1 00:00:09,175 --> 00:00:13,295 For Frozen, we had created these two characters, these sisters. 2 00:00:14,597 --> 00:00:19,597 I get caught up in them and emotional because they feel... they feel real to me. 3 00:00:19,686 --> 00:00:22,516 They feel like family. That's part of what drives us. 4 00:00:23,815 --> 00:00:26,775 It was such a complicated process to make Frozen, 5 00:00:26,860 --> 00:00:31,660 and we were so thrilled and surprised about the reception. 6 00:00:32,240 --> 00:00:36,120 So now for Frozen II, there's a sense of responsibility 7 00:00:36,202 --> 00:00:39,292 and a lot of pressure and a lot of high expectations. 8 00:00:39,372 --> 00:00:44,042 The funny thing about this is it was not scary to dive back in. 9 00:00:44,127 --> 00:00:47,377 It got scarier and scarier and scarier as you go along. 10 00:00:48,840 --> 00:00:50,800 I guess you can say we're going into the unknown. 11 00:00:59,976 --> 00:01:02,056 [Lee] "It was the first snow of the season. 12 00:01:02,145 --> 00:01:04,395 As soon as night fell, I made an excuse to go to bed early 13 00:01:04,481 --> 00:01:06,071 and slipped out into the fjords. 14 00:01:07,025 --> 00:01:09,815 Nature's snow is more beautiful than mine could ever be." 15 00:01:10,195 --> 00:01:12,065 This is long before a screenplay. 16 00:01:12,155 --> 00:01:15,615 I was trying to ground myself in Elsa, and so I started to write 17 00:01:16,493 --> 00:01:18,753 as her, um, a journal. 18 00:01:18,828 --> 00:01:24,128 And then Chris would read it and be inspired, and he would do drawings. 19 00:01:26,169 --> 00:01:30,629 Chris Buck is my directing partner on Frozen I, and we're back together again. 20 00:01:30,715 --> 00:01:35,545 He's an incredible director and has been, in some ways, a mentor to me. 21 00:01:36,054 --> 00:01:38,394 She comes from a writing background. 22 00:01:38,473 --> 00:01:42,693 I come from drawing and animation and that background. 23 00:01:42,769 --> 00:01:45,899 So we have very different skill sets, but I think it helps. 24 00:01:46,356 --> 00:01:51,566 You kind of see Chris Buck as Elsa, and me as Elsa. 25 00:01:51,653 --> 00:01:54,363 One's words and one is drawings. 26 00:01:59,369 --> 00:02:02,289 [Lee] We've been working on this film for over three years. 27 00:02:02,372 --> 00:02:04,372 There is still so much to do. 28 00:02:05,375 --> 00:02:08,285 It's probably the toughest time of production, is a year out. 29 00:02:08,378 --> 00:02:12,088 It's when all the balls are up in the air, and the balls start falling. 30 00:02:12,173 --> 00:02:14,803 [chuckles, imitates crashing] 31 00:02:17,512 --> 00:02:22,312 Every three months or so, we screen the film for our fellow directors. 32 00:02:22,392 --> 00:02:24,442 People who are not on our movie, 33 00:02:24,519 --> 00:02:28,109 but they have directed Oscar-winning animated films, 34 00:02:28,189 --> 00:02:30,069 like Big Hero 6 and Zootopia. 35 00:02:30,150 --> 00:02:36,820 And they give us notes and feedback, and they don't hold back on hard notes. 36 00:02:36,906 --> 00:02:39,076 Sort of feels like you're getting punched, 37 00:02:39,159 --> 00:02:42,159 but it makes you think smarter each time. 38 00:02:42,245 --> 00:02:43,905 -Good to see you. -Good to see you. 39 00:02:44,497 --> 00:02:47,827 [Lee] Bobby and Kristen Lopez are the songwriters for Frozen I. 40 00:02:47,917 --> 00:02:50,337 Yes, they did "Let It Go." Oscar winners. 41 00:02:50,420 --> 00:02:53,050 They're an incredible team. They're husband and wife. 42 00:02:53,131 --> 00:02:55,761 We could not have done Frozen I without them, 43 00:02:55,842 --> 00:02:58,302 and we can't do Frozen II without them. So they're back. 44 00:02:58,386 --> 00:03:02,176 The screening cycles are basically like building giant cities out of Legos. 45 00:03:02,265 --> 00:03:06,055 And then they take baseball bats to each building, 46 00:03:06,144 --> 00:03:09,524 and then you rebuild it in another three months. 47 00:03:09,606 --> 00:03:13,776 So you have to be open and careful and resilient. 48 00:03:14,152 --> 00:03:15,322 Yeah. All right. 49 00:03:16,029 --> 00:03:17,449 Just remember, 50 00:03:17,530 --> 00:03:20,410 by this afternoon it'll feel like the whole movie's been thrown out. 51 00:03:20,492 --> 00:03:24,082 By Thursday, Friday, we'll realize it's not as bad, and things will be great. 52 00:03:24,162 --> 00:03:26,962 [Lee] Peter Del Vecho is our producer. He produced Frozen I. 53 00:03:27,040 --> 00:03:29,790 And what he does, he keeps us moving forward creatively, 54 00:03:29,876 --> 00:03:32,086 and makes sure that we meet our deadlines 55 00:03:32,170 --> 00:03:34,760 and actually get this film out on time and on budget. 56 00:03:38,802 --> 00:03:43,892 I don't think there's been more pressure on any Disney animated film than this one. 57 00:03:44,140 --> 00:03:46,980 [audience cheering, applause] 58 00:03:48,103 --> 00:03:50,813 So just basically where we're at. When we come back in the new year, 59 00:03:50,897 --> 00:03:53,187 we'll have about six months left in animation, 60 00:03:53,274 --> 00:03:54,784 about nine months until we're done. 61 00:03:54,859 --> 00:03:57,649 As if there weren't enough pressure on ourselves today, 62 00:03:57,737 --> 00:04:00,567 we've also started to do a docuseries. 63 00:04:00,657 --> 00:04:03,157 There will be an individual camera on each one of you. 64 00:04:03,243 --> 00:04:04,373 -[audience laughs] -So there's one. 65 00:04:04,452 --> 00:04:05,752 So we're gonna catch all of that. 66 00:04:05,829 --> 00:04:10,079 If you wanna make the final cut, please laugh or cry appropriately. 67 00:04:10,166 --> 00:04:12,996 [audience laughs] 68 00:04:13,503 --> 00:04:15,713 -Thank you. Enjoy. -Here you go. Thank you. 69 00:04:19,801 --> 00:04:23,641 [Buck] A lot of the times, you're showing a screening that is really, sort of, 70 00:04:23,722 --> 00:04:27,432 piecemeal and patchwork of all these different styles. 71 00:04:28,435 --> 00:04:29,805 [Elsa] ♪ Into the unknown... ♪ 72 00:04:29,894 --> 00:04:32,614 [Buck] Sometimes we'll still have just storyboards. 73 00:04:32,689 --> 00:04:35,029 Sometimes there will be rough animation in it. 74 00:04:36,109 --> 00:04:39,819 And then we have this meeting after called the Story Trust, 75 00:04:39,904 --> 00:04:42,874 which is all the directors and actual writers who are with us at the time. 76 00:04:42,949 --> 00:04:44,779 -Our first screening, right? -Yeah. 77 00:04:44,868 --> 00:04:47,368 -That was cool. -[Lee] The Story Trust is 78 00:04:47,454 --> 00:04:49,624 one of the most important things to us. 79 00:04:49,706 --> 00:04:53,326 It can be pretty intense, the feedback, but everyone's here to help the film. 80 00:04:53,418 --> 00:04:54,958 Good afternoon, everybody. 81 00:04:55,045 --> 00:04:58,415 Today is about, we just wanna hear your reactions and your thoughts. 82 00:04:58,506 --> 00:05:03,136 Everything seemed to be building to really amazing, fantastic, compelling answers. 83 00:05:03,219 --> 00:05:06,809 I just, uh, just wanted some clarity on the answers. 