Frozen is an American 3D computer animated fantasy film produced by Walt Disney Animation Studios and released by Walt Disney Pictures. Disney's 53rd animated film, the film is inspired by Hans Christian Andersen's "The Snow Queen" tale. It tells the story of a fearless princess who embarked on a journey with his rough iceman, his dear deer, and a naït snowman to find his estranged brother, whose cold force had inadvertently trapped their kingdom in an eternal winter.
Frozen underwent several story treatments for years before being commissioned in 2011, with a screenplay written by Jennifer Lee, who was also co-directed with Chris Buck. The film features Christian Bell sounds, Idina Menzel, Jonathan Groff, Josh Gad, and Santino Fontana. Christophe Beck, who has worked on the award-winning Disney short film Paperman (2012), was hired to compose a movie orchestra score, while the team of husband-wife songwriters Robert Lopez and Kristen Anderson-Lopez wrote the song.
Frozen aired at El Capitan Theater in Hollywood, California, on November 19, 2013, has a limited release on November 22 and entered theatrical broadcast on November 27th. It was greeted with positive reviews from critics. and audience; some film critics consider Frozen to be Disney's best feature animated feature since the renaissance era in the studio. The film also achieved significant commercial success, generating $ 1.2 billion in box office revenues worldwide, including $ 400 million in the United States and Canada and $ 247 million in Japan. The film tops the list of all-time best-selling animated films, the 12th best-selling movie of all time, the best-selling film of 2013, and the third best-selling film in Japan. It was also the highest earning film with a female director in terms of domestic income, until it was surpassed by Warner Bros. ' Wonder Woman . With over 18 million home media sales in 2014, the film became the best-selling film of the year in the United States. In January 2015, Frozen has been the all-time best-selling Blu-ray Disc in the United States.
Frozen won two Academy Awards for Best Animated Feature and Best Original Song ("Let It Go"), Golden Globe Award for Best Animated Feature Film, BAFTA Award for Best Animated Movie, five Annie Awards (including Best Animated Feature), two Grammy Awards for Best Visual Compilation and Best Written Songtrack for Visual Media ("Let It Go"), and two Critical Election Film Awards for Best Animated Feature and Best Original Song ("Let It Go" ).
An animated short sequel, Frozen Fever , aired on March 13, 2015, with Disney Cinderella . A holiday feature entitled Olaf's Frozen Adventure aired as a limited time offer on November 22, 2017, with Pixar's Coco , and made its television debut on December 14, 2017, at ABC. On March 12, 2015, a sequel to the feature titled Frozen 2 was announced, with Buck and Lee returning as director and Peter Del Vecho back as producer. This is set for release on November 27, 2019.
Video Frozen (2013 film)
Plot
Princess Elsa of Arendelle has a cryokinetic magic, often using it to play with her sister, Anna. After Elsa accidentally injured Anna with her magic, their parents, King and Queen, took the two siblings to a troll colony led by Grand Pabbie. He healed Anna, but changed her mind to eliminate the traces of Elsa's magic, warning Elsa that she must learn to control her powers. Kings and Queens isolate the two sisters in the castle. Elsa chased Anna away, causing a rift between them. Elsa suppressed her magic rather than mastered it, causing her to become more insecure. When the teenage sisters, their parents died at sea during the storm.
When Elsa is twenty-one years old, she will be crowned Queen Arendelle. He is afraid that the royal people may know about his strength and fear him. The castle gates are open to the public and visit guests for the first time in years. Among them were the devious Duke of Weselton and Prince Hans of Southern Isles, the last one where Anna fell in love at first sight. The coronation of Elsa happened without a hitch, but she was still far from Anna. When Hans proposed to Anna, Elsa objected, unintentionally releasing her power before the court; Duke branded it a monster. Elsa escapes to the North Mountain, where she builds an ice castle to live a hermit life. But in the process, his oppressed magic swallowed Arendelle in an eternal winter.
Anna tried to find Elsa and end the winter, leaving Hans as commander. He's lost, collecting supplies at the Wandering Oaken store. He meets an ice harvester named Kristoff and his reindeer, Sven, convinces them to take him to the mountains. The wolf attack caused Kristoff's lead to be destroyed. On foot, they meet Olaf, a cheerful snowman brought to life involuntarily by Elsa, who offers to lead them to him. When Anna's horse returns to Arendelle, Hans looks for Anna and Elsa, accompanied by Duke's minions, who have secret orders to kill Elsa.
Reaching the ice palace, Anna meets Elsa, but when she reveals what happened to Arendelle, Elsa gets irritated, telling her that she can not undo it, and accidentally freezes Anna's heart. He then creates a giant snow monster named Marshmallow, who chases Anna, Kristoff, and Olaf. Anna's hair began to whiten, so Kristoff took her to meet the troll, her adoptive family. Grand Pabbie reveals that Anna will solid freeze unless "true love act" reverses the incantation. Kristoff took Anna back home so Hans could give her true love kiss. Hans and his men reach Elsa's court, defeat Marshmallow and capture Elsa. Anna is sent to Hans, but instead of kissing him, Hans reveals that he has actually planned to seize the throne of Arendelle by removing his two sisters. Hans locks Anna in a room to die, and then manipulates the leading people to believe that Elsa killed him. He orders the execution of the queen, only to find he has escaped from his cell.
Olaf frees Anna, and they roam into a snowstorm outside to meet Kristoff, whom Olaf discloses in love with. Hans confronts Elsa outside, claiming that he killed Anna, causing Elsa to break up. Anna saw Hans about to kill Elsa; he jumped on the street and froze, stopping Hans. Feeling broken, Elsa hugged and mourned over her brother, who dumped her, her heroism was "the act of true love". Realizing that his magic was controlled by love, Elsa ended the winter before giving Olaf his own preoccupations to survive in a warmer climate. Both Hans and Duke were arrested and expelled from the kingdom. Anna and Kristoff became couples, while the two sisters were reunited, with Elsa promising never to lock the castle gates again.
