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As an audience member, you weren’t rooting for Joy.” “She was putting Riley in embarrassing situations Riley was in middle school, but Joy was making her act like a child. “The essence of the problem was, Joy wasn’t likable,” says Nolting. Instead, the main narrative tension centered on Joy not letting Riley grow up, which took the story in a different direction. One of the key plot points of the film - Riley’s family’s move from Minnesota to San Francisco, which triggers the crisis that sends her emotions on their harrowing journey out of childhood - wasn’t in the early drafts. “At one point, we fooled around with having 27 different emotions.” And all of them had names: Sadness was called Misty, Anger was Ira, Fear was Freddie. “There is no scientific consensus about how many emotions there are,” he says. “For a long time, the fifth emotion was Pride.” There were so many emotions, Docter wrote a scene in an early version with a waiting room for them all. At various points in the script’s development, Hope, Envy, Ennui, even Schadenfreude all were wrestling for control of Riley’s brain - although “at that time we didn’t have Disgust,” notes editor Kevin Nolting. In early drafts of the screenplay by Docter, Meg LeFauve and Josh Cooley, there were far more emotions tugging at Riley for attention than the ones that ended up being portrayed by Hader (Fear), Amy Poehler (Joy), Phyllis Smith (Sadness), Lewis Black (Anger) and Mindy Kaling (Disgust). “For the kids, we tried to layer in slapstick and physicality, but it had a complex concept: explaining how the mind works.” “I wanted to make sure the story was something that moves people and reflects back on your life,” he says. Not at all coincidentally, his own daughter recently had turned 11 and was “heading into that tough time of growing up,” notes the director. Docter began working on Inside Out in 2010, right after winning his Oscar for Up.