Frozen (2013 film)

Frozen is a 2013 American 3D computer-animated ers, with which she is able to produce ice, frost and snow musical fantasy-comedy film produced by Walt Disney at will. One night while playing, she accidentally injures Animation Studios and released by Walt Disney Pic- her younger sister, Princess Anna. Their shocked parents, tures.[4] It is the 53rd animated feature produced by Walt the King and Queen, seek help from the troll king, who Disney Animation Studios. Inspired by Hans Christian heals Anna and removes her memories of Elsa’s magic. Andersen's fairy tale The Snow Queen, the film tells the The royal couple isolates the children in their castle until story of a fearless princess who sets off on an epic jour- Elsa learns to control her powers. Afraid of hurting Anna ney alongside a rugged iceman, his loyal pet reindeer and again, Elsa spends most of her time alone in her room, a naive snowman to find her estranged sister, whose icy causing a rift between the girls as they grow up. When powers have inadvertently trapped the kingdom in eternal the girls are teenagers, their parents die at sea during a winter. storm. Frozen underwent several story treatments for years, be- When Elsa comes of age, the kingdom prepares for her fore being commissioned in 2011, with a screenplay writ- coronation as Queen. Among the guests is the Duke of ten by Jennifer Lee, and both Chris Buck and Lee serv- Weselton, who seeks to exploit Arendelle for profit. Ex- ing as directors. It features the voices of Kristen Bell, cited to be allowed out of the castle again, Princess Anna Idina Menzel, Jonathan Groff, Josh Gad and Santino explores the town and meets Prince Hans of the South- Fontana. Christophe Beck, who had worked on Disney’s ern Isles, and the two quickly develop a mutual attraction. award-winning short Paperman, was hired to compose Despite Elsa’s fears, her coronation goes off without in- the film’s orchestral score, while husband-and-wife song- cident. During the reception, Hans proposes and Anna writing team Robert Lopez and Kristen Anderson-Lopez hastily accepts. However, Elsa refuses to grant her bless- wrote the songs. ing and forbids their sudden marriage. The sisters argue, culminating in the exposure of Elsa’s abilities during an Frozen premiered at the El Capitan Theatre on Novem- ber 19, 2013,[5] and went into general theatrical release emotional outburst. on November 27. It was met with strongly positive re- Panicking, Elsa flees the castle, while inadvertently un- views from critics and audiences, and some film critics leashing an eternal winter on the kingdom. High in the considered Frozen to be the best Disney animated feature nearby mountains, she casts off restraint, building herself film and musical since the studio’s renaissance era.[6][7] a solitary ice palace, and unknowingly brings to life her The film was also a massive commercial success; it accu- and Anna’s childhood snowman, Olaf. Meanwhile, Anna mulated nearly $1.3 billion in worldwide box office rev- sets out in search of her sister, determined to return her enue, $400 million of which was earned in the United to Arendelle, end the winter, and mend their relationship. States and Canada and $247 million of which was earned When obtaining supplies, she meets an iceman named in Japan. It ranks as the highest-grossing animated film Kristoff and his reindeer, Sven, and convinces Kristoff of all time, the fifth highest-grossing film of all time, to guide her up the North Mountain. On their journey, the highest-grossing film of 2013, and the third highest- the group encounter Olaf, who leads them to Elsa’s hide- grossing film in Japan. Frozen won two Academy Awards away. for Best Animated Feature and Best Original Song ("Let [8] Anna and Elsa reunite, but Elsa still fears hurting her sis- It Go"), the Golden Globe Award for Best Animated ter. When Anna insists that Elsa return, Elsa becomes ag- Feature Film,[9] the BAFTA Award for Best Animated [10] itated and her powers lash out, accidentally striking Anna Film, five Annie Awards (including Best Animated in the heart. Horrified, Elsa creates a giant snow creature, Feature),[11] and two Critics’ Choice Awards for Best An- [12] Marshmallow, to drive Anna, Kristoff and Olaf away imated Feature and Best Original Song (“Let It Go”). from her palace. As they flee, Kristoff notices Anna’s hair An animated short film, Frozen Fever, will be released in turning white and deduces that something is very wrong. spring 2015.[13] He seeks help from the trolls, his adoptive family, who explain that Anna’s heart has been frozen by Elsa. Un- less it is thawed by an “act of true love”, she will become frozen solid forever. Believing that only Hans can save 1 Plot her with a true love’s kiss, Kristoff races back with her to Arendelle. Elsa, Princess of Arendelle, possesses cryokinetic pow-

1 2 3 DEVELOPMENT