84 00:05:06,890 --> 00:05:08,680 [Lee] What normally happens in the earlier stages 85 00:05:08,767 --> 00:05:10,437 is everything is just what's not working. 86 00:05:10,518 --> 00:05:15,768 We were watching her spiral into a darkness that we couldn't even comprehend. 87 00:05:15,857 --> 00:05:19,857 In the end, Elsa is-- What is she actually becoming? 88 00:05:19,944 --> 00:05:21,704 [Lee] And you feel like your film's torn apart. 89 00:05:21,780 --> 00:05:25,870 I found it strange Elsa didn't reveal to Anna she's hearing this voice calling. 90 00:05:25,950 --> 00:05:29,950 I was confused, and there were just things that didn't quite land to me. 91 00:05:30,038 --> 00:05:33,668 I felt like I had to take notes to understand what was going on. 92 00:05:34,542 --> 00:05:37,712 [Lee] You feel very exposed and very vulnerable, 93 00:05:37,796 --> 00:05:41,756 and you're left with it in pieces going, "How am I gonna pick this up?" 94 00:05:42,425 --> 00:05:49,215 We have to make a decision, uh, about whether it's a magical river, 95 00:05:49,307 --> 00:05:52,437 -or there's a magical person calling her. -[Buck] Right. 96 00:05:52,519 --> 00:05:55,309 I think when the song will be glorious to me, it's a glorious song, 97 00:05:55,397 --> 00:05:58,437 but when we've earned it is when we're scared out of our mind, 98 00:05:58,525 --> 00:06:00,775 but we can't help but be seduced with her. 99 00:06:01,986 --> 00:06:04,696 The takeaway is that we still have a lot of work left. 100 00:06:04,781 --> 00:06:07,491 It's confusing, sometimes too dark, 101 00:06:07,575 --> 00:06:10,115 and some of the songs, especially "Show Yourself," 102 00:06:10,203 --> 00:06:11,623 still needs a lot of work. 103 00:06:11,705 --> 00:06:14,665 There is a lot of other work that needs to be done. 104 00:06:14,999 --> 00:06:16,709 I think we're out of time. 105 00:06:16,793 --> 00:06:18,713 -Any more notes... -It's gonna be so fun. 106 00:06:18,795 --> 00:06:21,125 ...you can send me would be great. Thanks. 107 00:06:23,842 --> 00:06:25,012 [Lee] Not too long ago, 108 00:06:25,093 --> 00:06:28,183 I took on the role of Chief Creative Officer for Disney Animation, 109 00:06:28,263 --> 00:06:31,563 as well as being one of the directors and writers of Frozen. 110 00:06:31,641 --> 00:06:36,441 I oversee the creative for all of the films we're working on. 111 00:06:36,521 --> 00:06:40,731 So what happened is now my time gets divided a little bit, 112 00:06:40,817 --> 00:06:42,437 and as I'm supporting the other films, 113 00:06:42,527 --> 00:06:44,567 -I'm still finishing a film. -So, more of a squeak, right? 114 00:06:44,654 --> 00:06:45,994 -It was a squeak before. -Yeah. 115 00:06:46,072 --> 00:06:47,622 It went-- It went-- It went [whoosh] and then... 116 00:06:47,699 --> 00:06:50,869 This is definitely the moment of just hang in there. 117 00:07:08,845 --> 00:07:12,965 Maybe we have one song left to write or maybe we have five. 118 00:07:13,058 --> 00:07:15,348 It's still a question of whether this movie works. 119 00:07:15,894 --> 00:07:17,484 It's getting tighter every day. 120 00:07:17,562 --> 00:07:19,902 [Olaf] Anna, does everything always have to change? 121 00:07:19,981 --> 00:07:22,071 [Lopez] So we write a song called, "Some Things Never Change," 122 00:07:22,150 --> 00:07:26,910 where Olaf brings up the idea of is everything gonna change. 123 00:07:26,988 --> 00:07:29,868 [Anna] ♪ Some things never change ♪ 124 00:07:29,949 --> 00:07:32,369 ♪ Like the feel of your hand in mine ♪ 125 00:07:32,452 --> 00:07:33,662 [Lopez] The way we had the song ending 126 00:07:33,745 --> 00:07:36,495 was we imagined that Anna would bring everyone home, 127 00:07:36,581 --> 00:07:40,791 get everyone into the castle, and the last shot would be her closing the door. 128 00:07:40,877 --> 00:07:44,837 She's doing-- You know, the secondary hook of the song is, 129 00:07:44,923 --> 00:07:47,513 "I'm holding on tight to you," and that's how it ends with them. 130 00:07:47,592 --> 00:07:51,182 [Elsa, Kristoff] ♪ Some things never change ♪ 131 00:07:51,262 --> 00:07:52,852 [Anna] ♪ And I'm holding on tight to you ♪ 132 00:07:52,931 --> 00:07:53,771 That's Anna. 133 00:07:54,641 --> 00:07:55,931 [Elsa] ♪ Holding on tight... ♪ 134 00:07:56,017 --> 00:07:57,387 [Lopez] Elsa. Olaf. 135 00:07:57,477 --> 00:07:59,647 Kristoff. Everyone goes in, 136 00:07:59,729 --> 00:08:02,359 and then she lingers by the door for a second and goes... 137 00:08:03,358 --> 00:08:06,778 [Anna] ♪ I'm holding on tight to you ♪ 138 00:08:06,861 --> 00:08:09,201 Closing the door and starting the next scene. 139 00:08:09,280 --> 00:08:12,120 So, this morning, I was sitting at the piano 140 00:08:12,200 --> 00:08:14,990 wondering what a good ending for it would be, 141 00:08:15,078 --> 00:08:17,708 and right now I'm going to play the last chord. 142 00:08:19,040 --> 00:08:22,960 [Anna] ♪ I'm holding on tight to you ♪ 143 00:08:23,044 --> 00:08:25,054 [playing melody on piano] 144 00:08:27,799 --> 00:08:30,429 -I'm gonna do it one more time. -I figured out what I'm reacting to. 145 00:08:30,510 --> 00:08:35,310 -It comes in a little too late. -I also think Anna is returning the-- 146 00:08:35,390 --> 00:08:39,890 My take was supposed to be when she was all alone and looking wistful. 147 00:08:39,978 --> 00:08:41,688 -Right. -So I think we need to go up. 148 00:08:41,771 --> 00:08:43,191 We need to take the tempo up and go, 149 00:08:43,273 --> 00:08:45,443 ♪ I'm holding on tight to you ♪ 150 00:08:45,525 --> 00:08:46,775 And then it's in time. 151 00:08:46,860 --> 00:08:48,860 ♪ Do do do do do ♪ 152 00:08:48,945 --> 00:08:50,655 I usually stand right here. 153 00:08:50,739 --> 00:08:52,569 Are you thinking that it would be like this, like... 154 00:08:52,657 --> 00:08:56,367 [Elsa] ♪ Some things never change ♪ 155 00:08:56,536 --> 00:08:59,406 [Anna] ♪ And I'm holding on tight to you ♪ 156 00:08:59,497 --> 00:09:00,787 [Elsa, Kristoff] ♪ Holding on tight to you ♪ 157 00:09:00,874 --> 00:09:02,214 [Olaf] ♪ Holding on tight to you ♪ 158 00:09:02,292 --> 00:09:08,302 [Kristoff] ♪ Holding on tight to you Holding on tight to you ♪ 159 00:09:09,883 --> 00:09:11,973 -No? What would you put? -No. A little bit more of a-- 160 00:09:12,052 --> 00:09:16,472 I would just make her not quite as wistful, but the same kind of timing. 161 00:09:17,682 --> 00:09:21,352 [Anna] ♪ Some things never change ♪ 162 00:09:21,436 --> 00:09:24,516 ♪ And I'm holding on tight to you ♪ 163 00:09:24,606 --> 00:09:26,106 [Elsa, Kristoff] ♪ Holding on tight to you ♪ 164 00:09:26,191 --> 00:09:27,441 [Olaf] ♪ Holding on tight to you ♪ 165 00:09:27,525 --> 00:09:30,945 [Kristoff] ♪ Holding on tight to you ♪ 166 00:09:31,446 --> 00:09:35,526 ♪ I'm holding on tight to you ♪ 167 00:09:39,621 --> 00:09:44,921 Bobby and Kristen, they understand music in an emotional way that I-- 168 00:09:45,001 --> 00:09:50,421 It's not what I do. And I know filmmaking and I know structure, story structure. 169 00:09:50,507 --> 00:09:52,217 It's almost like they're two different languages 170 00:09:52,300 --> 00:09:55,140 that when they speak together, it's beautiful. 