.

Andrew Stanton — Pixar’s second animator and ninth employee — was one of four screenwriters to receive an Academy Award nomination for his contribution to Toy Story. In addition to this, on the original Toy Story film Stanton is also credited as a character designer and story artist, and provided an additional character voice. He went on to receive credit as a screenwriter on many subsequent Pixar films, in addition to directing Finding Nemo (2003), WALL•E (2008), and Finding Dory (2016). He currently serves as Vice President, Creative, overseeing all feature projects at the studio, and he is writing and directing Toy Story 5, opening exclusively in theaters on June 19, 2026.

As the Toy Story 30th anniversary celebration continues this week — the Buzz Lightyear balloon returns to the Macy’s Thanksgiving Day Parade on Thursday — Stanton reflected on Toy Story‘s origins and legacy.

Before Toy Story, Pixar had never produced a feature-length film before striking a three-picture deal with Disney. What set the studio apart back then — and what still sets it apart today?

Everything was very character-based, even then, and story-based — even though we didn’t know much about how to write or make a feature film. We knew how to tell a good yarn, how to make you laugh, how to make you be entertained. And that was the driver behind everything we did, whether it was a short film or a commercial. And that’s stayed consistent ever since.

The same thing sets us apart today: story, story, story.

How we’ve chosen to evolve technology, how we’ve chosen to explore it, [and] how we’ve chosen to operate it has all been driven by the stories we want to tell. Even when we were making commercials, we would bid on things that we couldn’t do because we loved the idea so much that it gave us fuel to want to figure out how we could do it. And we are the very same way now. We just wait until there’s a story and a situation and characters that excite us so much that [we feel motivated] to want to figure out how to make something.

What are the hallmarks of a quintessential Toy Story story?

As a writer and a filmmaker, I don’t like making guardrails. Although, over 30 years of making up to five Toy Story movies now, there have been some clear lanes or parameters.

One, of course, is that it’s about toys. But the other thing is that [each film] deals with some truth about growing up… There’s always some new aspect of toy life that you’ve never seen, from a different perspective, that we like to add to the quilt of the world. And there’s always some new type of toy that you can add to the cast of characters. The world is so vast… Every household’s a little different, every kid’s a little different, every style of play is a little unique to the thumbprint of the owner and to that toy’s experience. Nobody played with exactly the same things growing up, so you could compare notes forever; it’s like comparing record collections. There’s some overlap, but there’s so much variety.

How has Pixar continued to raise the bar creatively and technologically in the 30 years since Toy Story‘s release? 

Nobody’s ever said, “What should we figure out? What should we conquer?” Those are always just byproducts of the next story we want to tell. All I’ve ever been in conversations with is: “What would you like to see that you haven’t seen before with Woody or Buzz? What would you like to see with Andy’s life or Bonnie’s life? What scenario have you not experienced yet?” It can be something as simple as we left an RC car out in the rain. Leaving a toy out in the rain had never been touched after three [Toy Story] movies. The thing that people expect or assume is that we have to do to something more [spectacular].

But, if you think about it, a kid’s life with toys is anywhere from 5 to 10 years, and that’s a lot of that’s a lot of time in the house being played with. All those in-between moments, all those simple moments — like a toy being left outside or forgotten behind a couch — are life’s moments for these toys that we can make narratively interesting. They don’t have to sound sexy to the outside world. They just have to be viscerally authentic to [each character]. That’s the real juice of a Toy Story movie — the truth of what it’s like to be a toy.

You’ve been a co-writer on every Toy Story film. What makes the world you’ve created so rife for storytelling, and how were you able to evolve with the audience over time?

I’m surprised myself how much we can continually get out of the Toy Story world. Not every film and subject matter can do this. I think the main reason is that we can embrace time. We can grow old with the kids… Let Andy grow up. Let the toys be handed off. Let one of them separate. Let them somebody be forgotten. These are all things that really happen. The minute you are in a flea market and you buy a used toy, or you lend a toy to somebody else and they never remember to give it back, that’s a whole ‘nother movie right there! You can embrace time, and we have… Time has moved forward with all of these characters, and that’s the key. The key is not putting them in amber and trying to honor them. The key is letting them change, like life changes.

When Toy Story was released in theaters on November 22, 1995, the film not only revolutionized the animation industry, but it changed the trajectories of the unproven but determined creative team who brought it to life. From Andrew Stanton and Pete Docter, the studio’s second and third animators, respectively, to Jonas Rivera, the studio’s first production intern, Toy Story was a lightning-in-a-bottle experience — one that laid the groundwork for Pixar Animation Studios to become the powerhouse studio that it is today.

Back then, though, no one knew just how pivotal Toy Story would ultimately be.

Following a $26 million deal with The Walt Disney Company to produce three features, Pixar’s small-but-mighty staff — initially, there were just three animators — pitched three concepts for its first project. Two were based on children’s books, James and the Giant Peach and Bob the Dinosaur, and the third was a “half-baked” idea about a couple of toys.

Disney greenlit the third option.

Having only produced a few commercials and shorts until that point, the pressure was on for Pixar to deliver — not that its staff felt it right away. “It felt like a bunch of people making a movie in their garage,” said Docter, who is now Pixar’s Chief Creative Officer. “We were using computers, which were fancy and unknown at the time, but other than that, it was rinky-dink. We were figuring it out as we went. It felt like we were just doing it for fun.”

Taking the Story to Infinity… and Beyond!

According to Docter, the collegiate environment inspired everyone to pitch in and take risks. But one of the biggest stumbling blocks — an infamous Black Friday screening with Disney executives prior to the start of animation — almost got the entire project canceled. The team had two weeks to turn things around, and they worked overtime to make the necessary changes. Once the story issues were resolved, the team turned their attention to the two toys at the center of the film: Woody, a pull-string cowboy sheriff voiced by Tom Hanks, and Buzz Lightyear, a space ranger action figure voiced by Disney Legend Tim Allen.

“Beyond using new technology, one of the things we tried to do was expand the boundaries of storytelling,” Docter recalled. “Because at that point, if a film was animated, it was assumed that it was a musical, that it would have certain tropes. We didn’t want to do that.”

Woody, for example, was written to be loyal, protective, and witty. But filmmakers wanted to make him more multidimensional. “He has a fear of being replaced,” said Rivera, who is now Pixar’s Executive Vice President of Production. “Everyone has felt that way at some point, whether it’s a job or a relationship. And we wrapped it up in this Toy Story package.”

The filmmakers imbued their own personalities and quirks into the characters, which is why they felt real — and why they resonated with audiences of all ages, all around the world. “I’m partial to Woody, simply because I’ve written most of what he has to say in the films,” said Stanton, now Pixar’s Vice President of Creative. “He is very much an extension of me.”

Docter added, “The funny thing with Toy Story, and Woody specifically, is that there just seemed to be a lot of layers, a lot new discoveries to him. Even on the first film, we could sense that he had a history. Woody has some trauma — some baggage that he’s carrying.”

Audiences instantly clicked with Woody and Buzz, as well as Hamm, the know-it-all piggybank voiced by John Ratzenberger; Rex, the fearful Tyrannosaurus voiced by Wallace Shawn; Bo Peep, the porcelain shepherdess figurine voiced by Annie Potts; and all of the other toys. “The idea of toys coming to life always clicked with audiences,” Rivera said. “It was as if they collectively said, ‘Of course! This confirms what I always thought about toys.”’

Just the Beginning

When Toy Story was released in theaters, it was an immediate and sustained sensation, generating nearly $400 million at the global box office. Toy Story became the highest-grossing film of the year and, in the decades that followed, inspired sequels, shorts, specials, and spinoffs. (Toy Story 5 is in production, releasing in theaters on June 19, 2026.) What’s more, the characters and stories became fixtures at Disney Parks around the world.