Meanwhile, Hans, leading a search for Anna, reaches • Ciarán Hinds as Grand Pabbie the Troll King[26] Elsa’s palace. In the ensuing battle against the Duke’s • Chris Williams as Oaken, the owner of Wandering men, Elsa is knocked unconscious and imprisoned in [27] Arendelle. There, Hans pleads with her to undo the win- Oaken’s Trading Post and Sauna ter, but Elsa confesses that she does not know how. When • Maia Wilson as Bulda, a troll and Kristoff’s adoptive Anna reunites with Hans and begs him to kiss her to break mother[14][28] the curse, Hans refuses and reveals that his true intention [29] in marrying her is to seize control of Arendelle’s throne. • Paul Briggs as Marshmallow, a snow monster Leaving Anna to die, he charges Elsa with treason for her • Maurice LaMarche as the King of Arendelle, Anna younger sister’s apparent death. and Elsa’s father[14][28] Elsa escapes and heads out into the blizzard on the fjord. • Jennifer Lee as the Queen of Arendelle, Anna and Olaf finds Anna and reveals Kristoff is in love with her; Elsa’s mother[30] they then escape onto the fjord to find him. Hans con- fronts Elsa, telling her Anna is dead because of her. In Elsa’s despair, the storm suddenly ceases, giving Kristoff and Anna the chance to find each other. However, Anna, 3 Development seeing that Hans is about to kill Elsa, throws herself be- tween the two just as she freezes solid, blocking Hans’ 3.1 Origins attack. As Elsa grieves for her sister, Anna begins to thaw, since her decision to sacrifice herself to save her sister consti- tutes an “act of true love”. Realizing love is the key to controlling her powers, Elsa thaws the kingdom and helps Olaf survive in summer. Hans is deported back to the Southern Isles to face punishment for his crimes against the royal family of Arendelle, while Elsa cuts off trade with Weselton. Anna and Kristoff share a kiss, and the two sisters reconcile. Elsa promises never to shut the cas- tle gates again.

2 Voice cast Concept art from Disney’s shelved hand-drawn film The Snow Queen.[31]

• Kristen Bell as Anna, the 18-year-old[14]:13 Princess Walt Disney Productions first began exploring a possible of Arendelle and Elsa’s younger sister[15] live action/animation biography film of author and poet Hans Christian Andersen sometime in late 1937 before • Livvy Stubenrauch as 5-year-old[14]:2 Anna[16] the December premiere of its film Snow White and the • Katie Lopez as 5-year-old Anna (singing)[17] Seven Dwarfs, the first feature-length hand-drawn ani- [32]:10 • Agatha Lee Monn as 9-year-old[14]:9 Anna mated film ever made. In March 1940, Walt Dis- (singing)[18] ney suggested a co-production to film producer Samuel Goldwyn, where Goldwyn’s studio would shoot the live- • Idina Menzel as Elsa, the 21-year-old[14]:16 Snow action sequences of Andersen’s life and Disney’s studio Queen of Arendelle and Anna’s elder sister[15][19] would animate Andersen’s fairy tales.[32]:10 The animated sequences would be based on some of Andersen’s best • [14]:2 [20][21] Eva Bella as 8-year-old Elsa known works, such as The Little Mermaid, The Little • Spencer Lacey Ganus as 12-year-old[14]:10 Match Girl, The Steadfast Tin Soldier, The Snow Queen, Elsa[21] Thumbelina, The Ugly Duckling, The Red Shoes, and The Emperor’s New Clothes. However, the studio encountered • Jonathan Groff as Kristoff, an iceman accompanied difficulty with The Snow Queen, as it could not find a by a reindeer named Sven[22][23] way to adapt and relate the Snow Queen character to modern audiences. Even as far back as the 1930s and • Josh Gad as Olaf, a comic-relief snowman who 1940s, it was clear that the source material contained dreams of experiencing summer[15][24][25] great cinematic possibilities, but the Snow Queen char- • Santino Fontana as Hans, a prince from the Southern acter proved to be too problematic. After the United Isles[22] States entered World War II, the studio began to focus on making wartime propaganda, which caused develop- • Alan Tudyk as the Duke of Weselton[25] ment on the Disney-Goldwyn project to grind to a halt 3.3 Revitalization 3

in 1942.[32]:10 Goldwyn went on to produce his own live- Pixar and Disney Animation.[36][37] action film version in 1952, entitled Hans Christian An- The next attempt started in 2008 when Lasseter was able dersen, with Danny Kaye as Andersen, Charles Vidor di- to convince Chris Buck (who had co-directed Tarzan recting, Moss Hart writing, and Frank Loesser penning (1999) for the studio) to return to Disney Animation the songs. All of Andersen’s fairy tales were, instead, told from Sony Pictures Animation (where he had recently co- in song and ballet in live-action, like the rest of the film. directed the Oscar-nominated Surf’s Up (2007)), and that It went on to receive six Academy Award nominations the September, Buck pitched several ideas to Lasseter, one of following year. Back at Disney, The Snow Queen, along which was The Snow Queen.