In the post-credit scene, Marshmallow finds Elsa's crown in his ice palace, where he gladly crowns himself as his only inhabitant.
Maps Frozen (2013 film)
Voice cast
- Kristen Bell as Anna, 18-year-old Princess Arendelle and sister Elsa
- Livvy Stubenrauch as Anna 5 years
- Katie Lopez as Anna (singing) 5 years
- Agatha Lee Monn as a 9-year-old Anna
- Idina Menzel as Elsa, Queen Arendelle 21 years old and older brother Anna
- Eva Bella as 8 year old Elsa
- Spencer Lacey Ganus as Elsa 12 years
- Jonathan Groff as Kristoff, an iceman accompanied by a deer named Sven Tycar Brown as an 8-year-old Kristoff
Characters that do not speak include the companion of deer Kristoff, Sven, horse, and wolf.
![Frozen Trailer 2013 Disney Movie Teaser - Official [HD] - YouTube](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_u5HEiEH1tPUuK5aA2MaXYQ9uMEsWJe-628W-aI8Hj8KIeHmiI_u9pMCQSk6-jFlIwlTgGzq7SuSwBFgH4nfPKnKA8jwpBVCaNWz_QX7y2ThNaF6LLo-xh5sRNsLBdnHtvSXl6HRLbmXw=s0-d "Frozen Trailer 2013 Disney Movie Teaser - Official [HD] - YouTube")
Production
Development
Origins
Walt Disney Productions first began exploring the live action/animated biopic of writer and poet Hans Christian Andersen around the end of 1937 prior to the premiere of his December movie Snow White and the Seven Dwarfs, the first feature of hand-painted animated film length ever made. In March 1940, Walt Disney suggested a joint production for film producer Samuel Goldwyn, where Goldwyn's studio will capture live action sequences from Andersen's life and the Disney studio will animate Andersen's fairy tales. The animation sequence will be based on some of Andersen's famous works, such as The Little Mermaid , Matching Little Girl , The Steadfast Tin Soldier , The Snow Queen , Thumbelina , Fine Duck, The Red Shoes , and The Emperor's New Clothes . However, the studio is having trouble with The Snow Queen , as it can not find a way to adapt and connect the Snow Queen characters with a modern audience. Even as far back as the 1930s and 1940s, it was clear that source material contained a great cinematic possibility, but the character of Snow Queen proved too problematic. After the United States entered World War II, the studio began to focus on making wartime propaganda, which led to the development of the Disney-Goldwyn project to stop in 1942. Goldwyn went on to produce his own live-action version of 1952, entitled Hans Christian Andersen , with Danny Kaye as Andersen, Charles Vidor directing, Moss Hart writing, and Frank Loesser writing songs. All the fairy tales of Andersen, on the contrary, are told in singing and ballet in direct action, just like any other movie. He went on to receive six Academy Award nominations the following year. Back at Disney, The Snow Queen , along with other Andersen tales (including The Little Mermaid ), is ruled out. Next attempt
In the late 1990s, Walt Disney Feature Animation began developing a new adaptation of The Snow Queen after the tremendous success of their latest films during the Disney Renaissance era (1989-1999), but the project was completely removed at the end of 2002, when Glen Keane reportedly quit the project and proceeded to work on another project that became Tangled (2010). Even before that, Harvey Fierstein installed his version for Disney executives, but was rejected. Paul and GaÃÆ'Â Â «tan Brizzi, Dick Zondag and Dave Goetz were reportedly all trying their hands, but failed. After a number of failed attempts from 2000 to 2002, Disney suspended the project again. In one of these efforts, Michael Eisner, chairman and chief executive officer of The Walt Disney Company, offered his support for the project and suggested doing it with Oscar-winning director John Lasseter at Pixar after the expected Pixar contract extension. with Disney. But negotiations between Pixar and Disney collapsed in January 2004 and the contract was never renewed. Instead, Eisner's successor Bob Iger negotiated Disney's purchase of Pixar in January 2006 for $ 7.4 billion, and Lasseter was promoted to chief creative officer of Pixar and Disney Animation.
The next attempt began in 2008, when Lasseter was able to convince Chris Buck (who co-led the 1999 film Tarzan for studio) to return to the Walt Disney Feature Animation from Sony Pictures Animation (where he has recently also directed the 2007 Oscar nomination film Surf's Up ); That September, Buck threw some ideas into Lasseter, one of which was The Snow Queen . Buck later revealed that his initial inspiration for The Snow Queen was not Andersen's own tale, but he wanted to "do something different to the definition of true love." "Disney has done something 'kissed by the prince', so [I] think it's time for something new," he recalled. It turned out that Lasseter had been interested in The Snow Queen for a long time; back when Pixar worked with Disney at Toy Story in the 1990s, he saw and was "fascinated" by some pre-production art from Disney's previous attempts. Development begins with the title of Anna and Snow Queen , which is planned to be a traditional animation. According to Josh Gad, he was first involved with the film at an early stage, when the plot is still relatively close to the original fairy tales of Andersen and Megan Mullally will play Elsa. In early 2010, the project entered hell again, when the studio again failed to find a way to make the story and character of Snow Queen work.