Because toys are “kind of perennial,” Stanton explained, the franchise is “something you can grow with. People who watched it as kids became parents and now watch it with their kids. We’ve created a world and a group of characters that could easily keep going forever.”

In celebration of Toy Story‘s 30th anniversary, fans have the unique chance to experience the groundbreaking animated adventure on the big screen in its original format — and, for the first time ever, in 4DX — for a limited engagement beginning Friday, September 12.

“I just have to say thank you to the fans for loving this world as much as we do,” said Stanton, who contributed to each film in the franchise and is directing Toy Story 5. “It’s very clear how sincere everybody’s fondness for these characters is, how deep their connections to them are, and we feel the same way. We can’t wait to keep these stories coming for you.”

Pixar Animation Studios’ latest original feature, Elio (which hits theaters on Friday), is more than a cosmic adventure — it’s a deeply personal journey that explores identity, belonging, and the power of connection. With its signature blend of emotional storytelling and visual innovation, Elio continues Pixar’s tradition of crafting films that resonate across generations.

At the heart of the story is Elio, an imaginative 11-year-old who finds himself transported across the galaxy and mistaken for Earth’s ambassador to the Communiverse — a vibrant, otherworldly coalition of alien civilizations. What unfolds is a tale of self-discovery, courage, and the universal desire to belong.

Emotional Resonance & Visual Splendor

Finding a drive for a story “always starts with character,” director Domee Shi said. For Elio, Shi explained that they were able to home in on “this idea of a boy that’s just running away from loneliness on earth.” She noted that Elio is obsessed with being abducted by aliens because of “his desperation to belong somewhere in this universe.”

“Even though it’s a very specific kind of character drive for him, it also feels very universal,” Shi said.

The film’s emotional resonance is matched by its visual splendor. “It’s an all-encompassing experience,” Zoe Saldaña, who plays Elio’s Aunt Olga, said. “All the work that went into creating this beautiful and colorful universe — the Communiverse — can only be deeply appreciated on a big screen.”

The filmmakers worked with production designer Harley Jessup — whose previous work includes Pixar classics like Ratatouille and Coco — to bring the Communiverse to life with dazzling creativity. Drawing inspiration from deep-sea creatures and microorganisms, the team crafted a world that feels both alien and inviting. For instance, the character Glordon takes inspiration from the Tardigrade, and the shape of the Communiverse was inspired by deep-sea jellyfish.

Producer Mary Alice Drumm wanted to counter the idea in some films of space being a dark, threatening place and instead worked with Jessup on the version of space in Elio being a “warm, wish fulfillment colorful place Elio would want to do.” She added that for audiences, “hopefully it’s this beautiful aquarium in space you want to go to.”

Pixar: A Bucket List Dream Company

For Saldaña, joining the Pixar family was a dream come true. “Obviously, Pixar is a bucket list dream of a company to be a part of because their stories are so compelling,” she said. Now, having watched Pixar movies with her kids, Saldaña gets “cool mom points” for being a part of Elio for Pixar.

Yonas Kibreab, who plays Elio, echoed the excitement of being in a Pixar film: “I’m so grateful to be a part of it.”

Kibreab’s hope for audiences is that they leave the movie theater feeling like they’ve been entertained during their adventure with Elio. He added. “I also hope that they realize how important friends and family are. And if you’re going through grief or you’re feeling some type of way, at the end of the day, it’s all going to be okay.”

Director Madeline Sharafian emphasized Pixar’s commitment to emotional storytelling. “Something that we were always looking for was to strengthen the moments of emotional catharsis, which I do think is a reason people go see Pixar movies,” Sharafian said.

The filmmakers had the luxury of working with the animators at Pixar, who over three decades have honed their abilities to bring emotion to a variety of characters and objects.

“Even though there are aliens, that have different modes of ambulation and different numbers of eyes, they still need to be able to be expressive and convey emotion, Sharafian said, noting that, “the animators at the studio are so gifted that they could do a lot with with within a limitation — like Glordon doesn’t have eyes or eyebrows — but they can really emote with him.”

With its blend of sci-fi wonder and heartfelt storytelling, Kibreab notes that Elio feels almost like mash-up of Wall-E and Up. “When you put it together, you get Elio,” Kibreab said. “It’s an original and it’s going to be so great.”

“We all have this yearning to belong and to be accepted,” Saldaña said. “But in order for that to happen, you have to learn to accept yourself. That’s a big takeaway in the story of Elio.”

As Pixar continues to push the boundaries of animation and storytelling, Elio continues the studio’s legacy — inviting audiences of all ages to look to the stars and find themselves.

More About Elio

For centuries, people have called out to the universe looking for answers — in Disney and Pixar’s all-new feature film Elio, the universe calls back! The cosmic misadventure introduces Elio, a space fanatic with an active imagination and a huge alien obsession. So, when he’s beamed up to the Communiverse, an interplanetary organization with representatives from galaxies far and wide, Elio’s all in for the epic undertaking. Mistakenly identified as Earth’s leader, Elio must form new bonds with eccentric alien lifeforms, navigate a crisis of intergalactic proportions, and somehow discover who and where he is truly meant to be.

Directed by Madeline Sharafian (Burrow Sparkshort), Domee Shi (Bao short, Turning Red) and Adrian Molina (co-screenwriter/co-director of Coco), and produced by Mary Alice Drumm (associate producer of Coco), the film features the voices of Yonas Kibreab as Elio, Zoe Saldaña as Aunt Olga, Remy Edgerly as Glordon, Brad Garrett as Lord Grigon, Jameela Jamil as Ambassador Questa and Shirley Henderson as OOOOO. Elio releases in theaters June 20, 2025.

With a Stunning Lineup of Filmmakers, Exclusive Announcements, Never-Before-Seen Footage and an Induction into Annecy’s Walk of Fame for Pete Docter and Ron Clements, Disney and Pixar Reaffirms that Annual Presence at the Annecy Festival Delivers a Can’t-Miss Animation Event

New Footage Revealed for Zootopia 2, Hoppers and Toy Story 5 — Pixar Announces All-New Film, Gatto, Coming in 2027

Today, at Annecy’s International Animation Film Festival, Walt Disney Animation Studios and Pixar Animation Studios offered a series of surprises that thrilled festival goers.

In the morning, Jared Bush, Walt Disney Animation Studios’ chief creative officer and director/writer of the upcoming Zootopia 2, made his first appearance in Annecy to debut new footage and images from the anticipated sequel of the beloved Oscar®-winning global hit film, which will be theatrically released this November. Thunderous applause and bursts of laughter punctuated his presentation as footage screened featured returning characters Judy Hopps (voice of Ginnifer Goodwin), Nick Wilde (voice of Jason Bateman), and Mr. Big (voice of Maurice LaMarche), and new characters Gary De’Snake (voice of Ke Huy Quan), Nibbles (Fortune Feimster) and Dr. Fuzzby (voice of Quinta Brunson). The audience was particularly delighted when learning that French actor Jean Reno will lend his voice to a cameo role as an officer of the Zootopia Police Department. To celebrate the original film, Zootopia will be screened tonight under the stars on Le Pâquier.

Also within the presentation, Disney legendary director Ron Clements (The Little Mermaid, Aladdin, The Princess and the Frog, Moana) was honored on stage with an induction into Annecy’s Walk of Fame. The celebration continued with a surprise announcement from Jared Bush revealing that Clements will return to Walt Disney Studios Animation in an advisory role.