[32]:6,11 Buck later revealed with other Andersen fairy tales (including The Little Mer- [33] that his initial inspiration for The Snow Queen was not maid), were shelved. the Andersen fairy tale itself, but that he wanted “to do something different on the definition of true love.” “Dis- 3.2 Later efforts ney had already done the 'kissed by a prince' thing, so [I] thought it was time for something new,” he recalled.[38] "Hans Christian Andersen's original version of The Snow It turned out Lasseter had been interested in The Snow Queen is a pretty dark tale and it doesn't translate eas- Queen for a long time; back when Pixar was working with ily into a film. For us the breakthrough came when we Disney on Toy Story in the 1990s, he saw and was “blown tried to give really human qualities to the Snow Queen. away” by some of the pre-production art from Disney’s [32]:6 When we decided to make the Snow Queen Elsa and our prior attempts. Development began under the title protagonist Anna sisters, that gave a way to relate to the Anna and the Snow Queen, which was planned to be tra- [39] characters in a way that conveyed what each was going ditionally animated. According to Josh Gad, he first through and that would relate for today’s audiences. This became involved with the film at that early stage, when film has a lot of complicated characters and complicated the plot was still relatively close to the original Andersen [40] relationships in it. There are times when Elsa does vil- fairy tale and Megan Mullally was going to play Elsa. lainous things but because you understand where it comes By early 2010, the project entered development hell once from, from this desire to defend herself, you can always again, when the studio again failed to find a way to make [41][42] relate to her. 'Inspired by' means exactly that. There is the story and the Snow Queen character work. snow and there is ice and there is a Queen, but other than that, we depart from it quite a bit. We do try to bring scope and the scale that you would expect but do it in a 3.3 Revitalization way that we can understand the characters and relate to them.” On December 22, 2011, following the success of Tan- gled, Disney announced a new title for the film, Frozen, — Producer Peter Del Vecho, on the difficulties adapting and a release date of November 27, 2013.[43] A month The Snow Queen[34] later, it was confirmed that the film would be a computer- animated feature in stereoscopic 3D, instead of the [31] In the late 1990s, Walt Disney Feature Animation started originally intended hand-drawn animation. Anderson- developing a new adaptation of The Snow Queen after Lopez and Lopez joined the project and started writing [44]:44:00 the tremendous success of their recent films during the songs for Frozen in January 2012. Disney Renaissance era, but the project was scrapped On March 5, 2012, it was announced that Buck completely in late 2002, when Glen Keane reportedly would be directing, with Lasseter and Peter Del Vecho quit the project[31] and went on to work on another producing.[45] project which became Tangled (2010). Even before then, Harvey Fierstein pitched his version of the story to Dis- After Disney decided to advance The Snow Queen into ney’s executives, but was turned down.[33] Paul and Gaë- development again, one of the main challenges Buck and Del Vecho faced was the character of the Snow Queen, tan Brizzi, Dick Zondag and Dave Goetz reportedly all [33] had their try on it, but failed.[33] After a number of un- who was then a villain in their drafts. The studio successful attempts from 2000 to 2002, Disney shelved has a tradition of screening animated films in develop- the project again.[32]:10–11 During one of those attempts, ment every twelve weeks, then holding lengthy “notes ses- Michael Eisner, then-chairman and chief executive offi- sions” in which its directors and screenwriters from dif- ferent projects provide extensive "notes" on each other’s cer of The Walt Disney Company, offered his support to [46][47][48] the project and suggested doing it with Oscar-winning di- work. rector John Lasseter at Pixar Animation Studios after the Buck and Del Vecho presented their storyboards to Las- then-expected renewal of Pixar’s contract with Disney.[33] seter, and the entire production team adjourned to a con- But negotiations between Pixar and Disney collapsed in ference to hear his thoughts on the project.[33] Art di- January 2004 and that contract was never renewed.[35] rector Michael Giaimo later acknowledged Lasseter as Instead, Eisner’s successor Bob Iger negotiated Disney’s the “game changer” of the film: “I remember John say- purchase of Pixar in January 2006 for $7.4 billion, and ing that the latest version of The Snow Queen story that Lasseter was promoted to chief creative officer of both Chris Buck and his team had come up with was fun, very 4 3 DEVELOPMENT