Revitalization
On December 22, 2011, after the success of Tangled , Disney announced a new title for the film, Frozen , and the release date of November 27, 2013. A month later, it was confirmed that the film would be the computer animation feature in stereoscopic 3D, not the animation that is drawn directly. Kristen Anderson-Lopez and Robert Lopez joined the project and started writing songs for Frozen in January 2012. On March 5, 2012, it was announced that Buck would direct, with Lasseter and Peter Del Vecho producing.
After Disney decided to advance The Snow Queen into development again, one of the main challenges Buck and Del Vecho faced was the character of Snow Queen, who was then a villain in their draft. The studio has a tradition of screening animated films in development every twelve weeks, then holding a long "record session" where the directors and screenwriters from different projects provide extensive "notes" on their work.
Buck and Del Vecho presented their storyboards to Lasseter, and the entire production team suspended the conference to hear his thoughts about the project. Art director Michael Giaimo later acknowledged Lasseter as a "game changer" of the film: "I remember John saying that the latest version of The Snow Queen's story that Chris Buck and his team presented was very fun, very lighthearted, but his character do not resonate.They are not multi-faceted.That's why John feels that the audience will not really be able to connect with them. "
The production team then discusses the issue of the film, compiling several variations of The Snow Queen's story until characters and stories feel relevant. At that stage, the first major breakthrough was the decision to rewrite the film's protagonist, Anna (based on Gerda's character from The Snow Queen), as the younger brother of Elsa, thus effectively building family dynamics between characters. This is unusual in the relationship between sisters who are rarely used as a major plot element in American animated movies, with the exception of Disney Lilo & amp; Stitch (2002). To fully explore the unique dynamics of such relationships, Disney Animation held a "Sister Summit", where women from all studios who grew up with sisters were asked to discuss their relationship with their sisters.
Write
In March 2012, Jennifer Lee, one of the screenwriters of Wreck-It Ralph , was brought in as screenwriter by Del Vecho. Lee then explains that when Wreck-It Ralph is closing, he gives notes to another project, and "we're really connected to what we think."
According to Lee, some core concepts have been around since the early work of Buck and Del Vecho, such as the "frozen heart" of the hook movie: "It is the concept and the phrase... the act of true love will melt the frozen heart." They already know the end of the story involving true love in the sense of the emotional bond between siblings, not romance, in "Anna will save Elsa We do not know how or why." Lee said Edwin Catmull, president of Disney Animation, told him the beginning of the ending of the movie: "First and foremost, no matter what you have to do for the story, do it But you have to get the ending of the story If you do [,] it will be nice If not, it will suck. "
Before Lee was taken to the plane, other screenwriters had made the first pass in the script, and Anderson-Lopez and Lopez tried to write a song for the script but nothing worked and everything was cut. Then "the whole script explodes," which gives the songwriters a chance "to put a lot of [their] DNA" into Lee's new script. The production team "basically started over and... had 17 months," which resulted in a "very intense schedule" and implied "a lot of choices had to be made fast."
Previous versions differ sharply from the final version. In the original script the first songwriter saw, Elsa was evil from the beginning; he abducted Anna from his own marriage to deliberately freeze his heart, then went down to the city with a snowman army in order to reclaim Anna to freeze her heart well. By the time Lee entered, the first act included Elsa deliberately hitting Anna in the heart with her freezing strength; then "the whole second act is about Anna trying to get close to Hans and kiss her and then Elsa tries to stop her." Buck reveals that his original plot was trying to make Anna sympathetic by focusing on his disappointment as a "reserve" in relation to the "heiress," Elsa. The original plot also has a different tempo, therefore "more an action adventure" than music or comedy.
One major breakthrough was the composition of the song "Let It Go" by songwriters Lopez and Anderson-Lopez, forcing the production team to reconceptualize and rewrite Elsa as a much more complex, vulnerable, and sympathetic character. In the words of The Daily Telegraph ', instead of the villain imagined by the producers, the songwriter sees Elsa as "a girl who is afraid of fighting to control and accept her prize.. "Lee remembers:" Bobby and Kristen say they are walking at Prospect Park and they are just beginning to talk about what it feels like to be Elsa. "Forget the criminals what it feels like, and this concept lets who it is [that] "and he is alone and free, but then the sadness of the fact that the last moment is him alone.This is not a perfect thing, but it is strong." Del Vecho explained that " Let It Go "transforms Elsa into someone" ruled by fear and Anna is ruled by her own love for others and her own encouragement, "which in turn causes Lee to" rewrite the first act and then rip through the entire film. That's when we actually found the movie and who the character is. "
Another major breakthrough is developing the storyline that Prince Hans will be revealed as a real villain of this movie just towards the end. Hans was not even in his earliest concept, so initially not a criminal, and after becoming one, was revealed as a crime much earlier in the plot. Del Vecho said, "We realize [what] matters most [if] we will make that end so surprising [,] you have to believe at one point that Hans is the answer... [when] he is not responsible, it's Kristoff... [I] f you can make an audience jump forward and think they've found the answer. [] You can surprise them by changing them in another way. "Lee acknowledged that Hans was written as" sociopathic "and" twisted "throughout the final version. For example, Hans reflects the behavior of the other characters: "She mirrors [Anna] and she's silly with him... [T] he Duke [Weselton] is a jerk, so he's a jerk back, and with Elsa he's a hero." It is difficult to lay the foundation for Anna's late turn to Kristoff without also making Hans's betrayal of Anna too predictable, that the audience must "feel... his feelings are something but not quite understand it... Because it was [understood,] deflated." one point, Anna openly flirts with Kristoff at her first encounter, but that changes after Walt Disney Studios chairman Alan Horn points out that it will confuse and irritate the viewers because Anna is already engaged to Hans.
Lee had to work through the problem of how to write Anna's personality, that some of her colleagues felt Anna should be more dysfunctional and dependent, like Vanellope von Schweetz at Wreck-It Ralph. Lee disagreed with the position, but it took almost a year to figure out how to articulate with conviction, "this is Anna's journey, not much more than that." In the end, Lee successfully declared that Anna's journey should be presented as a simple story of age, "where she goes from having a naive view of life and love - because she is lonely - with the most sophisticated and adult view of love, where she is able to achieve the highest love, the sacrifice. "Lee also had to let go of some of the ideas he liked, such as scenes depicting the relationship of Anna and Elsa as teenagers, which did not work because they needed to maintain the separation between Anna and Elsa.
To establish Anna and Elsa's relationship as a sister, Lee finds inspiration in her own relationship with her sister. Lee says her sister is "a great inspiration for Elsa," calling her "Elsa me" in an op-ed in the Los Angeles Times, and walking the red carpet with her at the 86th Academy Awards. Lee explains, "[h]... losing one another and then finding each other as an adult, that's a big part of my life."
The production team also turns Olaf from an annoying opponent Elsa into Anna's innocent sidekick. Lee's initial response to Olaf's "real" version actually was, "Kill the snowman," and he regarded Olaf as "the most difficult character to face."
The problem of how exactly Anna will save Elsa at the climax of the film is completed by the artist of the story of John Ripa. At the meeting of the story in which Ripa asked his story, his response was silent until Lasseter said, "I've never seen anything like it before," followed by a standing ovation.
Along the way, the production team passed the draft where the first act included far more detail than the ending in the final version, like a troll with a Brooklyn accent that would explain the background behind Elsa's magical powers, and a regent for whom Lee hopes to throw comedian Louis CK After all the details were completely "over-analyzed", they were cut off because they amounted to "a much more complex story than we really feel like we could fit in this 90 minute movie." As Del Vecho says, "the more we try to explain things early, the more complicated the problem is."
Following Lee's extensive involvement in the development process of
In November 2012, the production team thought they had finally "solved" the puzzle of making the film, but according to Del Vecho, at the end of February 2013, it was realized that the film was still "not working", which required more rewrites scenes and songs from February to June 2013. He explains, "We rewrite the song, we take the character and change everything, and suddenly the film melts, but it's close." Behind, a piece of cake, but over, it's a struggle big boy. "Looking back, Anderson-Lopez joked about him and Lopez thought as they could end up working as a" birthday party clown [s] "if the final product" pulled [ed]... down "their careers and remembered that" we actually wrote until the last minute. "In June (five months before the release date already announced), the songwriters finally made this film work when they composed the song" For the First Time in During his ", which, in Lopez's words," becomes a major milestone of the entire film. "
That month, Disney performed a semi-finished screening test with two viewers (one consisting of family and the other consisting of adults) in Phoenix, Arizona, where Lasseter and Catmull were personally present. Lee remembered that it was a time when they realized they "had something, because the reaction was great." Catmull, who had instructed Lee initially to "get the end of the story," told him afterwards, "you did it".
Casting
Actress Kristen Bell acted as the voice of Anna on March 5, 2012. Lee acknowledged that Bell's casting selection was influenced after the filmmakers listened to a series of vocal songs that Bell recorded when he was young, where the actress performed several songs from i> The Little Mermaid , including "Parts of Your World". Bell finished her recording sessions while she was pregnant, and then re-recorded some of her character's lines after her pregnancy, because her voice had deepened. Bell was called to re-record the dialogue for the "maybe 20 times," film which is normal for the lead role in the Disney animated films whose scripts are still developing. Regarding her approach to Anna's role, Bell is grateful that she has "dreamed of being in a Disney animated movie" since she was four years old, saying, "I've always liked Disney animation, but there's something about women I can not reach. and they're too good at talking, and I feel like I'm really making this girl more sociable, weird and cheerier and more excited and awkward I'm really proud of that. "
Idina Menzel, a Broadway veteran, was elected as Elsa. Menzel previously auditioned for Tangled , but did not get his share. However, the drilling director of Tangled ', Jamie Sparer Roberts, kept a record of Menzel's performance on his iPhone, and on that basis, asked him to audition along with Bell for Frozen >. Before they were officially cast, Menzel and Bell greatly impressed the directors and producers on the table early in reading; after reading the entire script aloud, they sang "Wind Beneath My Wings" together as duets, as no music has been made yet. Bell had suggested the idea when he visited Menzel at his home in California to prepare himself together to read the table. Songwriters are also present to read tables; Anderson-Lopez says "Lasseter is in heaven" after hearing Menzel and Bell singing in harmony, and since then, he has insisted, "Kristen Bell and Idina Menzel must be in the movie!" Lee said, "They sung [ sic ] it's like a sister and what you mean to me [,] [a] and no dry eyes at home after they sing." Between December 2012 and June 2013, additional casting roles were announced, including Jonathan Groff as Kristoff, Alan Tudyk as Duke of Weselton, Santino Fontana as Prince Hans, and Josh Gad as Olaf. Animation
Similar to
To create a frozen look, Giaimo began pre-production research by reading extensively about the entire Scandinavian region and visiting the Danish-themed city of Solvang near Los Angeles, but ultimately focused on Norway especially because "80 percent" of the visual which appealed to him came from Norway. Disney eventually sponsored three research field trips. Animators and special effects specialists are sent to Jackson Hole, Wyoming, to experience walking, running, and falling in heavy snow in various types of clothing, including long skirts (which male and female personnel try); while the lighting and art team visited the Ice Hotel in Quebec City, Quebec to learn how light reflects and refracts snow and ice. Finally, Giaimo and several artists travel to Norway to get inspiration from the mountains, fjord, architecture, and culture. "We have a very short time schedule for this film, so our main focus is really to get the story right but we know that John Lasseter is interested in the truth in matter and creates a trustworthy world, and again that does not mean it a realistic world - but trustworthy - it's important to see the scope and scale of Norway, and it's important for our animators to know what it's like, "Del Vecho said. "There is a real feeling of Lawrence of Arabia scope and scale for this," he finished.
During 2012, while Giaimo and animators and artists are doing preparatory research and developing the overall look of the film, the production team is still struggling to develop an engaging script, as described above. The issue was not resolved adequately until November 2012, and the script would later require a more significant revision after that. As a result, one of the "most frightening" challenges facing the animation team is a short schedule of less than 12 months to change Lee's shooting script that is still evolving into an actual movie. Other movies like Pixar's Toy Story 2 have been successfully completed on a shorter schedule, but short schedules necessarily mean "late at night, overtime, and stress." Lee estimates the total size of the entire team at Frozen around 600 to 650 people, "including about 70 lighters [,] 70-plus animators," and 15 to 20 storyboards.
Del Vecho explains how the animation team of the film is set: "In this movie we have a character cast, watching animators on certain characters Animator itself can work on many characters but always under one lead I think it's different on Tangled
Regarding the look and cinematographic nature of the film, Giaimo is heavily influenced by the work of Jack Cardiff at Black Narcissus. According to him, the film gave hyper-reality to the film: "Since this is a movie of such scale and we have a Norwegian fjord to draw, I really want to explore its depth.From a design perspective, as I emphasize the horizontal and vertical aspects, and what which provided the fjords, was perfect.We wrapped your story in scale. "The work of Ted D. McCord in The Sound of Music is another great influence for Giaimo. It was also Giaimo's idea that Frozen should be filmed in the CinemaScope screen, approved by Lasseter. This marks the first full film Frozen taken in CinemaScope since 2000's Titan A.E. . Giaimo also wants to ensure that the fjords, architecture and artistry of the Norwegian Rosemaling people, is an important factor in designing the Arendelle environment. Giaimo, whose background in traditional animation, says that the art design environment represents the unity of character and environment and that he originally wanted to include saturated colors, which are usually erroneous in computer animation. For further authenticity, a live deer named Sage was taken to the studio for animators to study his movements and behavior for Sven's character.
Another important issue that Giaimo stresses is the costume, where she "knows from scratch" it will be a "costume movie." To realize that vision, he brings character designer Jean Gillmore to act as a dedicated "costume designer". While traditional animations only integrate costume designs with character designs and treat clothing only as part of a character, computer-generated animations regard costumes as entities separate from their own properties and behaviors - and Frozen requires an untried level of detail , down to the little things like cloth, buttons, pieces, and stitches. Gillmore explains that "the general approach is to dilute the historical silhouette of 1840 Western Europe (give or take), with the shape and relationship of garments and details of folk costumes in early Norway, around the 19th century." This means using woolen fabrics especially with velvet, linen, and silk accents. During production, GiaMa and Gillmore "jog" supplied various departments with real-world samples to use as reference; they can take advantage of a collection of fabric samples at their own studio and Walt Disney Parks and Resorts costume division resources in Fullerton, California. The "film development artists" (the Disney work title for texture artists) create simulations that are digitally painted from the surface view, while other departments deal with movement, rigging and weight, thickness and lighting of textile animations.
During production, the English title of the film was changed from The Snow Queen to Frozen , a decision that makes comparisons with other Disney movies, Tangled . Peter Del Vecho explains that "the title Frozen appears separately from the title Tangled .This is because, for us, it represents the movie. Technology development
Studio also developed several new tools to produce realistic and reliable shots, especially deep and deep snow and its interaction with characters. Disney wants an "all-inclusive" and organic tool to give snow effect but no need to switch between different methods. As mentioned above, some Disney artists and special effects personnel travel to Wyoming to experience walking through the thick snow. Dr. Kenneth Libbrecht, a professor of the California Institute of Technology, was invited to give a talk to the effects group on how snow and ice formed, and why snowflakes are unique. Using this knowledge, the effects group created a snowflake generator that allowed them to randomly create 2,000 unique snowflake shapes for the film.
Another challenge facing the studio is sending thick and deep snow shots that both interact with characters and have a realistic sticky quality. According to the main software engineer, Andrew Selle, "[Snow] is not really fluid, it's not really solid, it can be solidified into a snowball, all these different effects are very hard to catch simultaneously." To accomplish this, software engineers used advanced mathematics (material point method) and physics, with the help of a mathematical researcher at the University of California, Los Angeles to create a snow simulator software application called Matterhorn . The tool is capable of depicting realistic snow in a virtual environment and is used in at least 43 scenes in the movie, including several key sequences. Software engineer Alexey Stomakhin called snow "an important character in the film," and therefore attracted the special attention of filmmakers. "As you stretch it, the snow will break into small pieces because the snow has no connection, it has no nets, it can break easily." So that is an important property we use, "Selle explained. "There you see [Kristoff] walking past him and seeing his footprints break the snow into small pieces and chunks and you see [Anna] being pulled out and the snow has collected and broken into pieces.This is very organic how it happens. do not see that they're cut off - you see snow as one thing and then break up. "The tool also proved very useful in scenes involving characters walking through thick snow, as it ensures that snow reacts naturally to every step.