In the afternoon, Pixar kicked off their panel with the arrival of Pete Docter, Pixar Animation Studios’ chief creative officer, alongside Elio directors Madeline Sharafian and Domee Shi, and producer Mary Alice Drumm. The Elio filmmakers offered a brief preview of their summer movie full of heart, laughs and fantasy. The screening of 27 minutes of the movie enchanted festival goers, leaving them eager to discover the full scope of this brand-new adventure which will hit theaters next week.

The audience was then treated to an exclusive look at Pixar’s upcoming slate by Docter, who was honored today with an induction into Annecy’s Walk of Fame. Highlights of the presentation included never-before-seen footage from Pixar’s March, 2026 release, Hoppers, screened exclusively for the Annecy audience along with a sneak peek at the first two minutes of the studio’s summer 2026 release, Toy Story 5. Docter confirmed the return of Joan Cusack as Jessie in this next Toy Story chapter and announced exciting new characters as well. As the supervising animator on the original Toy Story, Docter then showcased rarely seen legacy footage from Toy Story, the first feature length computer animated film ever released, in celebration of its 30^th anniversary.

Additionally, Docter announced a brand-new original project called Gatto, slated for summer 2027. From the filmmaking team behind Luca, director Enrico Casarosa and producer Andrea Warren, the new film returns to Italy, this time to Venice, where after years of maneuvering the canal-ridden, superstitious city, a black cat named Nero begins to question whether he’s lived the right lives. Indebted to a local feline mob boss, Nero finds himself in a quandary and is forced to forge a truly unexpected friendship that may finally lead him to his purpose — unless Venice gets the better of him first.

With these Disney and Pixar presentations, the studios reaffirmed their commitment to the Annecy International Animation Festival as a venue to deliver exclusive news and screenings to a global audience of animation fans.

Carrie Hobson and Michael Yates know that they have high standards to meet.

The co-creators of Win or Lose, which debuted on Disney+ on Wednesday, not only have to add to the legacy of Pixar and its decades of creative storytelling, but they also have to spearhead the first-ever original series in the history of the renowned animation studio.

“We grew up watching Pixar films so being able to be added to the legacy of the studio has been amazing, but also really big shoes to fill,” Hobson and Yates said. “As our Executive VP of Production, Jonas Rivera, once told us, ‘Pixar only gets so many ‘first-ever’ moments, so you know, just make sure our first-ever original series is as good as Toy Story.’”

Hobson and Yates added, “We came to work very sweaty after that.”

Win or Lose features the intertwined stories of eight different characters as they each prepare for their big championship softball game — the insecure kids, their helicopter parents, even a lovesick umpire. The series also includes the voice talents of Will Forte, Rosie Foss, Josh Thomson, and Milan Elizabeth Ray, among others.

“We knew from the beginning we wanted to have all the hallmarks of a Pixar film — humor, heart, and creativity,” the two said. “We came to the table also knowing we wanted to tell the types of stories we couldn’t tell in a film format. Which included multi-protagonists, nonlinear storytelling, and really just pushing the tone to be more outside of the box.”

Hobson and Yates explained that the intertwined storytelling was inspired by their time working at Pixar.

“Before making the show, we were office mates and we’d often walk out of a meeting with vastly different impressions of how it went,” they said. “We were fascinated with the idea that everyone kind of lives inside their own perspectives. We felt the only way to truly experience this was to intertwine the stories.”

While Win or Lose is a “first” for Pixar, it was inspired by “quite a few Disney/Pixar films,” according to Hobson and Yates.

“But if we have to pick a joint favorite that we both return to, it’s The Incredibles — the boldness of the storytelling stands alone even today.”

In terms of what the audience will take away from the new series, Hobson and Yates hope it helps viewers see the world through a different point-of-view.

“Win or Lose has always been about walking a mile in someone else’s shoes and seeing life the way they see it,” they said. “We hope the show gives people this opportunity in a way only animation can do. We also just hope you have a good time and relate to our characters.”

Following a record-breaking theatrical run, Disney and Pixar’s Inside Out 2—the highest-grossing animated movie of all time—set even more records with its Disney+ debut.

Inside Out 2 drove 30.5 million views* globally on Disney+, based on five days of streaming, making it the No. 1 film premiere on Disney+ in 2024, the No. 1 theatrical film premiere on Disney+ since Walt Disney Animation Studios’ Encanto (2021), and the No. 1 film premiere of all time on Disney+ in EMEA (Europe, the Middle East, and Africa) and LATAM (Latin America). Additionally, excitement for the sequel drove viewers to revisit the original in huge numbers: since the first Inside Out 2 teaser trailer premiered to record numbers, there have been more than 121 million views of Disney and Pixar’s Inside Out (2015) globally on Disney+.

The coming-of-age comedy Inside Out 2 takes place inside the mind of newly minted teenager Riley (Kensington Tallman), just as Headquarters undergoes a sudden demolition to make room for something entirely unexpected: new Emotions. Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Fear (Tony Hale), and Disgust (Liza Lapira) are unsure how to feel when those new Emotions—Anxiety (Maya Hawke), Envy (Ayo Adebiri), Ennui (Adèle Exarchopoulos), and Embarrassment (Paul Walter Hauser)—arrive.

Inside Out 2 is directed by Kelsey Mann, produced by Mark Nielsen, and executive produced by Pete Docter, Jonas Rivera, and Dan Scanlon. It features a screenplay by Meg LeFauve and Dave Holstein, from a story by Mann and LeFauve, and music by Andrea Datzman.

Released in theaters June 14, Inside Out 2 continued to set new records throughout the summer. In addition to opening to record numbers, it enjoyed a massive second weekend and crossed the $1 billion mark in just 19 days—faster than any other animated film ever. It remains the highest-grossing movie of 2024, and the only animated film to cross $1 billion internationally. The film has been a hit with audiences and critics alike, as it’s Certified Fresh on Rotten Tomatoes, has an “A” CinemaScore, and boasts a Rotten Tomatoes audience score of 95%.

* A view is defined as total stream time divided by runtime.

Make room for new emotions when the top animated movie of all time, Disney and Pixar’s Inside Out 2, makes its streaming debut on Disney+ September 25.

Certified-Fresh on Rotten Tomatoes and celebrated by critics as “absolute perfection, hilarious” (Jazz Tangcay, Variety) and “an unforgettable experience” (Landon Johnson, Awards Watch), the highly anticipated heartwarming sequel has already proven to be a blockbuster smash hit. Inside Out 2 is the highest-grossing animated film of all time, the fastest animated film to reach $1 billion globally, and is currently the 8th highest grossing film in global box office history.

Disney and Pixar’s Inside Out 2 returns to the mind of newly minted teenager Riley just as headquarters is undergoing a sudden demolition to make room for something entirely unexpected: new Emotions! Joy, Sadness, Anger, Fear and Disgust, who’ve long been running a successful operation by all accounts, aren’t sure how to feel when Anxiety shows up. And it looks like she’s not alone. Maya Hawke lends her voice to Anxiety, alongside Amy Poehler as Joy, Phyllis Smith as Sadness, Lewis Black as Anger, Tony Hale as Fear, and Liza Lapira as Disgust. Directed by Kelsey Mann and produced by Mark Nielsen.

Also announced today: Disney+ launched its Blockbuster Offer where now through September 27, new and returning customers can stream the biggest movies and series of the fall with Disney+ Basic for only $1.99/month for three months. To learn more or sign-up visit www.disneyplus.com.

Feel the joy because Inside Out 2 is now the highest-grossing animated film of all time globally.

The Pixar Animation Studios film — which brings audiences back into the mind of a teenage Riley as she deals with a host of new emotions — has made $1.46 billion worldwide, surpassing Frozen II as the top animated film ever.