light-hearted. But the characters didn't resonate. They the objective of recapturing Anna to freeze her heart aren't multi-faceted. Which is why John felt that audi- properly.[44]:8:42 By the time Lee came in, the first act in- ences wouldn't really be able to connect with them.”[33] cluded Elsa deliberately striking Anna in the heart with The production team then addressed the film’s prob- her freezing powers; then “the whole second act was about Anna trying to get to Hans and to kiss him and then Elsa lems, drafting several different variations on The Snow [52] Queen story until the characters and story felt relevant. trying to stop her.” Buck revealed that the original plot At that stage, the first major breakthrough was the de- attempted to make Anna sympathetic by focusing on her cision to rewrite the film’s protagonist, Anna (who was frustration as being perceived as the “spare” in relation to the “heir,” Elsa.[53] The original plot also had different based on the Gerda character from The Snow Queen), as the younger sibling of Elsa, thereby effectively estab- pacing, in that it was “much more of an action adventure” than a musical or a comedy.[50] lishing a family dynamic between the characters.[33][49] This was unusual in that relationships between sisters are One major breakthrough was the composition of the song rarely used as a major plot element in American ani- “Let It Go” by songwriters Lopez and Anderson-Lopez, mated films, with the notable exception of Disney’s Lilo which forced the production team to reconceptualize and & Stitch (2002).[32]:13 To fully explore the unique dynam- rewrite Elsa as a far more complex, vulnerable, and sym- ics of such relationships, Disney Animation convened a pathetic character.[49] In The Daily Telegraph's words, in- “Sister Summit,” at which women from all over the stu- stead of the villain envisioned by the producers, the song- dio who grew up with sisters were asked to discuss their writers saw Elsa as “a scared girl struggling to control and relationships with their sisters.[32]:14 come to terms with her gift.”[54] Lee recalled: “Bobby and Kristen said they were walking in Prospect Park and they just started talking about what would it feel like [to be 3.4 Writing Elsa]. Forget villain. Just what it would feel like. And this concept of letting out who she is[,] that she’s kept to In March 2012, Jennifer Lee, one of the screenwriters of herself for so long[,] and she’s alone and free, but then Wreck-It Ralph, was brought in as the film’s screenwriter the sadness of the fact [sic] that the last moment is she’s by Del Vecho.[50][51] Lee later explained that as Wreck- alone. It’s not a perfect thing, but it’s powerful.”[52] Del It Ralph was wrapping up, she was giving notes on other Vecho explained that “Let It Go” changed Elsa into a per- projects, and “we kind of really connected with what we son “ruled by fear and Anna was ruled by her own love of were thinking.”[52] other people and her own drive,” which in turn caused According to Lee, several core concepts were already Lee to “rewrite the first act and then that rippled through in place from Buck and Del Vecho’s early work, such the entire movie. So that was when we really found the [48] as the film’s “frozen heart” hook: “That was a concept movie and who these characters were.” and the phrase ... an act of true love will thaw a frozen Another major breakthrough was developing the plot heart.”[52] They already knew the ending involved true twist that Prince Hans would be revealed as the film’s love in the sense of the emotional bond between siblings, true villain only near the end.[48] Hans was not even in not romance, in that “Anna was going to save Elsa. We the earliest drafts, then at first was not a villain, and af- didn’t know how or why.”[52] Lee said Edwin Catmull, ter becoming one, was revealed to be evil much earlier president of Disney Animation, told her early on about in the plot.[48] Del Vecho said, “We realized [what] was the film’s ending: “First and foremost, no matter what most important [was] if we were going to make the end- you have to do to the story, do it. But you have to earn ing so surprising[,] you had to believe at one point that that ending. If you do[,] it will be great. If you don't, it Hans was the answer ... [when] he’s not the answer, it’s will suck.”[46] Kristoff .... [I]f you can get the audience to leap ahead and Before Lee was brought on board, another screenwriter think they have figured it out[,] you can surprise them by [48] had made a first pass at a script, and Anderson-Lopez turning it the other way.” Lee acknowledged that Hans and Lopez tried to write songs for that script but none was written as "sociopathic" and “twisted” throughout the [52] worked and all were cut.[44]:9:07 Then “the whole script final version. For example, Hans mirrors the behav- imploded,” which gave the songwriters the opportunity ior of the other characters: “He mirrors [Anna] and he’s “to put a lot of [their] DNA” into the new script that goofy with her ... [T]he Duke [of Weselton] is a jerk, so [52] Lee was writing.