Other tools designed to help artists complete complex effects include Spaces , allowing the Olaf deconstruction section to be moved and rebuilt, Develop , allowing extra movements such as leaves and twigs to become directed art; Snow Batcher , which helps review the final look of snow, especially when characters interact with the snow area by walking through volume, and Tonic , allowing artists to chisel their character hair as procedural volumes. Tonic is also assisted in animate hair and hair element Elsa, which contains 420,000 pieces of computer-generated, while the average number for humans is actually only 100,000. The number of character rigs in Frozen is 312 and the number of simulated costumes also reached 245 fabric rigs, which far surpassed all other Disney movies to date. Fifty artists and lighting artists work together in technology to create a "single shot" in which Elsa builds his ice palace. Its complexity takes 30 hours to create each frame, with 4,000 computers displaying one frame at a time.
In addition to 3D effects, the filmmakers also use 2D artwork and images for the elements and certain sequences in the film, including magic and snow sculptures Elsa, as well as frozen and floor fountains. Group effect of creating a "capture stage" where the whole world Frozen is displayed on the monitor, which can be "filmed" on a special camera to operate the three-dimensional scene. "We can take this virtual sets that mimic my every action and put it into one of our scenes in the movie," says technology manager Evan Goldberg.
This arrangement is primarily based on Norway, and the cultural influence in the film comes from Scandinavian culture. Several landmarks in Norway appear in the film, including Akershus Fortress in Oslo, Nidaros Cathedral in Trondheim, and Bryggen in Bergen. Many other typical Scandinavian cultural elements are also included in the film, such as stave churches, trolls, Viking ships, hot springs, Fjord horses, clothing, and food such as lutefisk. A maypole is also present in the film, as well as a short rune appearance in a book that Anna and Elsa's father is open to find out where the troll lives. A scene where two people argue over whether stacking firewood or barking is a reference to Norway's perpetual debate about how to stack firewood properly. The film also contains some elements that are specifically drawn from the Sao culture, such as the use of deer for transportation and equipment used to control this, clothing styles (clothing from ice cutters), and parts of musical scores. The decor, like the one in the castle pillars and the Kristoff sled, is also in a style inspired by the duodji decor of Sagu. During their fieldwork in Norway, the Disney team, for inspiration, visited RÃÆ'¸rosrein, a family-owned SÃÆ'¡mi company in the village of Plassje which produces venison and arranges sightseeing events. Arendelle was inspired by NÃÆ'Â|rÃÆ'¸yfjord, the longest branch of the Norwegian Sognefjorden fjord, which has been listed as a UNESCO World Heritage Site; while a castle in Oslo with beautiful hand-painted patterns on all four walls serves as an inspiration for the interior of the royal palace.
Filmmakers' travel to Norway provides important knowledge for animators to come up with aesthetic designs for movies in terms of color, light, and atmosphere. According to Giaimo, there are three important factors they derive from the Norwegian research journey: the fjord and the large-scale vertical rock formations of the fjord character, which serve as a setting for the remote kingdom of Arendelle; medieval stave churches, which have a triangular roofline and a shingle roof that inspires the castle compound; and rosemaling folk art, whose distinctive panel and grille patterns inform architecture, decor and costumes.
Music and sound design
The songs for Frozen were written and composed by the team of husband-wife songwriters Robert Lopez and Kristen Anderson-Lopez, both of whom had previously worked with Disney Animation at Winnie the Pooh 2011) (also produced by Del Vecho, who later recruited them for Frozen ) and before that, with Disney Parks at Finding NemoÃ, - The Musical (2007). Lopez first heard the Disney Animation song while in Los Angeles working on The Book of Mormon, but Disney was so excited to get both on board the production team travel to New York City to also pitch the film personally to Anderson- Lopez (who is busy raising the couple's two daughters). Lopez believes Disney is very interested in the talent of his wife's strong story. The decision, of course, is easy: "Whenever Disney asks if you want to do fairy tales, you answer yes."
About 23 minutes the film is dedicated to their music numbers. Because they live in New York City, working closely with the production team in Burbank requires two hours of cross-continental video conferencing almost every working day for about 14 months. For each song they composed, they recorded a demo in their home studio (with both singing the lyrics and Lopez accompanying the piano), then emailed Burbank for a discussion at the next videoconference. Lopez and Anderson-Lopez are aware of the fact that their work will be compared to Alan Menken and Howard Ashman from the Disney Renaissance era, and whenever they feel lost they ask, "What will Ashman do?" In the end, they wrote 25 songs for the film, of which eight made it the final version. One song ("For the First Time in Forever") has a reprise and the other ("Let It Go") is covered by Demi Lovato through the last credit, with a total of ten songs. Seven of the 17 that did not make it were later released on the deluxe edition soundtrack.
In February 2013, Christophe Beck was recruited to film, after his work on
Under the supervision of sound engineer David Boucher, the main actors began recording vocal tracks in October 2012 at the Sunset Sound recording studio in Hollywood before the songs were set, meaning they only heard Lopez's demo of piano songs in headphones as they sing. Most of the dialogs were recorded at Roy E. Disney Animation Building in Burbank under the supervision of the original mixer dialogue Gabriel Guy, who also mixed the sound effects of the film. Several dialogues were recorded after recording songs at Sunset Sound and Capitol Studios; for a scene involving Anna and Elsa, the two studios offer a vocal isolation chamber where Menzel and Bell can read the dialogue against each other, while avoiding the "bleedthrough" between their songs. Additional dialogs were recorded at ADR facilities at many Walt Disney Studios in Burbank (across the street from the Disney Animation building) and at the New York Soundtrack Group studios, as the production team had to work around the busy schedule of New York-based cast members like Fontana.
The piano-vocal scores of Lopez and Anderson-Lopez for songs along with vocal songs were sent to Salem, Oregon-based Dave Metzger for arrangement and orchestration; Metzger also set a significant part of Beck's score.