“Inside Out 2 is a quintessentially Pixar film, and it’s been amazing to see how it has connected so deeply with people all over the world,” Alan Bergman, Co-Chairman, Disney Entertainment, said. “We knew it was really special, but no one could have predicted it would reach these record-breaking heights. We’re grateful to all the fans who have made this the biggest animated film ever.”

Inside Out 2 now sits atop of litany of blockbuster animated films from The Walt Disney Company. In fact, of the top 10 highest-grossing animated films in history, seven were produced by Pixar or Walt Disney Animation Studios.

Inside Out 2 is also the 13th highest-grossing film of all time globally and just crossed $600 million domestically.

The film — which stars the voice talents of Amy Poehler and Maya Hawke — has had a remarkable streak of success at the box office this summer. Inside Out 2 opened to record numbers, enjoyed a massive second weekend, and crossed the $1 billion mark in just 19 days of release — the fastest ever for an animated film.

It stands as the highest grossing movie of 2024 to date, and the only one to cross $1 billion.

Inside Out 2 has also been a big hit with critics. The film is Certified Fresh on Rotten Tomatoes, has an “A” CinemaScore, and a Rotten Tomatoes audience score of 96%.

But the success of Inside Out 2 is more than just box office numbers.

The Walt Disney Company doesn’t just foster cultural events but creates beloved, enduring franchises thanks to the company’s expansive media brand. For example, the original film racked up $859 million in 2015 and earned an Academy Award for Best Animated Feature, leading the Inside Out brand to go on to become one of Pixar’s most recognizable titles. The franchise has since expanded to shorts, merchandise, and attractions.

This article initially appeared on Disney’s Social Responsibility Website.

Disney and Pixar are bringing Inside Out 2 celebrations to children’s hospitals and pediatric places of care around the world. In the U.S., Disney and Starlight Children’s Foundation are also launching a new program, Movie Party in a Box, to coincide with the film’s debut.

Movie Party in a Box expands on Disney Movie Moments, which provides children’s hospitals with access to new movie titles shortly after theatrical release. With the launch of the new program, hospital staff will now receive a curated assortment of themed products, delivered by Starlight Children’s Foundation, to create memorable cinematic experiences. For young patients who cannot visit theaters due to medical restrictions, Movie Party in a Box brings red-carpet moments to children without having to leave the hospital.

In addition to Movie Party in a Box, select hospitals and pediatric places of care received visits from Disney executives and Inside Out 2 characters, artists, and talent. Check out this segment from Good Morning America to see how these events come to life.

Disney and Pixar’s Inside Out 2 is the follow-up to 2015’s Oscar- and Golden Globe-winning feature film and returns to the mind of newly minted teenager Riley. After a record-breaking opening weekend, Inside Out 2 is now the highest-grossing film of 2024 worldwide.

In collaboration with Disney and Pixar, child life specialists and health professionals have used the world of Inside Out to help children in hospitals. With the introduction of new characters like Anxiety, specialists now have additional ways to help children identify, understand, and express the range of emotions associated with spending time in hospitals.

Bob Iger and Inside Out 2 Characters Visit London’s Great Ormond Street Hospital

Leading up to the premiere of Inside Out 2, CEO Bob Iger and characters from the film visited Great Ormond Street Hospital (GOSH) in London and announced funding for a state-of-the-art, fully accessible MediCinema theater equipped with space for beds, wheelchairs, and medical equipment. Patients also received the news that they would be among the first to see the brand-new film.

“We hope that this new state-of-the-art MediCinema will bring moments of happiness and joy to the children and families who need it most, and we look forward to continuing to find more ways to bring the magic of Disney to life in children’s hospitals around the world,” Iger said.

Tony Hale (voice of Fear in Inside Out 2) Visits Children’s of Alabama

Disney and Starlight Children’s Foundation brought an Inside Out 2 movie party to young patients at Children’s of Alabama with a special appearance from Pixar artists and Tony Hale, the actor who voices Fear in the film. Having attended university nearby, Hale was especially excited to visit patients in Birmingham, Alabama.

“Coming here and talking to the kids is such a gift. They are so special and fun, and they were asking such great questions. To spend time with them and bring the movie here to them—for them to see it, to hear their stories—that’s a moment I’ll never forget,” Hale said during his visit.

Along with Hale, patients also received a special surprise when Joy came to visit. Just like the emotion she brings to Riley, Joy delivered smiles and laughter to children and their families, bringing much-needed balance to the emotions often felt in hospitals.

“The movie is so fun, but it’s so beautiful. It talks about having a bit more compassion for our feelings, gives us permission to feel our feelings. So, to be able to share it here, in this hospital is a real gift,” Hale said.

For patients who could not come down for the event, Hale, Pixar artists, and Joy made bedside visits to patient rooms.

Pixar Artists Visit Bay Area Hospitals

In addition to Children’s of Alabama, Pixar artists visited children’s hospitals and pediatric places of care across the Bay Area to bring Inside Out 2 to young patients and their families.

Along with hosting exclusive screenings of the new film, Pixar artists took drawing requests and created keepsakes for children and their families. From beloved Pixar characters to inventive requests, artists made patients’ favorite stories and imaginations come to life through illustration.

“If I can give a distraction, however temporary, to any hospital-bound kids and their families, I’m happy to do it. Drawing is a skill that many of us who do it for a living take for granted. It’s good to be reminded that many people still consider drawing to be something nearly magical,” Kevin O’Brien, Pixar Story Artist, shared.

From movie parties this summer and beyond, the world of Inside Out continues to resonate with children and their families, whether they’re processing everyday emotions or fighting serious illnesses.

Programs like Disney Movie Moments and Movie Party in a Box are part of Disney’s $100 million global commitment to help reimagine the patient experience in children’s hospitals and deliver moments of joy when they’re needed most. To learn more, please visit joy.disney.com.

Inside Out 2 has been the story of the summer, breaking records at the ticket booth and delighting audiences around the world. Now, the film has reached a rare milestone: earning $1 billion at the box office.

The Pixar Animation Studios film — which brings audiences back into the mind of Riley as she deals with a host of new emotions as a teenager — has crossed the $1 billion mark at the worldwide box office in 19 days of release. That’s the fastest ever for an animated film.

It stands as the highest grossing movie of 2024 to date, and the only one to cross $1 billion.

Inside Out 2 will be one of only 11 animated titles to have ever surpassed the $1 billion mark — and eight out of the 11 belong to Walt Disney Animation Studios or Pixar.

“We’re absolutely thrilled to have reached this phenomenal milestone in record time, and it once again proves that global audiences will come out for a great movie,” Tony Chambers, EVP, Theatrical Distribution, said. “The film’s remarkable success is a testament not only to the incredible creativity of the Pixar team but an example of moviegoing at its very best.”

The box office achievement followed a hot streak in theaters in which the film had a record opening, a massive second weekend and tremendous weekday numbers showing how much Inside Out 2 has become an event for audiences.

Inside Out 2 has also been a big hit with critics. The film is Certified Fresh on Rotten Tomatoes with critics praising the film’s visuals, cast, and clever yet in-depth storytelling. It also received an “A” CinemaScore and a Rotten Tomatoes audience score of 96%.

But the success of Inside Out 2 will not end at the box office.

The Walt Disney Company has a unique ability to not just help foster cultural events and craft powerful storytelling, but to go beyond storytelling to build enduring franchises that stand the test of time via film, TV, streaming, attractions, merchandising, events, and more.

Since racking up $858 million in 2015 and earning an Academy Award for Best Animated Feature, Inside Out has gone on to become one of Pixar’s most beloved and recognizable titles. The brand can be found everywhere from shorts to merchandise to attractions, and the love for the Inside Out franchise is only likely to grow following the record success of its sequel.