[44]:30:32 The production team “essen- he’s a jerk back. And with Elsa he’s a hero.” It was tially started over and ... had 17 months,” which resulted difficult to lay the foundation for Anna’s belated turn to in a very “intense schedule” and implied “a lot of choices Kristoff without also making Hans’ betrayal of Anna too had to be made fast.”[52] predictable, in that the audience had to “feel ... her feel- ing something but not quite understanding it ... Because The earlier versions differed sharply from the final ver- the minute it is [understood,] it deflated.”[52] At one point, sion. In the original script the songwriters first saw, Elsa Anna openly flirted with Kristoff upon first meeting him, was evil from the start; she kidnapped Anna from her own but that was changed after studio chairman Alan F. Horn wedding to intentionally freeze her heart, then later de- pointed out that it would confuse and annoy viewers since scended upon the town with an army of snowmen with 5

Anna was already engaged to Hans.[55] tened to a series of vocal tracks Bell had recorded when Lee had to work through the issue of how to write she was young, where the actress performed several songs from The Little Mermaid, including "Part of Your Anna’s personality, in that some of her colleagues felt [58] Anna should be more dysfunctional and co-dependent, World". Bell completed her recording sessions while like Vanellope von Schweetz in Wreck-It Ralph.[50] Lee she was pregnant, and subsequently re-recorded some of her character’s lines after her pregnancy, as her voice disagreed with that position, but it took her almost a [59] year to figure out how to convincingly articulate “this is had deepened. Bell was called in to re-record dialogue what Anna’s journey is. No more than that. No less for the film “probably 20 times,” which is normal for [52] lead roles in Disney animated films whose scripts are still than that.” In the end, Lee successfully argued Anna’s [60] journey should be presented as a simple coming-of-age evolving. As for her approach to the role of Anna, Bell enthused that she had “dreamed of being in a Disney an- story, “where she goes from having a naive view of life [22] and love—because she’s lonely—to the most sophisti- imated film” since she was four years old, saying, “I always loved Disney animation, but there was something cated and mature view of love, where she’s capable of the ultimate love, which is sacrifice.”[50] Lee also had to let about the females that was unattainable to me. Their pos- ture was too good and they were too well-spoken, and I go of some ideas that she liked, such as a scene portray- ing Anna and Elsa’s relationship as teenagers, which did feel like I really made this girl much more relatable and weirder and scrappier and more excitable and awkward. not work because they needed to maintain the separation [61] between Anna and Elsa.[50] I'm really proud of that.” To construct Anna and Elsa’s relationship as sisters, Lee Frozen is “a bit of a feminist movie for Disney. I'm really found inspiration in her own relationship with her older proud of that. It has everything, but it’s essentially about sister.[52][56] Lee said her older sister was “a big inspira- sisterhood. I think that these two women are competi- tion for Elsa,”[52] called her “my Elsa” in an op-ed in the tive with one another, but always trying to protect each Los Angeles Times, and walked the red carpet with her at other – sisters are just so complicated. It’s such a great the 86th Academy Awards.[47] Lee explained, "[h]aving relationship to have in movies, especially for young kids.” to ... lose each other and then rediscover each other as — Idina Menzel, on her impression of Frozen[58] adults, that was a big part of my life.”[52] The production team also turned Olaf from Elsa’s obnox- Idina Menzel, a Broadway veteran, was cast as Elsa. Men- ious sidekick into Anna’s comically innocent sidekick.[52] zel had formerly auditioned for Tangled, but did not get Lee’s initial response to the original “mean” version of the part. However, Tangled's casting director, Jamie Olaf had been, “Kill the f-ing snowman,” and she found Sparer Roberts, preserved a recording of Menzel’s per- Olaf by far “the hardest character to deal with.”[52] formance on her iPhone, and on the basis of that, asked [62] The problem of how exactly Anna would save Elsa at the her to audition along with Bell for Frozen. Before they film’s climax was solved by story artist John Ripa. At the were officially cast, Menzel and Bell deeply impressed story meeting where Ripa pitched his take on the story, the directors and producers at an early table read; after the response was silence until Lasseter said, “I've never reading the entire script out loud, they sang "Wind Be- neath My Wings" together as a duet, since no music had seen anything like that before,” which was followed by a [19][49][62] standing ovation.