171 00:09:55,220 --> 00:09:59,680 But to get them to speak together takes an extraordinary amount of work. 172 00:10:12,696 --> 00:10:15,366 Last night, Bobby and Kristen, our songwriters, 173 00:10:15,448 --> 00:10:18,238 came into town for a recording session. 174 00:10:18,326 --> 00:10:19,236 -Hi, everybody. -Hi! 175 00:10:19,327 --> 00:10:23,707 [Del Vecho] And they're gonna be actually recording "Some Things Never Change." 176 00:10:24,290 --> 00:10:29,590 Bringing in Idina Menzel, Kristen Bell and also Josh Gad. 177 00:10:29,671 --> 00:10:32,221 We'll also be recording Jonathan from New York. 178 00:10:32,298 --> 00:10:34,338 And let's do it. Let's go in. 179 00:10:34,426 --> 00:10:35,836 Today is sort of the fun part, 180 00:10:35,927 --> 00:10:41,017 where we get the magic to come alive by watching what the cast brings to the song. 181 00:10:41,099 --> 00:10:42,099 Yeah. Rock on! 182 00:10:42,183 --> 00:10:44,023 We didn't know what we had with "Let It Go." 183 00:10:44,102 --> 00:10:45,772 We didn't know what we had with Frozen. 184 00:10:45,854 --> 00:10:50,614 I mean, I knew I was part of a Disney musical, animated movie, 185 00:10:50,692 --> 00:10:52,362 which for me was a huge milestone. 186 00:10:52,444 --> 00:10:56,364 But we didn't know that it would resonate on such a level that it did. 187 00:10:57,240 --> 00:10:58,740 Oh, she can't hear. 188 00:10:58,825 --> 00:11:00,035 [Menzel] ♪ Na, na, na, na, na, na... ♪ 189 00:11:00,118 --> 00:11:01,118 Oh, there we go. 190 00:11:03,204 --> 00:11:08,174 ♪ Time's moving Time's moving fast, it's true ♪ 191 00:11:08,251 --> 00:11:10,341 ♪ May, may, may, may, may, may, may ♪ 192 00:11:10,420 --> 00:11:12,670 [Kriger] Now, nod your head "Yes," like you're saying, "Yes." 193 00:11:12,756 --> 00:11:14,376 ♪ May, may, may, may, may, may, may ♪ 194 00:11:14,466 --> 00:11:17,006 ♪ Some things are always true ♪ 195 00:11:17,093 --> 00:11:19,103 When we get back to this, it straightens out again. 196 00:11:19,179 --> 00:11:25,519 ♪ Some things are always-- ♪ ♪ Some things are always true... ♪ 197 00:11:25,602 --> 00:11:26,982 ♪ Some things are always... ♪ 198 00:11:27,062 --> 00:11:29,652 I think some of the best projects 199 00:11:29,731 --> 00:11:33,941 are the ones that have this, sort of, creative pixie dust on it. 200 00:11:34,027 --> 00:11:37,027 I think that's part of the magic of Frozen I. 201 00:11:37,113 --> 00:11:43,413 So getting to have the same team back together again was just so joyful. 202 00:11:43,495 --> 00:11:46,405 Hey, Kristen. How are your headphones sounding? 203 00:11:46,498 --> 00:11:50,708 Good, I just found my-- I just wanted the, uh, background up and I found it. 204 00:11:51,961 --> 00:11:52,961 [Andrew] All set? 205 00:11:53,046 --> 00:11:55,546 -[Anderson-Lopez] The difference between, -[Lee] Stop it. 206 00:11:55,632 --> 00:11:58,682 "Like how we get along just fine, like an old stone wall." 207 00:11:58,760 --> 00:12:02,600 Can you really hit, "Never fall"? Like that wall is never gonna fall. 208 00:12:02,681 --> 00:12:03,681 Yeah. 209 00:12:04,224 --> 00:12:07,144 "Some things are always true." Your beautiful high note, 210 00:12:07,227 --> 00:12:10,397 and then a different energy on, "Some things." 211 00:12:10,480 --> 00:12:12,730 Like, bring it down again to an intimate place. 212 00:12:12,816 --> 00:12:18,906 ♪ Some things Some things never change ♪ 213 00:12:18,988 --> 00:12:21,738 ♪ Like how I'm holding on tight to-- ♪ 214 00:12:21,825 --> 00:12:27,825 ♪ Like how I'm holding on tight to you ♪ 215 00:12:29,666 --> 00:12:34,496 ♪ But for all the world is changing There are certain certainties ♪ 216 00:12:34,587 --> 00:12:38,467 ♪ Yes, some things never change ♪ 217 00:12:38,550 --> 00:12:40,890 ♪ Like the feel of your hand in mine ♪ 218 00:12:40,969 --> 00:12:43,559 ♪ Some things stay the same ♪ 219 00:12:43,638 --> 00:12:45,768 ♪ Like how we get along just fine ♪ 220 00:12:45,849 --> 00:12:48,809 ♪ Like an old stone wall That'll never fall ♪ 221 00:12:48,893 --> 00:12:52,813 ♪ Some things are always true ♪ 222 00:12:52,897 --> 00:12:56,357 ♪ Some things never change ♪ 223 00:12:56,443 --> 00:13:00,413 ♪ Like how I'm holding on tight to you ♪ 224 00:13:00,488 --> 00:13:02,528 -Nice. -That's the take to use, you guys. 225 00:13:02,615 --> 00:13:04,405 -That was great. -That's the take. That was gorgeous. 226 00:13:04,492 --> 00:13:05,492 That was it. 227 00:13:05,577 --> 00:13:09,747 ♪ I don't want a thing to change at all At all ♪ 228 00:13:09,831 --> 00:13:12,251 ♪ I don't want a thing to change at all ♪ 229 00:13:12,333 --> 00:13:14,503 ♪ These days are precious ♪ 230 00:13:15,253 --> 00:13:16,673 -You good with that, Idina? -Yeah. 231 00:13:16,755 --> 00:13:18,005 All right. Here it comes. 232 00:13:23,887 --> 00:13:25,637 ♪ The winds are changing ♪ 233 00:13:25,722 --> 00:13:28,682 ♪ Could that be why I'm hearing this call? ♪ 234 00:13:28,767 --> 00:13:30,767 ♪ Is something coming? ♪ 235 00:13:30,852 --> 00:13:34,112 ♪ 'Cause I do not want things To change at all ♪ 236 00:13:34,189 --> 00:13:35,729 ♪ These days are precious ♪ 237 00:13:35,815 --> 00:13:38,775 ♪ Can't let them slip away ♪ 238 00:13:39,944 --> 00:13:42,324 ♪ I can't freeze this moment ♪ 239 00:13:42,405 --> 00:13:48,655 ♪ But I can still go out And seize this day ♪ 240 00:13:48,745 --> 00:13:50,365 Can I punch that "day?" 241 00:13:50,455 --> 00:13:52,915 It's a little under, which is-- I just need to get a better "day." But the rest-- 242 00:13:52,999 --> 00:13:54,629 -We have so many good "days" though. -Okay. 243 00:13:54,709 --> 00:13:56,419 What I loved that you found was, 244 00:13:56,503 --> 00:13:58,673 "Seize this." You've solved that problem. 245 00:13:58,755 --> 00:14:00,965 -Andrew, are we covered for everything? -Yeah. 246 00:14:01,049 --> 00:14:02,129 -Great. -We are covered. 247 00:14:02,217 --> 00:14:03,637 Let's move on to the chorus. 248 00:14:03,718 --> 00:14:07,808 I'm not gonna lie that doing the stupid dance helps feel the swing. 249 00:14:09,516 --> 00:14:12,136 ♪ Some things never change ♪ 250 00:14:12,227 --> 00:14:14,897 ♪ Turn around and the time has flown ♪ 251 00:14:14,979 --> 00:14:17,649 ♪ Some things stay the same ♪ 252 00:14:17,732 --> 00:14:19,822 ♪ Though the future remains unknown ♪ 253 00:14:19,901 --> 00:14:22,821 ♪ May our good luck last May our past be past ♪ 254 00:14:22,904 --> 00:14:24,244 ♪ Time's moving fast it's-- ♪ 255 00:14:24,322 --> 00:14:26,912 ♪ It's true ♪ 256 00:14:26,991 --> 00:14:30,701 ♪ Some things never change ♪ 257 00:14:30,787 --> 00:14:33,577 ♪ And I'm holding on tight to you ♪ 258 00:14:33,665 --> 00:14:35,495 ♪ Holding on tight to you ♪ 259 00:14:35,583 --> 00:14:36,463 ♪ Holding on tight to you ♪ 260 00:14:36,543 --> 00:14:40,343 ♪ Holding on tight to you ♪ 261 00:14:40,422 --> 00:14:42,422 -Really nice. Really nice. -[Lee] Beautiful. 262 00:14:42,507 --> 00:14:47,427 [Anna] ♪ I'm holding on tight to you ♪ 263 00:14:47,512 --> 00:14:48,562 [door squeaks] 264 00:14:57,856 --> 00:15:00,226 It's the mouth we've-- Like you were saying, like the-- 265 00:15:00,316 --> 00:15:01,936 If you could modulate within that, 266 00:15:02,027 --> 00:15:03,027 -you know, so... -Mm-hmm. 267 00:15:03,111 --> 00:15:04,821 ♪ Ah ♪ 268 00:15:04,904 --> 00:15:06,034 [man] Mm-hmm. 269 00:15:06,114 --> 00:15:09,164 I am an animation supervisor on Frozen. 270 00:15:09,868 --> 00:15:15,868 The animators are like the actors, and we move around a digital puppet. 271 00:15:16,541 --> 00:15:21,211 And each of those characters, they have hundreds of controls in them, 272 00:15:21,296 --> 00:15:27,176 and the animators give the life to the character in the performance. 273 00:15:27,469 --> 00:15:29,509 And that's like a magic trick. 274 00:15:29,596 --> 00:15:30,636 Wha-- 275 00:15:31,306 --> 00:15:33,386 Like, she's reacting to this with the eyes. 276 00:15:33,475 --> 00:15:36,895 And how's it's kinda this slow thing, like, "Oh, it's beautiful." 277 00:15:36,978 --> 00:15:39,558 The supervising animator kinda shepherd that character. 278 00:15:39,647 --> 00:15:43,607 You know, helping guide the animators on who the character is 279 00:15:43,693 --> 00:15:45,363 and how the character would move. 280 00:15:45,737 --> 00:15:47,277 Okay. Right. Well, let's do it. 281 00:15:47,364 --> 00:15:52,874 There's maybe 70 animators, you know, all animating the one character. 282 00:15:52,952 --> 00:15:55,002 So we wanna make sure that it feels consistent. 283 00:15:55,538 --> 00:15:57,038 [Walters] It was just a hard angle 284 00:15:57,123 --> 00:15:59,083 -to sell that movement. -Yeah. 285 00:15:59,167 --> 00:16:02,917 All of the animation supervisors have a character that they are in charge of. 286 00:16:03,755 --> 00:16:06,255 So Wayne is the lead on Elsa. 287 00:16:06,341 --> 00:16:08,011 He was also the lead on Elsa in the first movie, 288 00:16:08,093 --> 00:16:10,103 so he knows who she is as a character. 289 00:16:10,178 --> 00:16:14,638 The look, where she's looking here and there. 290 00:16:14,724 --> 00:16:16,854 [Walters] His attention to detail is incredible. 291 00:16:16,935 --> 00:16:20,055 The reason why Elsa looks so beautiful in every frame 292 00:16:20,146 --> 00:16:21,766 is because he knows her so well. 293 00:16:21,856 --> 00:16:22,936 [Unten] We get to focus on this. 294 00:16:23,024 --> 00:16:26,244 He's there to help me see the bigger picture 295 00:16:26,319 --> 00:16:31,409 and help the directors also see where I'm coming from too if I have a concern. 296 00:16:34,244 --> 00:16:40,794 [Lee] Animators, they're often shy people who shine through their art. 297 00:16:40,875 --> 00:16:44,085 And so the best thing for me is how we, together, 298 00:16:44,170 --> 00:16:47,880 talk about the characters, and you see them take ownership of the characters 299 00:16:47,966 --> 00:16:49,216 the way an actor does. 300 00:16:49,300 --> 00:16:55,100 And then they bring you back, uh, this living, breathing character. 301 00:16:55,181 --> 00:16:56,681 -Good morning. Thanks. -All set. 302 00:16:56,766 --> 00:16:58,766 -All right. Have a good day. -Good day. 303 00:17:02,897 --> 00:17:05,977 [Walters] So Jenn is absolutely a role model to me. 304 00:17:06,067 --> 00:17:09,527 I mean, it takes a really long time for change to happen, in any industry, 305 00:17:09,612 --> 00:17:13,622 and I think Jenn is one of the pioneers of the industry, 306 00:17:13,700 --> 00:17:16,660 when it comes to women in leadership. 307 00:17:20,874 --> 00:17:24,794 I'm working on the finale of Elsa's first song in the movie. 308 00:17:24,878 --> 00:17:26,248 It's called "Into the Unknown." 309 00:17:29,090 --> 00:17:33,800 It's nerve-racking. I've never animated Elsa before. 310 00:17:38,558 --> 00:17:41,388 Well, you caught me submitting to dailies. 311 00:17:42,354 --> 00:17:44,274 Now I get to head out. 312 00:17:44,356 --> 00:17:47,436 Dailies is when we show our shots to the directors. 313 00:17:49,569 --> 00:17:51,819 And some water. [chuckles] 314 00:18:00,538 --> 00:18:02,248 -[Buck] She made it. -[groans] 315 00:18:02,874 --> 00:18:05,384 -Hello. -[woman] Hi, welcome to dailies. 316 00:18:06,628 --> 00:18:09,708 [man 2] Next up, we've got Malerie. "Into the Unknown." 317 00:18:09,798 --> 00:18:11,798 Hello. Hi. 318 00:18:12,717 --> 00:18:17,007 All right. So we have, uh, first look for this one. 319 00:18:17,097 --> 00:18:22,187 ♪ How do I follow you ♪ 320 00:18:22,686 --> 00:18:28,816 ♪ Into the unknown ♪ 321 00:18:30,527 --> 00:18:34,947 [Buck] Cool. I'm struggling a little bit with the jump, 322 00:18:35,031 --> 00:18:37,081 the little leap in the middle of the... 323 00:18:37,450 --> 00:18:38,910 -[Lee] The run. -[Buck] ...the run. 324 00:18:38,993 --> 00:18:40,663 -[Walters] Mm-hmm. -[Buck] Um... 325 00:18:41,830 --> 00:18:44,460 I'm not sure about the little steps at the end. [imitates climbing] 326 00:18:44,833 --> 00:18:45,833 [Walters] Yeah. 327 00:18:45,917 --> 00:18:50,667 The run feels, because of being broken up, it feels like there's a-- 328 00:18:50,755 --> 00:18:54,625 It makes it more timid and, um, fumbly. 329 00:18:54,718 --> 00:18:57,048 I think the instinct's right, but I wonder if you could treat it like 330 00:18:57,137 --> 00:18:59,177 she's gonna run off that, leap off that cliff. 331 00:18:59,264 --> 00:19:04,894 The amount of work and time and care and love that goes into building a character 332 00:19:04,978 --> 00:19:10,068 that is believable in that way to where you don't question it, is insane. 333 00:19:10,734 --> 00:19:13,954 And it's those little things that make a difference. 334 00:19:14,029 --> 00:19:17,239 Could she run and then... [whooshes] 335 00:19:17,323 --> 00:19:18,833 -That would be cool. -You know, do a reach. 336 00:19:18,908 --> 00:19:22,828 That would help me a lot 'cause then that slide, 337 00:19:22,912 --> 00:19:26,332 at least I would feel like her making the ice is motivated. 338 00:19:26,416 --> 00:19:27,826 -Yeah. -I think it's worth trying. 339 00:19:27,917 --> 00:19:33,877 I think it's going to be tricky sliding on an incline that-- 340 00:19:33,965 --> 00:19:35,715 Yeah? Try it. Try it and see. 341 00:19:36,551 --> 00:19:38,051 [Walters] Chris is super fun to work with. 342 00:19:38,136 --> 00:19:42,136 And him and Jenn together, as a team, are just super thoughtful 343 00:19:42,223 --> 00:19:44,023 and make you feel really comfortable around them. 344 00:19:44,100 --> 00:19:45,440 [Lee] So that's why we gave you the easy shots. 345 00:19:45,518 --> 00:19:46,518 I was just gonna say 346 00:19:46,603 --> 00:19:48,363 -I have all the faith in you. -[laughs] 347 00:19:48,438 --> 00:19:49,688 -[Lee] Thanks, Malerie. -Thank you so much. 348 00:19:52,859 --> 00:19:57,699 [Lee] I think the concept of our characters all journeying into the unknown 349 00:19:57,781 --> 00:20:00,031 was important to us. And that feeling in life where, 350 00:20:00,116 --> 00:20:04,866 like, um, you have to dare to step out of your comfort zone and into the unknown. 351 00:20:04,954 --> 00:20:10,844 For Elsa, that something is disrupting this happy world 352 00:20:10,919 --> 00:20:13,419 that her sister helped her earn, 353 00:20:13,505 --> 00:20:16,675 and she's trying to ignore it, like we all do. 354 00:20:16,758 --> 00:20:19,718 And this song represents that tug-of-war. 355 00:20:25,975 --> 00:20:27,975 [Walters] It's really cool to be working on something like this 356 00:20:28,061 --> 00:20:31,481 where I maybe, almost, am putting too much pressure on myself 357 00:20:31,564 --> 00:20:32,734 because I'm like, "I have to get it right. 358 00:20:32,816 --> 00:20:34,146 I have to get it right. I have to get it right." 359 00:20:34,234 --> 00:20:35,744 Because it's one of Elsa's songs, 360 00:20:35,819 --> 00:20:38,659 and I know people are gonna be watching this sequence over and over again, 361 00:20:38,738 --> 00:20:42,158 and kids are gonna be mimicking the actions that I do. 362 00:20:43,618 --> 00:20:47,288 Jenn's overall note was that it was feeling a little too clumsy. 363 00:20:47,372 --> 00:20:48,962 I actually had my boyfriend-- 364 00:20:49,040 --> 00:20:52,920 He was on a skateboard next to me, like, videotaping me 365 00:20:53,003 --> 00:20:54,213 as I was running. 366 00:20:54,921 --> 00:20:58,341 And then I animated her based on my reference. 367 00:20:59,050 --> 00:21:04,310 So, you know, an average person probably couldn't be as graceful as Elsa. 368 00:21:08,893 --> 00:21:14,903 So Jenn asked if, instead of leaping up onto this ledge, 369 00:21:15,650 --> 00:21:19,860 if we could have her jump and slide up the edge. 370 00:21:19,946 --> 00:21:23,526 I was like, "Wow. Okay, yeah. That could be really cool." 371 00:21:23,616 --> 00:21:25,576 But then there's also the thought in your head of, 372 00:21:25,660 --> 00:21:27,700 "I have no idea how I'm gonna make that work." 373 00:21:27,787 --> 00:21:32,627 And I think that's where I kinda felt like this shh thing was cool 374 00:21:32,709 --> 00:21:34,669 because if she was ice-skating up that ledge, 375 00:21:34,753 --> 00:21:37,883 the way she would have to stop is by kinda doing that. 376 00:21:37,964 --> 00:21:42,054 And so, thinking of her as being like an ice-skater in that moment helps. 377 00:21:42,802 --> 00:21:44,142 It's actually crazy that, 378 00:21:44,846 --> 00:21:48,386 you know, we work on these movies for like a year or two years, 379 00:21:48,475 --> 00:21:53,475 and we finish the movie with only about a minute to two minutes of work 380 00:21:53,563 --> 00:21:55,023 on the actual film to show for it. 381 00:21:55,106 --> 00:21:57,896 So, we're in the theater with our family 382 00:21:57,984 --> 00:22:01,654 and I had to smack my boyfriend's hand when my shot's on. 383 00:22:01,738 --> 00:22:04,488 Like, "That was mine. Okay, it's gone." [laughs] 384 00:22:04,574 --> 00:22:06,834 It's [chuckles] that quick, you know? 385 00:22:06,910 --> 00:22:07,910 [laughs] 386 00:22:26,554 --> 00:22:30,524 Sometimes, if the casts have time, they can come in, 387 00:22:31,267 --> 00:22:34,597 and we get to ask them questions about how they see the character. 388 00:22:35,313 --> 00:22:38,363 You know, it might be fun to actually just go to people's desks, 389 00:22:38,441 --> 00:22:40,741 so you can see what they're actually working on right now. 390 00:22:40,819 --> 00:22:41,899 Let's-- Yes. 391 00:22:42,696 --> 00:22:43,856 They don't know. 392 00:22:45,031 --> 00:22:46,031 Hi. 393 00:22:48,827 --> 00:22:50,537 -Hello, guys. -[Walters] Hi. 394 00:22:50,620 --> 00:22:53,250 -I have a special guest here. -[Menzel] Hi, guys. 395 00:22:53,331 --> 00:22:56,001 -Oh, my gosh. -Good morning. Sorry to barge in on you. 396 00:22:56,084 --> 00:22:57,504 -Hi. -Hi. How are you? 397 00:22:57,585 --> 00:22:58,875 How are you? 398 00:22:58,962 --> 00:23:00,382 -Good to see you. -Oh, my gosh. 399 00:23:00,463 --> 00:23:03,223 It's so good to see you. Holy cow! 400 00:23:03,299 --> 00:23:06,299 Malerie had done some work in "Into the Unknown." 401 00:23:06,386 --> 00:23:07,466 Do you wanna show the... 402 00:23:07,554 --> 00:23:08,724 Yes. Okay. 403 00:23:09,139 --> 00:23:10,219 [Elsa] ♪ How... ♪ 404 00:23:10,306 --> 00:23:11,676 Sorry. 405 00:23:11,766 --> 00:23:16,266 ♪ How do I follow you ♪ 406 00:23:17,272 --> 00:23:23,612 ♪ Into the unknown ♪ 407 00:23:24,696 --> 00:23:28,526 The shot was, like Wayne said, like an amalgamation of 408 00:23:28,616 --> 00:23:30,696 -so many different people's ideas... -[Unten] Yeah. 409 00:23:30,785 --> 00:23:34,745 ...coming together to make this moment what it was. 410 00:23:34,831 --> 00:23:37,381 Everyone was helping each other out. It was this really cool... 411 00:23:37,459 --> 00:23:39,339 -Chicken and egg kind of thing. -...collaboration. 412 00:23:39,419 --> 00:23:42,459 -It is beautiful. I'm very proud of it. -I feel very honored. 413 00:23:42,547 --> 00:23:44,167 I'm very proud of your work. 414 00:23:44,257 --> 00:23:47,257 -I'm very proud of-- I mean, come on. -[laughing] 415 00:23:47,344 --> 00:23:50,104 It wouldn't even be possible without you, so... 416 00:23:50,180 --> 00:23:52,060 -Teamwork, baby. -Right? 417 00:23:52,140 --> 00:23:54,020 [Menzel] No, but I could never do what you're doing. 418 00:23:54,100 --> 00:23:56,020 Thank you so much for stopping by. 419 00:23:56,102 --> 00:23:58,362 -Have fun with the rest of your day. -Okay. 420 00:23:58,438 --> 00:24:01,358 I am actually laying my voice down for a doll today, I think. 421 00:24:01,441 --> 00:24:02,401 [laughs] 422 00:24:02,484 --> 00:24:04,364 [imitates doll] "Hi, my name is Elsa." 423 00:24:04,444 --> 00:24:05,494 [laughs] 424 00:24:05,570 --> 00:24:08,490 [imitates doll] "Press my belly." I don't know. I don't know what I'm doing. 425 00:24:08,573 --> 00:24:09,953 Something like that. See you later. 426 00:24:10,033 --> 00:24:11,533 -Thanks, guys. -Bye, guys. Thanks. 427 00:24:12,160 --> 00:24:14,250 [Walters] That's, like, a once in a lifetime thing right there. 428 00:24:14,329 --> 00:24:15,959 -That was sweet. -[man laughs] 429 00:24:16,039 --> 00:24:17,499 [laughs] 430 00:24:17,582 --> 00:24:19,962 [man] Ms. Idina Menzel. Wow. 431 00:24:20,043 --> 00:24:22,303 Oh, I love her so much. 432 00:24:22,379 --> 00:24:24,129 I'm in awe of the animation process. 433 00:24:24,214 --> 00:24:27,434 I mean, it's a talent and a skill I don't have, 434 00:24:27,509 --> 00:24:30,719 and I love when they allow me to be a fly on the wall. 435 00:24:30,804 --> 00:24:35,234 Gus, could you pull up-- I think it's in the "Into the Unknown" folder. 436 00:24:36,643 --> 00:24:38,733 -The reference video. -[Gus] Yeah. Sure. Yeah. 437 00:24:39,396 --> 00:24:42,686 -We have all the video of the reference. -Oh, God. 438 00:24:42,774 --> 00:24:45,574 And this is so helpful. Some of the shapes you're hitting in there, 439 00:24:45,652 --> 00:24:47,862 it's so awesome to see. 440 00:24:47,946 --> 00:24:50,366 [Menzel] I use my hands to point my notes. 441 00:24:51,032 --> 00:24:52,872 Yeah, if I don't want something to go flat, 442 00:24:52,951 --> 00:24:55,081 -I do my hands the opposite direction... -Yeah. 443 00:24:55,161 --> 00:24:57,581 -...of down. Yeah, it's just silly things. -[Unten] That's cool. 444 00:24:57,664 --> 00:24:58,754 Yeah. I always forget 445 00:24:58,832 --> 00:25:00,792 -that you have that camera rolling. -[Unten laughs] 446 00:25:00,875 --> 00:25:04,125 But it is-- It's really inspiring to see some of the singing stuff, 447 00:25:04,212 --> 00:25:06,092 like "Into the Unknown" or "Show Yourself". 448 00:25:06,172 --> 00:25:09,432 To see what you're doing like, "Oh, okay. She's taking a breath here." 449 00:25:09,509 --> 00:25:11,259 Or, "Oh, that's the mouth shape that she's doing." 450 00:25:11,344 --> 00:25:16,854 Sometimes we have to adjust for the acting that has to happen in the moment. 451 00:25:16,933 --> 00:25:19,563 Like, does it feel like the voice is coming from the body? 452 00:25:19,644 --> 00:25:21,814 Is it coming from inside out? 453 00:25:21,896 --> 00:25:24,686 Or is it, you know, does it feel late? 454 00:25:24,774 --> 00:25:27,824 Yeah. No, I find that this time in Frozen II, especially, 455 00:25:27,902 --> 00:25:29,952 with the acting stuff and the direction with Jenn, 456 00:25:30,030 --> 00:25:34,870 we've gone back in a couple times and made Elsa less apologetic. 457 00:25:34,951 --> 00:25:39,501 There are moments of vulnerability, but then she has this power to her. 458 00:25:39,581 --> 00:25:42,081 Yeah. That's why I relate to the character so much. 459 00:25:42,167 --> 00:25:48,087 It's just 'cause in my life I feel very vulnerable and insecure a lot of times, 460 00:25:48,173 --> 00:25:50,973 but when I find my voice and when I sing, 461 00:25:51,051 --> 00:25:55,561 that's where I find my... my power and, sort of, my identity. 462 00:25:55,638 --> 00:25:58,138 A lot of people love the character, and a lot of it is, you know, 463 00:25:58,224 --> 00:26:00,024 -is what you bring to it. -Oh. 464 00:26:00,101 --> 00:26:01,771 -It's a really g-- -Thank you. That's nice, 465 00:26:01,853 --> 00:26:05,193 but it means you're the one creating what she looks like, 466 00:26:05,273 --> 00:26:07,653 and I'll say it's a nice marriage. 467 00:26:07,734 --> 00:26:08,864 It's true. It's a-- 468 00:26:08,943 --> 00:26:10,903 -Of the both of us. -Yeah. 469 00:26:10,987 --> 00:26:12,197 [both laughing] 470 00:26:18,161 --> 00:26:20,121 [French horn playing] 471 00:26:20,205 --> 00:26:21,535 [flute playing] 472 00:26:21,623 --> 00:26:23,383 [drums beating] 473 00:26:37,722 --> 00:26:41,892 This is the glorious day of all glorious days of orchestration 474 00:26:41,976 --> 00:26:47,016 because this is the day where we record over everything synthesizer 475 00:26:47,107 --> 00:26:49,527 and replace it with real instruments. 476 00:26:49,609 --> 00:26:52,199 And played by the best instruments in the world. 477 00:26:52,278 --> 00:26:57,028 These are the top players and to get them to bring our songs to life 478 00:26:57,117 --> 00:26:58,787 is like a dream come true. 479 00:27:03,081 --> 00:27:08,751 But I also think of it, today, as a day that we're adding another 100 people 480 00:27:08,837 --> 00:27:13,337 to support the actors who are adding to the story. 481 00:27:13,425 --> 00:27:17,295 And it's just 100 musicians also telling the story. 482 00:27:17,387 --> 00:27:19,717 And we talk him through what the characters are feeling 483 00:27:19,806 --> 00:27:24,846 and how each little line is bringing the story forward. 484 00:27:24,936 --> 00:27:29,356 And so you'll also hear us when Stephen is standing up there and saying, 485 00:27:29,441 --> 00:27:31,531 "It's really fragile. This is grief." 486 00:27:31,609 --> 00:27:35,359 [Oremus] Yeah, so now the smaller string section, 48 through to 51. 487 00:27:35,447 --> 00:27:37,527 Really, really vulnerable. 488 00:27:43,246 --> 00:27:44,496 This point in the process, 489 00:27:44,581 --> 00:27:49,381 they've recorded the vocals, most of the vocals, for the songs 490 00:27:49,919 --> 00:27:53,009 and just demo versions of the orchestrations. 491 00:27:53,089 --> 00:27:58,389 We then come into the studio and have a 90-piece orchestra play. 492 00:27:58,470 --> 00:27:59,600 -We can do... -Right. 493 00:27:59,679 --> 00:28:01,719 -Like, really link to... -Catch to-- He's got it. 494 00:28:01,806 --> 00:28:04,426 He only has ten, so we can have... 495 00:28:04,517 --> 00:28:06,847 My one note is wanting a few more of those, 496 00:28:06,936 --> 00:28:10,106 -a few more of those French horns. -Got 'em. Yeah. 497 00:28:10,190 --> 00:28:12,570 -The thing that I had you take out -[laughs] 498 00:28:12,650 --> 00:28:14,110 and maybe you should, 499 00:28:14,194 --> 00:28:15,954 -maybe we should put them there, is... -Yep. 500 00:28:16,029 --> 00:28:17,609 ♪ Are you out there? Do you know me? ♪ 501 00:28:17,697 --> 00:28:19,567 -Right. -I miss that. I miss that. 502 00:28:19,657 --> 00:28:21,077 Idina's on her way over. 503 00:28:21,159 --> 00:28:22,489 -Oh, good. -Oh, good. 504 00:28:22,952 --> 00:28:25,712 -She should definitely experience this. -[Oremus] Yeah. 505 00:28:26,456 --> 00:28:28,416 [Oremus] Getting to bring their music to life 506 00:28:28,500 --> 00:28:30,670 in the moment is just so thrilling, 507 00:28:30,752 --> 00:28:34,052 and especially with a huge orchestra like this. 508 00:28:35,256 --> 00:28:37,336 Okay. Ready to go. 509 00:28:38,301 --> 00:28:40,511 -[Lopez] This is so cool. -[Anderson-Lopez] It's so cool. 510 00:28:44,099 --> 00:28:46,939 [orchestra playing "Into the Unknown"] 511 00:28:47,018 --> 00:28:50,978 [angelic voice vocalizing] 512 00:28:59,864 --> 00:29:02,034 [vocalizing continues] 513 00:29:02,117 --> 00:29:03,237 [Elsa] ♪ I can hear you ♪ 514 00:29:04,327 --> 00:29:05,947 ♪ But I won't ♪ 515 00:29:06,037 --> 00:29:07,617 ♪ Some look for trouble ♪ 516 00:29:07,706 --> 00:29:10,076 ♪ While others don't ♪ 517 00:29:11,251 --> 00:29:15,591 ♪ There's a thousand reasons I should go about my day ♪ 518 00:29:15,672 --> 00:29:20,972 ♪ And ignore your whispers Which I wish would go away, oh ♪ 519 00:29:21,052 --> 00:29:24,062 [angelic voice] ♪ Oh ♪ 520 00:29:24,681 --> 00:29:25,721 [Elsa] ♪ Oh ♪ 521 00:29:25,932 --> 00:29:28,692 [angelic voice] ♪ Oh ♪ 522 00:29:29,102 --> 00:29:31,312 ♪ You're not a voice ♪ 523 00:29:31,396 --> 00:29:33,566 ♪ You're just a ringing in my ear ♪ 524 00:29:33,648 --> 00:29:35,278 ♪ And if I heard you ♪ 525 00:29:35,358 --> 00:29:36,568 ♪ Which I don't ♪ 526 00:29:36,651 --> 00:29:38,781 ♪ I'm spoken for, I fear ♪ 527 00:29:38,862 --> 00:29:43,072 ♪ Everyone I've ever loved Is here within these walls ♪ 528 00:29:43,158 --> 00:29:47,698 ♪ I'm sorry, secret siren, But I'm blocking out your calls ♪ 529 00:29:47,787 --> 00:29:52,207 ♪ I've had my adventure I don't need something new ♪ 530 00:29:52,292 --> 00:29:56,092 ♪ I'm afraid of what I'm risking If I follow you ♪ 531 00:29:56,171 --> 00:30:00,551 ♪ Into the unknown ♪ 532 00:30:00,633 --> 00:30:05,263 ♪ Into the unknown ♪ 533 00:30:05,347 --> 00:30:11,267 ♪ Into the unknown ♪ 534 00:30:11,353 --> 00:30:15,273 [angelic voice] ♪ Oh ♪ 535 00:30:16,358 --> 00:30:19,188 [laughs] 536 00:30:19,277 --> 00:30:21,107 [Elsa] ♪ What do you want? ♪ 537 00:30:21,905 --> 00:30:23,905 ♪ 'Cause