Pete Docter — Chief Creative Officer of Pixar and director of 2015’s Inside Out — has said that the first film has “continued to be part of the conversation” since it opened nearly a decade ago, which led to the creation of the sequel.

“We hear from people saying, ‘This movie changed the way I think about parenting,’ or ‘The way I understand my own existence’ and like, whoa, that’s pretty heavy for a cartoon,” he noted. “Maybe there’s more to be done with this world?”

Docter added that telling amazing stories like Inside Out 2 is “really the root of what Pixar is about.”

“We’re not an animation studio — we say we are, but ultimately we’re a storytelling studio,” he said. “You might think our movies are about cars or bugs or monsters, but they’re really about us at the core. They’re about our experiences as human beings that we hope will then resonate with the audience.”

Can you feel it? There’s a new No. 1 film of 2024 around the world.

Inside Out 2 — the Pixar Animation Studios film, which brings audiences back into the mind of Riley as she deals with a host of new emotions as a teenager — has made $728.6 million worldwide so far after two weekends of release.

That means that after two weekends in theaters, Inside Out 2 is now the highest-grossing film of 2024 worldwide.

The box office achievement followed a massive second weekend for the film in which Inside Out 2 brought in $101 million domestically. That makes Inside Out 2 only the seventh film in history to make $100 million in its second weekend. It dropped just 35% from its a record-breaking opening two weekends ago.

Inside Out 2 also had the best second weekend ever for an animated film and the best second weekend percentage drop for any film to open over $150 million.

Inside Out 2 has also been a big hit with critics. The film is Certified Fresh on Rotten Tomatoes with critics praising the film’s visuals, cast, and clever storytelling. It also received an “A” CinemaScore and a Rotten Tomatoes audience score of 96%.

Director Kelsey Mann said that he really wanted to direct Inside Out 2 because he “felt like there was more story to tell.”

“At the end of the first film, Joy asked the audience a question. She says, ‘after all Riley is 12 now, what could happen?’ Well, I wanted to answer that question,” he said.

Mann added that his hope for the film — which welcomes new Emotions such as Anxiety — is to “tell a story that made some teenagers lives that much easier.”

“It’s all about navigating those different emotions,” he said. “A lot of it is me trying to connect to myself as a teenager and all the changes that I went through at that time that helped me get through all the changes I’m going to go through as a director.”

There’s nothing but good feelings for Inside Out 2 at the box office.

The Pixar Animation Studios film — which brings audiences back into the mind of Riley as she deals with a host of new emotions as a teenager — is now the highest-grossing film of the year domestically, and it only took 8 days.

The film also crossed $500 million at the worldwide box office on Friday.

These box office achievements follow a record-breaking opening for the film. Last weekend, Inside Out 2 brought in the biggest box office opening of the year and the second-biggest animated box office opening of all time domestically behind another Pixar film, 2018’s Incredibles 2.

As for its global opening, the film notched the biggest global animated opening of all-time (when using current exchange rates and in like-for-like markets).

Inside Out 2 was also a hit with critics. The film is Certified Fresh on Rotten Tomatoes with critics praising the film’s visuals, cast, and clever storytelling. It also received an “A” CinemaScore and a Rotten Tomatoes audience score of 96%.

Pete Docter — Chief Creative Officer of Pixar and director of 2015’s Inside Out — has said that the first film has “continued to be part of the conversation” since it opened nearly a decade ago, which led to the creation of the sequel.

“We hear from people saying, ‘This movie changed the way I think about parenting,’ or ‘The way I understand my own existence’ and like, whoa, that’s pretty heavy for a cartoon — Maybe there’s more to be done with this world?” he added. “So, we tapped Kelsey Mann, who directed Inside Out 2, to think along the lines of the first movie, but in a different direction.”

It was a very joyful weekend for Inside Out 2.

The Pixar Animation Studios film — which brings audiences back into the mind of Riley as she deals with a host of new emotions as a teenager — made an estimated $154 million at the domestic box office this weekend.

That makes Inside Out 2 not only the biggest box office opening of the year, but the second-biggest animated box office opening of all time domestically behind another Pixar film, 2018’s Incredibles 2.

As for the global total of Inside Out 2, it has made $292 million worldwide so far. That’s the biggest global animated opening of all-time (when using current exchange rates and in like-for-like markets).

The film easily surpassed the box office opening of its predecessor, Inside Out. That film opened to $90 million in the summer of 2015 before going on to make $858 million worldwide.

Inside Out 2 was also a hit with critics. The film is Certified Fresh on Rotten Tomatoes with critics praising the film’s visuals, cast, and clever storytelling. It also received an “A” CinemaScore and a Rotten Tomatoes audience score of 96%.

Director Kelsey Mann said that he really wanted to direct Inside Out 2 because he felt like “there was more story to tell.”

“At the end of the first film, Joy asked the audience a question. She says, ‘after all Riley is 12 now, what could happen?’ Well, I wanted to answer that question,” he said.

Mann is following in the footsteps of Pete Docter — Chief Creative Officer of Pixar — who directed the first film.

Docter added that Inside Out has “continued to be part of the conversation” since it opened nearly a decade ago, which led to the creation of the sequel.

“We hear from people saying, ‘This movie changed the way I think about parenting,’ or ‘The way I understand my own existence’ and like, whoa, that’s pretty heavy for a cartoon — Maybe there’s more to be done with this world?” he said. “So, we tapped Kelsey Mann, who directed Inside Out 2, to think along the lines of the first movie, but in a different direction.”

That direction took the film towards new emotions such as Embarrassment, Ennui, Envy and Anxiety, who was voiced by Maya Hawke.

“This movie is just a force for good. It’s like a double rainbow,” she said. “It takes so many tough emotions that everyone experiences, not just teenagers, and actualizes those emotions in a way that makes them feel less alienating or stressful.”

Inside Out 2 — which opens in theaters this weekend — takes viewers back into the mind of Riley, now thirteen years old, as she deals with becoming a teenager and a whole new host of emotions.

These new Emotions — Anxiety, Ennui, Embarrassment and Envy — are “a little bit abstract,” compared to Joy and Sadness from the first film, according to Pete Docter, Chief Creative Officer of Pixar and the director of the original film.

So, we spoke with Docter about how he approached the Emotions of the new film, why it needs to be seen in a theater, and how Pixar approaches storytelling.

Why did you want to make Inside Out 2?Inside Out came out in 2015, and it has continued to be part of the conversation. We hear from people saying, “This movie changed the way I think about parenting,” or “The way I understand my own existence” and like, whoa, that’s pretty heavy for a cartoon — Maybe there’s more to be done with this world? So we tapped Kelsey Mann, who directed Inside Out 2, to think along the lines of the first movie, but in a different direction.

And he came up with this idea of doing something with Anxiety as a character, which, first of all, that really spoke to me as a teenager. But also it was something we were hearing a lot about in the world that anxiety levels, especially among younger people, are going up.

And so it just felt like this is something that could really be relevant. I think it could be funny — which hopefully it is — and also speak to people in the same way that the first one did.

Pixar’s Pete Docter and director Kelsey Mann discuss ‘Inside Out 2’How do you balance honoring a director’s vision but then also bringing the whole Pixar organization into a film?

It’s confusing to people sometimes to hear Pixar is a director driven studio, but also Pixar is very collaborative, because those seem like they’re at odds with each other and they are to some degree. But there’s no way if you got a hundred people together and said “No rules, just make a movie,” nothing would get done.

The director, as soon as he or she is able, is trying to articulate what they’re after emotionally. And then rely heavily on an amazing team of designers, story artists, writers, technical artists, animators to really bring all of that to life in a way that the audience can feel and connect with.

How did you accomplish that in Inside Out 2?

The thing with Inside Out 2, that was actually more difficult than Inside Out was that we chose the basic emotions for the first film: Anger, Fear, Sadness, Disgust, Joy, things that are pretty basic. Once you say that one word, people are like, “Oh yeah, I know anger.”

But when you give it to like Ennui and Embarrassment and even Anxiety, they’re like “Do I have to have a degree in psychology to understand this movie?” No, the answer’s no. And I think one thing we’ve been really working hard from the first film on is to make sure that we’re visually clear. So even though some of the concepts are big and a little bit abstract, maybe once you see them, you’re like, “Oh yeah, I totally get that.”

Why does Inside Out 2 need to be experienced in theaters?

I think the way to see this movie is in theaters because of that spectacle. The way I look at it is “What’s the purpose of movies? Why do we go watch these flickering images?” I think it’s because we want to feel something right. And the difference between seeing something medium sized with kind of a tinny sound versus going to the theater, it’s just much more immersive. It’s bigger, It’s it makes you feel more.

What are you hoping that younger audiences take away from Inside Out 2?

Most importantly, I hope they’re just entertained, that they have a good time. There’s a lot of funny stuff. There’s slapstick and jokes, but there’s also stuff that’s funny because you go “Oh, I know that I’ve been there, I’ve seen that before,” and those are the best earned jokes.

I think younger audiences, if the first film is any guide, will walk away with some new tools to be able to visualize some of these very abstract ideas. “How do memories work? What is anger? What is joy, and what is the purpose of disgust?” All these things we try to talk about and show in an interesting way.

How does Pixar go about telling stories?

Telling stories is really the root of what Pixar is about. We’re not an animation studio — we say we are, but ultimately we’re a storytelling studio. We are a film making community, and as such we’re really relying on individual people, amazing storytellers to bring forward their own experiences as human beings and then cloak them in some fun way that is just exciting to watch.

You might think our movies are about cars or bugs or monsters, but they’re really about us at the core. They’re about our experiences as human beings that we hope will then resonate with the audience.

Inside Out 2 has many new Emotions. There’s Embarrassment, Envy, and even Ennui. However, one new Emotion stands out above the rest: Anxiety.

The frazzled yet friendly Anxiety is the star of the new film as Inside Out 2 returns to the mind of newly minted teenager Riley.

We spoke with Maya Hawke — who plays Anxiety — about bringing the character to life, how she used her own voice in her head for the role, and what she hopes audiences will take away from the new film.

Voicing an emotion, rather than a character, can be difficult. What did you bring to your performance that helped you create Anxiety for Inside Out 2?

The little voice that I hear in my own head — the one that tells me to worry if my shoes are wrong or if I’m going be late to the airport or say the wrong thing — whatever that voice is that’s in my own head, I just tapped into that and let it come out of my mouth instead of keeping it in my brain.

How did working with Disney and Pixar help you create Anxiety?

I actually saw the drawing of Anxiety while I was in the audition process and I just thought, “I HAVE to play this part.” And it was incredibly rewarding to see the end result. In fact, some of the hand gestures and little movements that I did during the voice recording made it into the way the character was animated, which was just the coolest thing to see.

Did you do any outside research into anxiety, which helped you with the performance?

I have anxiety, but I don’t have debilitating anxiety or medical grade anxiety. I do have, like, a character within me that frets and worries, and so I was really able to play with that character that I’ve had in my own life, let her free, and give her free reign in this role, which was really cool.

You’re a film lover, so is there a Pixar film that really stays with you and impacts you as a creator and lover of cinema?

I love all of the Pixar films, they’ve all been super important touchstones in my life, but if I had to choose one, I’d probably choose The Incredibles.

What do you hope audiences take away from both Inside Out 2 and Anxiety?

This movie is just a force for good. It’s like a double rainbow. It takes so many tough emotions that everyone experiences, not just teenagers, and actualizes those emotions in a way that makes them feel less alienating or stressful. I could not be more grateful or proud to be part of this incredible movie alongside this insanely talented, amazing cast.

Directing a sequel to Inside Out — one of the most popular and acclaimed films in the history of Pixar — is tough. Directing a sequel to Inside Out after the original was directed by Pete Docter — the Chief Creative Officer of Pixar — is even tougher.

But this was the task for Kelsey Mann, who is behind the camera for Inside Out 2, which opens this weekend. For Mann — who is directing his very first film — the task stirred many emotions, but ultimately it was a job he joyfully took on.

“I really wanted to direct Inside Out 2 because I felt like there was more story to tell,” Mann said. “At the end of the first film, Joy asked the audience a question. She says, ‘after all Riley is 12 now, what could happen?’ Well, I wanted to answer that question.”

Mann added that his hope for the film — which welcomes new Emotions such as Anxiety to the mind of the now-teenaged Riley — is to “tell a story that made some teenagers lives that much easier.”

“It’s all about navigating those different emotions,” Mann noted. “A lot of it is me trying to connect to myself as a teenager and all the changes that I went through at that time that helped me get through all the changes I’m going to go through as a director.”

Pixar’s Pete Docter and director Kelsey Mann discuss ‘Inside Out 2’

Mann went on to say that he got to “follow in the footsteps of the great Pete Docter,” who helped Mann “immensely.” Docter taught Mann about “the rules of the world of Inside Out that he and his team helped create,” and about leadership.

“Pete taught me so much about really relying on your crew, giving them the direction that they need, trusting them to make the best decisions, and just get out of their way and watch the magic happen,” Mann said.

Mann noted that one of his first directorial decisions was expanding Inside Out 2, and not just with new Emotions for Riley, but for the look of the film itself.

“Riley is a teenager, and her world is expanding. She’s adding new emotions at the console. I thought, why not expand the aspect ratio?” Mann explained. “So, we did that for this film because it’s something that Riley’s going through and also because I love going to the theaters and seeing a big wide aspect ratio up on the screen.”

Mann concluded the conversation saying he’s excited for audiences to see this new, expanded world on the big screen too.

“I love going to the movies. In fact, I would say one of my first core memories is going to the movies,” he said. “I was sitting in the front row with my dad watching Star Wars when I was five years old, and that really cemented my love of cinema and going to the theaters.”

Disney and Pixar’s Inside Out 2 debuts only in theaters on June 14.

Pixar Place Hotel is now open at Disneyland Resort, officially marking the transformation of Disney’s Paradise Pier Hotel into the first fully Pixar-themed hotel in the United States. The 15-story high-rise overlooking Disney California Adventure Park boasts comfortable and contemporary guest rooms that celebrate the artistry of Pixar Animation Studios, new dining options by Great Maple, a relaxing rooftop pool area and play court, a renovated fitness center, and more. Character artwork, concept renderings, and more are displayed throughout the hotel, celebrating beloved films such as Finding Nemo, Inside Out, and Soul.

“At Pixar, our mission is to tell great stories. And nothing is more exciting than when we see those stories come to life in Disney parks. Pixar Place Hotel at the Disneyland Resort is the perfect example; it’s like walking into a world of Pixar,” says Pete Docter, Chief Creative Officer at Pixar Animation Studios. “It’s truly immersive, and we’re thrilled to have collaborated with Walt Disney Imagineering to make such an experience possible for guests.”

Disneyland Resort President Ken Potrock adds, “We are looking to turbocharge expansion at Disneyland Resort over the coming years, and the transformation of Pixar Place Hotel is a demonstration of how we’re creating high-quality guest experiences infused with our most popular stories.”

Pixar Place Hotel is designed to evoke the inspiration and humor in every Pixar film, while celebrating the artistic process. Showcasing early sketches to finished design, the décor depicts memorable moments from Pixar stories and reveals never-before-seen artwork. “Walt Disney Imagineering was so inspired to take a peek behind the curtain and learn more about the creation of our favorite Pixar films,” says Kirstin Makela, Art Director at Walt Disney Imagineering. “We wanted to bring this iconic collection of artwork directly to our guests in unique ways throughout the property, as well as new artwork created for the hotel.”

A sculpture of the iconic Pixar Lamp balancing atop its ball is the focal point of the lobby. Floating from the skylight above, a mobile represents the beginning stages of Pixar filmmaking—and guests’ stays—with character designs made of basic shapes and colors. Specially composed for Pixar Place Hotel, the new lobby music includes 10 new arrangements of Pixar cues, which collectively celebrate themes from many Pixar films.

At select times, guests may encounter Joe Gardner from Soul playing the piano near the Pixar Place Hotel’s staircase, or they may be invited to create core photo memories with Bing Bong from Inside Out, who makes his first-ever appearance at any Disney property.

Just off the lobby is a new retail shop, STOR-E. The name is a nod to WALL-E, and the shop’s artwork is inspired by icons from Pixar films, including the scuba mask from Finding Nemo, balloons from Up, and Hank’s coffee pot from Finding Dory. Pixar-themed apparel and toys, as well as Disneyland Resort souvenirs and sundries, are also available at STOR-E.

From concept art on the headboards to pillows inspired by the Pixar Ball, the reimagined guest rooms incorporate whimsical nods to the animation studio. For example, the headboards consist of concept art from films such as The Incredibles and Toy Story 3, arranged in order from warm to cool colors to demonstrate the importance of color to the tone of a scene. What’s more, some of the artwork displayed in each guest room was created by Pixar artists exclusively for the hotel. “Our Pixar artists love seeing their stories come to life in Disney parks for guests to enjoy—and for them to enjoy, too!” Roger Gould, Creative Director, Theme Parks at Pixar and Walt Disney Animation Studios, says. “Now, with Pixar Place Hotel, our guests are welcome to stay in an environment that surrounds them with the joyful spirit of Pixar. One of the most exciting aspects of the hotel is that we’re sharing the story of how we create our films. There are amazing, never-before-seen pieces of concept art and storyboards as well as wireframes, maquettes, and other elements that illustrate how our films go from an original idea all the way to the finished image.”

Mike and Sulley from Monsters University can be spotted on treadmills in a mural at the expanded fitness center. Guests can also enjoy a colorful new pool area, where families can take a ride down the 186-feet-long Crush’s Surfin’ Slide; lounge around or splash in the Pixel Pool; and frolic in Nemo’s Cove, a pop-jet splash pad featuring Hank, Squirt, Dory, and Marlin. Guests may choose to rent private daybeds, cabanas, or pods in the daytime; relax at night around fire pits inspired by some of Pixar’s most hotheaded characters, including Ember from Elemental and Anger from Inside Out; and see fireworks from this rooftop deck on select nights. At the Pixar Shorts Court, next to the rooftop pool, guests can play outdoor games such as Bao Toss, Follow the Leader, Shuffleboard, and Burrow Path—respectively themed to the shorts Bao, For the Birds, La Luna, and Burrow. The nearby umbrella counter invites guests to enjoy food and drinks under the umbrellas from The Blue Umbrella.

“The different spaces in the hotel tell the story of how art and technology come together in the process of making Pixar films, starting in the lobby with the mobile representing minimalist character sketches to the rear entry hallway murals showing how animation thumbnails evolve into wireframes built in the computer,” says Tasha Sounart, Theme Park Creative Director at Pixar Animation Studios. “For the pool area, we had a lot of fun creating pixel-art versions of the characters out of tiles, to further represent the role technology plays in our art process.”

The creativity and comfort of Pixar Place Hotel is also reflected in new, upscale culinary offerings. Guests can savor elevated takes on American classics at three dining locations operated by Southern California-based Great Maple. Accessible to hotel guests, local diners, and theme park goers, the 6,500 square-foot Great Maple restaurant on the ground floor serves breakfast, lunch, and dinner daily. Signature dishes include buttermilk fried chicken and maple bacon doughnuts, Cajun shrimp and cheddar biscuit benedict, and soda pop-braised baby back ribs. The Sketch Pad Café, a grab-and-go lobby coffee shop, offers assorted pastries, coffee, and tea. When the rooftop pool bar Small Bytes opens in early March, a selection of beverages, salads, wraps, cheese plates, and more will be available with an incredible view of Disneyland Resort. In addition, Great Maple will provide food and beverage service to the Creators Club concierge lounge when it opens later this year; located on the second floor,Creators Club concierge lounge will honor the partnership between Walt Disney Imagineering and Pixar Animation Studios with attraction posters, concept art, and music from Pixar experiences in Disney parks around the world.

When final touches are completed later this year, Pixar Place Hotel will have 479 total guest rooms, including two new, two-bedroom signature suites. The colorful Coco Suite will pay tribute to Miguel and the Rivera family’s legacy through vibrant Oaxacan art, while the midcentury modern Incredibles Suite will feature Parr family memorabilia with a spy-fi twist. “With upgraded accommodations and amenities, plus stylish Pixar flair throughout, Pixar Place Hotel is proud to deliver an elevated, distinctly Disney experience that only comes with staying at the Disneyland Resort,” says Pixar Place Hotel general manager Ron Silagyi.

Overnight stays offer special Disneyland Resort Hotel benefits, such as early theme park entry and convenient theme park access.

Pixar Place Hotel is one of many ways guests can experience Pixar storytelling across the Disneyland Resort. From April 26 through August 4, 2024, the limited-time Pixar Fest celebration returns with the all-new “Better Together: A Pixar Pals Celebration!” daytime parade at Disney California Adventure Park, the heartwarming “Together Forever – A Pixar Nighttime Spectacular” at Disneyland Park, colorful décor across the resort, and more.

Three films from Disney and Pixar are coming to movie theaters for the first time ever, and Pete Docter is eager for fans to see them in a new way.

2020’s Soul, 2021’s Luca and 2022’s Turning Red are having special engagement theatrical runs this year with Soul hitting theaters this weekend. Docter—who is the Chief Creative Officer at Pixar—is excited to present them the way they were meant to be seen: on the big screen.

We chatted with Docter about how the theatrical experience adds to the films, which one is best to see in theaters and why Anxiety could become the breakout star of this summer’s Inside Out 2.

Pixar’s Soul, Luca, and Turning Red are heading to theaters with Soul debuting on January 12. All these films are available on Disney+. So why release them in theaters?

They were made to be seen on the big screen. Every frame has been pored over by the artists and technicians here, and it’s a different experience. Hopefully, people have seen them on Disney+, and we’re very thankful to have had that platform to release them because otherwise the pandemic would have put them on the shelf.

But we’re really excited for people to go back to theaters with their friends and see it together. The scale and the community are all reasons to go.

How does the theatrical experience add to the enjoyment of these films? Let’s use Soul as an example.

If you remember the film, our main character Joe falls through a manhole and he’s in this weird abstract space and on your screen, it looks cool. However, on a big screen in a theater, it takes up the whole wall, and you’re immersed into this weird world. Then there’s the sound design, too… When you hear it all around you, it is just a different beast. It’s amazing.

These films are hits on Disney+. Do you think putting them in theaters is going to deepen that popularity?

Well, I hope so. I’m old enough to remember a time before home video, before streaming, and the only chance you had to see a film like a Pinocchio or One Hundred and One Dalmatians was when it came out every couple of years in theaters. Even though I’d seen them before, it was always just a great new experience to go see these movies.

I think people will see things that they didn’t even notice. You see it on the big screen and you’re like, “Whoa, the detail there, that’s crazy.” There’s just a lot to see in those movies.

And, you know, as we’re working on these movies, we’re watching the same movie for years, so it’s packed with all sorts of inside jokes and details. There’s just a lot to see.

Which one do you think is the best to see on the big screen?

Well, I directed Soul, so I’m biased, but it really depends on what you’re into. For me, my goal in making Soul was I wanted people to be entertained, but at the end of the movie, go, “Oh yeah, we have to go get some ice cream and talk about this,” because while it’s fun it also asks questions like, “What is your passion?” “What makes you so driven in your life and is that what you’re all about?” “Is that what life is all about?” So, there are some big questions that I think—in a perfect world—will spark discussion among friends.

Turning Red is obviously super fun. It’s like going back to middle school with all the triumphs and tribulations of that. Then obviously Luca is kind of like going on summer vacation. Go out to the theater and spend some time in Italy. Sure, you go there in your mind, but you may come out relaxed.

It really depends on what you’re looking for.

As the Chief Creative Officer of Pixar, what are your hopes for the animation studio this year?

We have Inside Out 2 coming out on June 14 and I’m really excited about that. It’s expanded from the first film. At the end of the first film, Joy says, “Riley is 12 now. I mean, what could happen?” And obviously, we know a lot can happen when you turn 12 and 13 and so on. It’s coming together really well and it’s a lot of fun.

Inside Out was a personal film for you. What do you think will make the sequel special? 

Kelsey Mann—who’s directing it—found this idea of adding anxiety, which is very prevalent emotion in the world today. It is very tumultuous, and it’s a little bit like sadness where you’re like, “Why is this a good thing?” You know, it just feels very negative. I would love to get rid of anxiety. And so, we’re plumbing the depths of that in the same way we did with the first film.

We’re talking with a lot of psychologists and scientists to figure out, “What is anxiety for?” “How does it benefit us?” “How does it hurt us?” And the character—who’s voiced by Maya Hawke—fits right in with the original team.

Three feature films from Disney and Pixar will hit the big screen nationwide for the first time ever in 2024, including 2020’s Soul, 2021’s Luca and 2022’s Turning Red.

Tickets go on sale Jan. 2, 2024 for the special engagement theatrical runs, which invite moviegoers to experience three Pixar films the way they were meant to be seen ahead of the studio’s June 2024 theatrical release of Inside Out 2.

Like Pixar theatrical experiences of the past, audiences will be treated to a Pixar animated short film ahead of each of the features.

Soul, opening in theaters on Jan. 12, will be accompanied by the SparkShort Burrow. Turning Red, opening Feb. 9, will be preceded by the SparkShort Kitbull. Luca, which hits the big screen March 22, includes the classic Pixar short For the Birds.

On Thursday, Disney and Pixar debuted the first look at the highly anticipated Inside Out 2, and excitement over the new film was felt everywhere.

The first look at the sequel to the 2015 blockbuster was the biggest animated trailer launch in Disney history. The trailer—which brings viewers back into the mind of the now teenage Riley as her emotions try to keep up with her new feelings—garnered 157 million views in 24 hours. The previous record holder was 2019’s Frozen 2.

“We are thrilled so many people have tuned in to check out the new trailer for Inside Out 2,” said Pete Docter, Chief Creative Officer of Pixar. “When the first film came out, we knew that by telling a story where we could see our emotions—those little voices inside your head—there would be so much more to explore than we could possibly fit into one film.”

Docter added that director Kelsey Mann and team “have done such a great job with Inside Out 2, expanding the world and introducing new emotions that we’re very anxious for audiences to discover.”

“We couldn’t be more grateful to see the kind of response the trailer has received so far,” he said. “Thank you to all who have checked it out — we can’t wait for everyone to see the film when it comes to theaters next summer.”

The film was especially a big hit on TikTok bringing in 78 million views on the social media platform in the past day. Disney announced a first-of-its-kind content hub with TikTok last month to celebrate Disney’s 100^th anniversary.

Undoubtedly, one of the reasons that Inside Out 2 was so popular was due to the introduction of the brand-new emotion, Anxiety.

The frazzled, but lovable orange emotion—who is voiced by Maya Hawke—will join Amy Poehler as Joy, Phyllis Smith as Sadness, Lewis Black as Anger, Tony Hale as Fear, and Liza Lapira as Disgust.

Disney and Pixar’s Inside Out 2 releases exclusively in theaters on June 14, 2024.

When Pixar’s Elemental debuted in June it was more spark than fire.

The animated film—which is set in a world of elements and is centered around the love story of the fiery Ember and the wishy-washy Wade—made roughly $30 million at the domestic box office for its opening weekend. However, it didn’t attract the usual masses for a film from Pixar, a studio known for its litany of blockbuster hits.

But Elemental didn’t evaporate at the box office. Audiences kept showing up.

The film directed by Peter Sohn crossed the $400 million mark at the global box office last week. Of that total, it’s made $148 million domestically. That’s about five times its domestic opening weekend haul, which is a rare accomplishment in a theatrical world that sees most moviegoers buy a ticket the opening weekend.

In fact, it’s so rare that no Pixar movie has had a multiple that high since the one that started it all: 1995’s Toy Story.

Keeping the flame burning

A myriad of forces gave a boost to the long-term success of Elemental.

It’s been a hit with moviegoers with a 93% audience score on review aggregator Rotten Tomatoes and it carries an “A” CinemaScore, which undoubtedly led to strong word of mouth. It’s also been a solid choice for moviegoers of all ages during a summer in which family films have been hard to find.

“After a disappointing opening weekend, we’re really pleased that audiences have discovered what a great movie it is,” said Tony Chambers, Disney’s EVP of Theatrical Distribution.

The box office run for Elemental is also notable since it’s an original story. Many of the highest-grossing animated films in recent years have been sequels or based on established franchises. Elemental is the first original animated film from any studio to reach the $400 million mark since 2017.

International audiences have especially embraced the film.

An international boost

“We knew we had a clear run throughout the domestic summer play period,” Chambers said. “And its global gross to date has been propelled by top performing international markets including South Korea, Mexico, France, and the UK.”

The film has made a $276 million internationally. That includes a whopping $48 million in South Korea. The film is the most viewed foreign film in Korea this year and the most-viewed Pixar film ever released there. It has reached 6 million admissions, meaning that one out of every eight people in Korea have seen it.

The film opened in Japan, its final international market, over the weekend and brought in $2.4 million, setting it up nicely for a run through the upcoming Obon holidays (Aug 11 to Aug 20).

While big opening weekends may get the headlines, Elemental shows that a true box office success story is about how a film finishes rather than where it begins.

“Recently it’s been more challenging for original animated and live action IP to break through,” Chambers noted. “But you can’t create a franchise without taking a swing, and no other studio has taken more swings than Disney.”

Dante’s Lunch—A Short Tail, which debuted this morning on Yahoo Movies, introduces audiences to Dante, the endearing dog that stars in Disney•Pixar’s Coco. Director Lee Unkrich told Yahoo Movies that his team created it to help them flesh out the canine character who is based on a Xolo (or Xoloitzcuintli), an ancient breed that can be traced as far back as 3,500 years and, Unkrich said, “figures very prominently in Aztec legends about the afterlife. It was said that in order to make the journey through the afterlife, you needed to have one of these Xolo dogs with you.”

In the film, Dante serves as companion to Miguel (voice of newcomer Anthony Gonzalez), who dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz (voice of Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector (voice of Gael García Bernal), and together, they set off on an extraordinary journey to unlock the real story behind Miguel’s family history.

Disney•Pixar’s Coco opens in theaters in the U.S. on November 22. The film is co-directed by Adrian Molina (story artist Monsters University) and produced by Darla K. Anderson (Toy Story 3).