[32]:31 been composed yet. Bell had suggested that idea when she visited Menzel at her California home to pre- Along the way, the production team went through drafts pare together for the table read.[62][63] The songwriters where the first act included far more detail than what were also present for the table read; Anderson-Lopez said ended up in the final version, such as a troll with a “Lasseter was in heaven” upon hearing Menzel and Bell Brooklyn accent who would have explained the backstory sing in harmony, and from that moment forward, he in- behind Elsa’s magical powers, and a regent for whom sisted, “Kristen Bell and Idina Menzel have to be in the Lee was hoping to cast comedian Louis C.K.[52] After all movie!"[44]:32:07 Lee said, “They sung it like sisters and those details were thoroughly “over-analyzed”, they were what you mean to me[,] [a]nd there wasn't a dry eye in the excised because they amounted to a “much more com- house after they sang.”[48] Between December 2012 and plex story than really we felt like we could fit in this 90- June 2013, the casting of additional roles was announced, minute film.”[52] As Del Vecho put it, “the more we tried including Jonathan Groff as Kristoff,[23] Alan Tudyk as to explain things at the beginning, the more complicated the Duke of Weselton, Santino Fontana as Prince Hans, it got.”[57] and Josh Gad as Olaf.[25] Following Lee’s extensive involvement in Frozen's devel- opment process and her close work with director Buck 4 Production and songwriters Lopez and Anderson-Lopez,[34] studio heads Lasseter and Catmull promoted her to co-director Actress Kristen Bell was cast as the voice of Anna on of the film alongside Buck in August 2012.[46][64] Her March 5, 2012.[22][45] Lee admitted that Bell’s cast- promotion was officially announced on November 29, ing selection was influenced after the filmmakers lis- 6 4 PRODUCTION

2012,[65] making Lee the first woman to direct a full- in on Norway in particular because “80 percent” of the vi- length animated motion picture produced by Walt Dis- suals that appealed to him were from Norway.[72] Disney ney Animation Studios.[49] She primarily worked on story eventually sponsored three research field trips.[73] Ani- while Buck focused on animation.[34][48] Lee later stated mators and special effects specialists were dispatched to that she was “really moved by a lot of what Chris had Jackson Hole, Wyoming to experience walking, running, done” and that they “shared a vision” of the story, having and falling in deep snow in a variety of types of attire, in- “very similar sensibilities”.[46] cluding long skirts (which both female and male person- [34][72][73][74] By November 2012, the production team thought they nel tried on); while lighting and arts teams visited an Ice Hotel in Quebec City, Quebec to study had finally “cracked” the puzzle of how to make the [57] film’s story work,[32]:155 but according to Del Vecho, in how light reflects and refracts on snow and ice. Fi- nally, Giaimo and several artists traveled to Norway to late February 2013, it was realized that the film still “wasn't working”, which necessitated even more rewrit- draw inspiration from its mountains, fjords, architecture, and culture.[73][75] “We had a very short time schedule for ing of scenes and songs from February through June 2013.[57][66][67] He explained, “we rewrote songs, we took this film, so our main focus was really to get the story right but we knew that John Lasseter is keen on truth in the out characters and changed everything, and suddenly the movie gelled. But that was close. In hindsight, piece material and creating a believable world, and again that of cake, but during, it was a big struggle.”[57] Looking doesn't mean it’s a realistic world – but a believable one. back, Anderson-Lopez joked she and Lopez thought at It was important to see the scope and scale of Norway, the time they could end up working as “birthday party and important for our animators to know what it’s like,” Del Vecho said.[76] “There is a real feeling of Lawrence clown[s]" if the final product “pull[ed] ... down” their [76] careers[44]:19:07 and recalled that “we were really writing of Arabia scope and scale to this,” he finished. up until the last minute.”[68] In June (five months before During 2012, while Giaimo and the animators and artists the already-announced release date), the songwriters fi- conducted preparatory research and developed the film’s nally got the film working when they composed the song overall look, the production team was still struggling "For the First Time in Forever", which, in Lopez’s words, to develop a compelling script, as explained above. “became the linchpin of the whole movie.”[44]:19:24 That problem was not adequately solved until November 2012,[32]:155 and the script would later require even more That month, