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.
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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.
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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.
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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?
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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.
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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.
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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.