For an orchestra film score, Beck paid homage to Norwegian-and SÃÆ'¡pmi-inspired arrangements using regional instruments, such as bukkehorn, and traditional vocal techniques, such as kulning. Beck works with Lopez and Anderson-Lopez to incorporate their songs into a score setting. The aim of the trio "is to create a cohesive musical journey from start to finish." Similarly, Beck's scorers Casey Stone (who also oversees the recording of scores), work with Boucher to align their microphone settings to ensure the transition between the track and the score goes smoothly, although both are recorded separately on different dates. The final orchestration of both songs and scores was all recorded at Eastwood Scoring Stage at Warner Bros studio in Burbank by an 80-part orchestra, featuring 32 vocalists, including the original Norwegian Christine Hals. Boucher oversees the recording of Anderson-Lopez and Lopez songs from July 22-24, 2013, then Stone supervises Beck's recording of the score from 3 to 6 September and 9 to 10. Boucher combines the songs on the Eastwood stage while Stone mixes the scores in the private studio Beck in Santa Monica, California.
Regarding the sound of Frozen , director Jennifer Lee stated that the voice played a major role in the filming of "visceral" and "transported" films; he explains, "[i] n let him tell the story emotionally, the sound of ice when in the most dangerous just makes you shudder." The total silence in the movie climax just after Anna freezes is Lasseter's idea, which he "really wants". In the scene, even the ambient noise that was usually there was brought out to make it unusual. Lee explained "it was a moment where we wanted everything to feel suspended."
To get certain snow and ice sound effects, sound designer Odin Benitez traveled to Mammoth Mountain, California, to record it in a frozen lake. However, the foley work for the film was recorded at the foley stage on many Warner Bros by Warner Bros. crews. Foley artists receive daily delivery of 50 pounds (22.6 kg) of snow during work, to help them record all the snow and ice sounds required for the film. Since the visuals of the film have been completed so slowly, five separate versions of almost every step on snow are recorded (according to five types of snow), then one is then selected during mixing to match snow as given in the final version of each scene.. One of the problems that the "special" production team is about is Elsa's footsteps in the ice castle, which takes eight attempts, including glasses of wine on ice and metal knives on ice; they end up using a mix of three sounds.
Although vocals, music, sound effects, and almost all dialogue are all recorded elsewhere, the latest recording recordings to the Dolby Atmos format are done in place of Disney by Casey E. Fluhr of Disney Digital Studio Services.
Localization
Like other Disney media products that are often localized through Disney Character Voices International, Frozen is translated and dubbed into 41 languages ​​(compared to just 15 for The Lion King ). The main challenge is to find a soprano that is able to match Menzel's warm vocal tone and three octave vocal ranges in their native language. Rick Dempsey, senior unit executive, considers the process of translating the film as "very challenging"; He explains, "It's a difficult juggling act to get the right intent of the lyrics and also make it fit rhythmically with music, and then you have to go back and adjust for lip sync! [It]... takes a lot of patience and precision." Lopez explained that they were told by Disney to remove complicated wordplay and wordplay from their songs, to make sure the film was easy to translate and to have globally interesting lyrics. For casting the voiceover version, Disney requires native speakers to "ensure that the movie feels 'local'." They used the sound of Bell and Menzel as their "blueprints" in casting, and tried to match the sound "as much as possible," meaning that they auditioned around 200 singers to fill 41 slots for Elsa alone. For almost 15 versions of dubbing, they sang singing sections and spoke Elsa separately, because not all vocalists can do the part they sing. After entering all other roles for all 41 languages, the international players eventually included more than 900 people, who voiced their roles through about 1,300 recording sessions.
Since 2013, several local TV stations and independent studios have named movies in their local language, creating some unofficial copy. Namely: Albanian, Arab (TV dub), Karachay-Balkar, Persian and Tagalog.
Release
Frozen was released theatrically in the United States on November 27, 2013, and accompanied by a new Mickey Mouse animated short film, Get Horse! The premiere of the film at El Capitan Theater in Hollywood, Calif., on November 19, 2013, and has a limited five-day release there, starting from November 22nd, before being widely launched.
Prior to the release of the film, Lopez and Anderson-Lopez's "Let It Go" and "In Summer" were previewed at the 2013 D23 Expo; Idina Menzel displays the former live on stage. The teaser trailer was released on June 18, 2013, followed by an official trailer release on September 26, 2013. Frozen is also promoted at several Disney theme parks including Disneyland's Fantasyland, Disney California Adventure World of Color , the Epcot Norwegian pavilion, and Disneyland Paris Disney Dreams show! ; Disneyland and Epcot both offer meet-and-greet sessions involving the two main characters of the film, Anna and Elsa. On November 6, 2013, Disney Consumer Products began releasing a series of toys and other merchandise relating to movies at Disney Stores and other retailers.
On January 31, 2014, the sing-along version of Frozen was released in 2,057 theaters in the United States. It displays the lyrics on the screen, and the audience is invited to follow the snowflake bouncing and singing along with the songs from the movie. After being widely released in Japan on March 14, 2014, the same sing-along version of Frozen was released in the country in selected theaters on April 26th. In the Japanese version, Japanese lyrics appear on the screen for the audience to sing along with the characters. The sing-along version of the film was released in the UK on November 28, 2014.
Home media
Frozen was released for digital downloads on February 25, 2014, on Google Play, iTunes Store, and Amazon Video. It was later released by Walt Disney Studios Home Entertainment on Blu-ray Disc and DVD on March 18, 2014. The bonus features for the Blu-ray release include "The Making of Frozen", a three-minute music production of how the film was made, "D'frosted ", an inside look at how Disney tries to fit the original fairy tale into an animated feature, four deleted scenes with an introduction by direct, original short drama Get Horses! , trailer of the movie teaser and music video "Let It Go" (End Credit Version) by Demi Lovato, Martina Stoessel, and Marsha Milan Londoh; while DVD releases include Get Horse! theatrical short, music video "Let It Go" and the movie teaser footage.
On the first day of its release on Blu-ray and DVD, Frozen sold 3.2 million units, becoming one of the largest home video sellers in the last decade, and Amazon's best-selling children's discs of all time. The digital download release of the film also sets the record for best-selling digital release of all time. Frozen spent his first week at No. 1 in unit sales in the United States, selling more than three times more units than the other 19 titles in the combined graphs, according to Nielsen's sales charts. The film sold 3,969,270 units of Blu-ray (equivalent to $ 79,266,322) during the first week, which accounted for 50 percent of its home media sales opening. It topped the list of US home video sales for six consecutive weeks from seven weeks of release, on May 4, 2014. In the United Kingdom, Frozen debuted at No. 1 on Blu-ray and DVD sales in the Video List Official. According to Official Charts Company, more than 500,000 copies sold in its opening two days (March 31 - April 1, 2014). During its first three weeks of release in the UK, Frozen sold over 1.45 million units, becoming the biggest selling video title of 2014 so far in the country. Frozen has sold 2,025,000 Blu-ray Disc/DVD combo sets in Japan in 4 weeks, becoming the fastest-selling home video to sell 2 million copies, beating the previous 11-week record by Spirited Go. Frozen also keeps a record of the highest number of home video units sold on the first day of official sales and in the first week of official sales in Japan. By the end of 2014, the film earned $ 308,026,545 in total US home media sales. This is one of the best-selling home media releases, having moved more than 18 million units in March 2015.
Following the announcement on August 12, 2014, Frozen's sing-along republic was released via DVD and digital download on November 18, 2014.
Claim on Phase 4 Movies
At the end of December 2013, The Walt Disney Company filed a trademark infringement suit in California federal court against Phase 4 Films, seeking an injunction against the continued distribution of the legendary Canadian film The Legend of Sarila > Frozen Land in the United States at that time and had a logo similar to a Disney movie. At the end of January 2014, the two companies have completed the case; the settlement states that the distribution and promotion of The Legend of Sarila and related merchandise shall use its original title and Stage 4 shall not use any other trademarks, logos or designs that are very similar to the Disney animated releases. Phase 4 is also required to pay Disney $ 100,000 before 27 January 2014, and make "all practical efforts" to remove copies of Frozen Land from online stores and distributors before March 3, 2014.
Share file
According to the copyright infringement tracking site, Excipio, Frozen is the most-breached movie of 2014 (behind The Wolf of Wall Street ), with over 29.9 million downloads illegal through torrent sites.
Television broadcast
Frozen was broadcast on BBC One as Freeview's premiere debut on December 25, 2016.
The film has a US broadcast debut on December 11, 2016, aired on the American Broadcasting Company under the anthology of Wonderful World of Disney. This view reached more than 6.6 million viewers, lifting ABC's regular ratings on Sunday.
It debuted on Dutch TV on December 17, 2016 on SBS 6, with an original English version simulcast on SBS's sister channel 9.
Japan broadcast broadcast aired on Fuji TV on March 4, 2017.
Reception
box office
Frozen earned $ 400.7 million in North America, and about $ 875.8 million in other countries, for a total of $ 1,276 billion worldwide. Counting on all costs, Deadline Hollywood estimates that the film earns more than $ 400 million in profit. This is the eleventh highest grossing film (and is the fifth highest at the top), the highest-earning animated film, the best-selling movie of 2013, the best-selling film Walt Disney Pictures, and the fourth-highest-grossing Disney. The film earned $ 110.6 million worldwide on its opening weekend. On March 2, 2014, her 101st release day, she surpassed the $ 1 billion mark, becoming the eighteenth movie in cinematic history, the seventh distributed Disney movie, the fifth non-sequel movie, the second Disney-distributed movie in 2013 (after < i> Iron Man 3 ), and the first animated movie since Toy Story 3 did so.
Bloomberg Business reported in March 2014 that outside analysts have projected total film costs somewhere around $ 323 million to $ 350 million for production, marketing and distribution, and also projected that the film would make $ 1.3 billion in revenue from box office ticket sales, digital downloads, discs, and television broadcasting rights.
North America
Frozen became Fandango's main ticket seller among original animated films, in front of previous record holder Brave , and became the best-selling animated film in the company's history at the end of January 2014 Sing- along of the film then occupy the best-selling position on the movie ticket service again for three days. Frozen opened on Friday, 22 November 2013, exclusively at the El Capitan Theater in Hollywood for a limited release of five days and earned $ 342,839 before its broad opening on Wednesday, 27 November 2013. For three days The weekend earned $ 243,390, scoring the seventh largest per-theater average. On the opening day of its extensive release, the film earned $ 15.2 million, including $ 1.2 million from a late-night performance on Tuesday, and set a record for the pre-Thanksgiving highs Wednesday opening in front of Tangled ($ 11.9 million). It was also the second largest pre-Thanksgiving Wednesday of all the movies, behind Catching Fire ($ 20.8 million). The film finished second in the traditional three-day weekend (Friday-to-Week) with $ 67.4 million, setting the opening weekend record among Walt Disney Animation Studios films. It also scored the second biggest opening weekend among films that did not debut at # 1. Female viewers accounted for 57% of total audience Frozen ' over the first weekend, while family audiences holds 81% proportion. Among the films that opened during Thanksgiving, he set a new record; three days ($ 67.4 million from Friday to Sunday) and lim
Source of the article : Wikipedia
0 Comments