you've been keeping me awake ♪ 538 00:30:24,324 --> 00:30:28,874 ♪ Are you here to distract me So I make a big mistake? ♪ 539 00:30:30,705 --> 00:30:36,455 ♪ Or are you someone out there Who's a little bit like me ♪ 540 00:30:36,544 --> 00:30:39,054 ♪ Who knows deep down ♪ 541 00:30:39,130 --> 00:30:42,550 ♪ I'm not where I'm meant to be? ♪ 542 00:30:43,343 --> 00:30:48,013 ♪ Every day's a little harder As I feel my power grow ♪ 543 00:30:48,098 --> 00:30:53,058 ♪ Don't you know there's part of me That longs to go ♪ 544 00:30:53,144 --> 00:30:58,074 ♪ Into the unknown? ♪ 545 00:30:58,149 --> 00:31:02,489 ♪ Into the unknown! ♪ 546 00:31:02,570 --> 00:31:06,740 ♪ Into the unknown! ♪ 547 00:31:06,825 --> 00:31:10,745 [angelic voice] ♪ Oh Oh ♪ 548 00:31:10,829 --> 00:31:12,329 [Elsa] ♪ Whoa-oh-oh ♪ 549 00:31:12,414 --> 00:31:14,334 ♪ Are you out there? Do you know me? ♪ 550 00:31:14,416 --> 00:31:18,746 ♪ Can you feel me? Can you show me? ♪ 551 00:31:18,837 --> 00:31:21,297 ♪ Whoa-oh-oh ♪ 552 00:31:21,381 --> 00:31:23,221 [angelic voice] ♪ Oh ♪ 553 00:31:23,299 --> 00:31:25,339 [Elsa] ♪ Whoa-oh-oh ♪ 554 00:31:25,427 --> 00:31:26,507 [angelic voice] ♪ Oh ♪ 555 00:31:26,594 --> 00:31:28,684 ♪ Whoa-oh-oh ♪ 556 00:31:28,763 --> 00:31:30,853 ♪ Whoa-oh-oh ♪ 557 00:31:30,932 --> 00:31:33,182 ♪ Whoa-oh-oh ♪ 558 00:31:33,268 --> 00:31:37,018 ♪ Whoa-oh-oh ♪ 559 00:31:37,105 --> 00:31:41,355 ♪ Where are you going? Don't leave me alone ♪ 560 00:31:41,443 --> 00:31:46,073 -♪ How do I follow you ♪ -[angelic voice] ♪ Oh ♪ 561 00:31:47,032 --> 00:31:52,872 ♪ Into the unknown? ♪ 562 00:31:54,998 --> 00:31:55,998 [cheering] 563 00:31:56,082 --> 00:31:57,632 [laughs] 564 00:31:58,793 --> 00:32:00,093 [Buck laughs] 565 00:32:02,339 --> 00:32:05,009 This is when you go, "Oh, it's coming together." 566 00:32:05,091 --> 00:32:09,601 So, it fills you up because we go right back into animation dailies 567 00:32:09,679 --> 00:32:12,269 and into all of the story fixes. 568 00:32:12,349 --> 00:32:15,639 But you run over here, and then you just feel what it can be. 569 00:32:15,727 --> 00:32:20,517 So, I'm still, kind of, reeling a little bit. [chuckles] 570 00:32:34,662 --> 00:32:40,502 So, I don't know if you've seen this part of the building before. 571 00:32:45,840 --> 00:32:49,720 Sometimes we work pretty late nights and stuff, and it's kinda, you know. 572 00:32:49,803 --> 00:32:54,183 Things get stressful when, especially, you're working really hard on your shots. 573 00:32:54,265 --> 00:32:58,015 You know, you wanna show the directors, put your best foot forward, 574 00:32:58,103 --> 00:33:00,063 and it can be stressful. 575 00:33:00,146 --> 00:33:02,896 But this is really cool. 576 00:33:02,982 --> 00:33:07,402 These are some letters that people have written to the studio, 577 00:33:07,487 --> 00:33:12,657 saying how they appreciate the films that we make. 578 00:33:12,742 --> 00:33:15,752 And there's some of these that are... 579 00:33:18,164 --> 00:33:21,254 ones that I get choked up a little. 580 00:33:22,210 --> 00:33:24,380 Yeah, this is one of them that really gets to me. 581 00:33:25,296 --> 00:33:31,216 "My name is Rachel. I'm 15 years old, and I believe I am Frozen's biggest fan. 582 00:33:31,302 --> 00:33:32,472 The reason I say this 583 00:33:32,554 --> 00:33:36,354 is because the song 'Let It Go' literally saved my life last year. 584 00:33:37,017 --> 00:33:42,227 I was in the ninth grade, and high school just wasn't what I expected it to be. 585 00:33:42,313 --> 00:33:43,943 It eventually got worse and worse. 586 00:33:44,024 --> 00:33:48,954 My grandpa died and my dad went to jail, so I was suicidal. 587 00:33:49,029 --> 00:33:52,069 But I went to go see Frozen with my older sister and friends." 588 00:33:52,157 --> 00:33:55,787 ♪ Let it go Let it go ♪ 589 00:33:55,869 --> 00:33:58,999 ♪ Can't hold it back anymore ♪ 590 00:33:59,080 --> 00:34:02,710 [Unten] "As soon as 'Let It Go' played, I just had hope and happiness. 591 00:34:02,792 --> 00:34:05,462 I got chills and was nearly in tears. 592 00:34:05,545 --> 00:34:08,255 Every word described my situation perfectly. 593 00:34:08,340 --> 00:34:11,760 Bravo to whoever wrote that song. Beautiful. 594 00:34:17,140 --> 00:34:21,060 I have a heart-shaped necklace that I got for my 15th birthday 595 00:34:21,144 --> 00:34:24,694 that says 'Let It Go' on it, and I wear it everyday. 596 00:34:24,773 --> 00:34:26,443 So, whenever things get hard, 597 00:34:26,524 --> 00:34:29,074 I know that song is right next to my heart, 598 00:34:29,152 --> 00:34:31,402 and I try to be strong like Elsa." 599 00:34:34,074 --> 00:34:41,044 To be working on a new movie with these characters that people love, 600 00:34:41,122 --> 00:34:46,342 this is a special time, and I feel like you just want to savor every moment of it. 601 00:34:51,091 --> 00:34:53,301 Chris and I had decided we wanted to do Frozen II 602 00:34:53,385 --> 00:34:57,095 just based on these conversations of, "There is more." 603 00:34:57,180 --> 00:35:01,350 Something about Elsa's journey and "Let It Go" was very freeing. 604 00:35:01,434 --> 00:35:03,234 And there were people who felt burdened. 605 00:35:03,311 --> 00:35:04,731 They felt like they couldn't be themselves. 606 00:35:04,813 --> 00:35:10,323 They felt like the outside world was bearing down, and she let them free. 607 00:35:10,402 --> 00:35:12,952 And it was interesting, this Elsa, 608 00:35:13,029 --> 00:35:16,619 as I started to sit with her and write these moments, 609 00:35:16,700 --> 00:35:20,290 was someone who will never fully let go. 610 00:35:21,246 --> 00:35:24,416 It helped me to want her to be free. 611 00:35:24,791 --> 00:35:26,291 [Elsa] ♪ Show yourself ♪ 612 00:35:27,001 --> 00:35:30,051 ♪ I'm dying to meet you ♪ 613 00:35:30,130 --> 00:35:32,010 ♪ Show yourself ♪ 614 00:35:32,090 --> 00:35:34,260 [Lee] "Show Yourself" not only is carrying 615 00:35:34,426 --> 00:35:36,716 the entire story line of Frozen II. 616 00:35:36,803 --> 00:35:38,723 It's carrying Frozen I with it. 617 00:35:38,805 --> 00:35:43,635 Everything we know about Elsa and her life to that moment, all has to line up. 618 00:35:43,727 --> 00:35:46,647 [Elsa] ♪ Show yourself ♪ 619 00:35:46,730 --> 00:35:50,070 ♪ I'm ready to learn ♪ 620 00:35:50,150 --> 00:35:52,780 ♪ Ah ah ah ah ♪ 621 00:35:52,861 --> 00:35:55,241 We work every day with a team of storyboard artists, 622 00:35:55,321 --> 00:35:57,741 who are not just hands that draw. 623 00:35:58,241 --> 00:36:01,911 They are storytellers, and they are deep thinkers about story, 624 00:36:01,995 --> 00:36:04,905 and they know these characters as well as we do. 625 00:36:04,998 --> 00:36:10,418 And we depend on them to keep pushing the story to new places 626 00:36:10,503 --> 00:36:12,923 and to take ownership and help us make it strong. 627 00:36:13,548 --> 00:36:15,628 The leader of that group is Marc Smith. 628 00:36:17,010 --> 00:36:20,850 We storyboard the film, between six and 12 times. 629 00:36:21,264 --> 00:36:24,684 The job is basically to get the directors' vision up on the screen. 630 00:36:26,603 --> 00:36:28,863 [Lee] If you can feel it in boards, we always say, 631 00:36:28,938 --> 00:36:30,438 then you know you have something. 632 00:36:31,441 --> 00:36:33,151 [Smith] You don't want to let anybody down. 633 00:36:33,234 --> 00:36:34,574 You don't want to betray the audience. 634 00:36:34,652 --> 00:36:36,242 You don't want to betray the characters. 635 00:36:36,321 --> 00:36:39,871 You need them to be the same characters that were in the first movie, 636 00:36:39,949 --> 00:36:42,079 but you want them to go deeper. 637 00:36:42,160 --> 00:36:45,290 And I think that's our big challenge on Frozen II. 638 00:36:56,800 --> 00:36:59,590 [Smith] We will board the sequence, time it out, 639 00:36:59,678 --> 00:37:01,508 and then we'll show it to Bobby and Kristen. 640 00:37:01,721 --> 00:37:04,971 Beep, beep, beep. Blast off! 641 00:37:05,058 --> 00:37:06,268 -[Lee] Hi, Bobby! -[Buck] Hey, Bobby! 642 00:37:06,351 --> 00:37:07,351 -Hello, Bobby. -Good morning. 643 00:37:07,435 --> 00:37:08,515 [Lopez] Hey. 644 00:37:08,603 --> 00:37:10,863 -[Buck] Kristen, show yourself. -Hello. 645 00:37:10,939 --> 00:37:13,359 -[Buck] Thank you. -How's everybody? 646 00:37:13,441 --> 00:37:16,111 -That's an entrance. Stylish. -Oh, yes. 647 00:37:16,194 --> 00:37:17,534 What are we gonna do? 648 00:37:17,612 --> 00:37:20,662 Well, we're pitching "Show Yourself" to you. 649 00:37:20,865 --> 00:37:23,025 Very, very, very, very rough. 650 00:37:23,410 --> 00:37:24,620 Yeah, he's still working. 651 00:37:24,703 --> 00:37:26,753 There's some big chunks in here where you'll see 652 00:37:26,830 --> 00:37:32,130 are completely under construction. You'll see writing on the drawings. 653 00:37:33,962 --> 00:37:35,302 And I'm just gonna play. 654 00:37:37,215 --> 00:37:39,965 [Elsa] ♪ Every inch of me is tingling ♪ 655 00:37:40,844 --> 00:37:44,684 ♪ To be here with you, friend... ♪ 656 00:37:44,764 --> 00:37:50,734 [Smith] Elsa, you know, she was following this shadow, basically, that she-- 657 00:37:50,812 --> 00:37:53,572 This is the voice that's been calling her from the very beginning. 658 00:37:53,648 --> 00:37:56,528 In this version, she sees the mirror reflection of herself, 659 00:37:56,609 --> 00:37:57,899 and she said, "It's been me." 660 00:37:59,070 --> 00:38:01,280 And she actually walks into this spirit, 661 00:38:01,364 --> 00:38:05,874 and, as she does, she transforms and takes her full shape as the Snow Queen. 662 00:38:14,836 --> 00:38:15,836 Okay. 663 00:38:15,920 --> 00:38:17,550 Whoo! 664 00:38:20,925 --> 00:38:21,925 That's a lot in there. 665 00:38:22,469 --> 00:38:24,139 [Smith] Yep. It's a lot of stuff. 666 00:38:24,220 --> 00:38:26,680 I didn't understand the jump into song. 667 00:38:26,765 --> 00:38:30,385 I don't understand who she's talking to or that part of it, 668 00:38:30,477 --> 00:38:32,687 and I think it's very important that we connect it 669 00:38:32,771 --> 00:38:36,231 to whatever the drive is to find the voice. 670 00:38:36,316 --> 00:38:41,196 I wonder if it's too "not Elsa" for her to say, 671 00:38:41,279 --> 00:38:46,079 "You are the one I've been looking for all of my life," in the first verse. 672 00:38:46,159 --> 00:38:49,409 Would it make a difference just to turn it into a question? 673 00:38:49,496 --> 00:38:52,036 "Are you the one I've been looking for all my life?" 674 00:38:52,123 --> 00:38:54,083 -Yeah. That's-- -Like would that do it? 675 00:38:54,167 --> 00:38:57,377 The whole thing feels like not-- not-- 676 00:38:58,463 --> 00:39:02,223 I never felt it land once story wise for me. 677 00:39:02,634 --> 00:39:05,724 I feel like this whole thing is falling apart. 678 00:39:05,804 --> 00:39:07,684 We're overcomplicating it again. 679 00:39:07,764 --> 00:39:12,024 I would say that what we're sensing is, 680 00:39:12,102 --> 00:39:16,692 is making us ask some important specifying questions. 681 00:39:16,773 --> 00:39:19,533 That was the biggest question, "What is happening?" 682 00:39:19,609 --> 00:39:23,109 Well, for the longest time, she was seeing a version of herself 683 00:39:23,196 --> 00:39:24,406 as she was meant to be. 684 00:39:24,489 --> 00:39:27,779 And that's the part that was confusing a lot of people. 685 00:39:29,786 --> 00:39:31,786 [Lee] We'd been playing with this voice. 686 00:39:33,331 --> 00:39:36,921 Is it, sort of, Elsa's destiny, her magic? 687 00:39:37,001 --> 00:39:41,511 Is it Ahtohallan itself? Is it the memory of her mother? 688 00:39:41,589 --> 00:39:44,299 And we all have different opinions, so we have to make a choice. 689 00:39:44,384 --> 00:39:47,804 Then maybe it needs to be about the energy of this place. 690 00:39:47,887 --> 00:39:49,677 Like, "I feel like I've been here before. 691 00:39:49,764 --> 00:39:55,194 I feel like I was meant to be here. I feel the energy of me all around here, 692 00:39:55,270 --> 00:39:57,520 and you're here too. Show yourself." Like that. 693 00:39:57,605 --> 00:40:00,855 I love that 'cause it's celebrating this feeling, 694 00:40:00,942 --> 00:40:04,152 and she's not-- but she's not to the charge right away. 695 00:40:04,904 --> 00:40:09,494 But this is a top to tail rewrite of, at least, the first-- 696 00:40:09,576 --> 00:40:11,236 The beginning of the song. 697 00:40:11,327 --> 00:40:14,907 I've got no problem reboarding and reboarding. That's what we do. 698 00:40:14,998 --> 00:40:16,118 I just wanna be-- 699 00:40:16,207 --> 00:40:19,627 I'm not opposed to the idea of taking a step backwards 700 00:40:19,711 --> 00:40:22,131 'cause to be honest, Bobby, I felt like, 701 00:40:22,213 --> 00:40:24,303 I felt it slipping away from me a little bit too. 702 00:40:24,382 --> 00:40:28,722 Wait, what's so important is for this to be the song. It has to be right. 703 00:40:28,803 --> 00:40:31,773 This is much more complicated, and that's okay. 704 00:40:31,848 --> 00:40:34,558 The first step is to take a breath. 705 00:40:34,642 --> 00:40:35,852 -[Del Vecho] Yeah. -Yes. Take a breath. 706 00:40:35,935 --> 00:40:38,935 We just don't have the right song here, so we'll make it right. 707 00:40:54,412 --> 00:40:56,872 [Smith] Here I am, back at the drawing tablet. 708 00:40:59,459 --> 00:41:02,919 [Elsa] ♪ Ah ♪ 709 00:41:04,839 --> 00:41:09,009 "Show Yourself" is still that, sort of, looming beast 710 00:41:09,094 --> 00:41:12,144 that needs to be wrangled to the ground. 711 00:41:13,014 --> 00:41:15,104 [Del Vecho] That is the big showstopping number. 712 00:41:15,183 --> 00:41:18,273 And it still isn't quite there yet, still needs the extra work. 713 00:41:21,272 --> 00:41:23,482 There's no let up on the gas at this stage. 714 00:41:23,566 --> 00:41:25,686 [Del Vecho] We're aware that it's a big franchise. 715 00:41:25,777 --> 00:41:29,237 We're aware of that pressure, but it comes down to just being passionate 716 00:41:29,322 --> 00:41:31,622 about the actual story you're trying to tell. 717 00:41:31,700 --> 00:41:34,120 But it also makes you never rest, 718 00:41:34,202 --> 00:41:38,542 'cause if you can do better by the film, you have to do it.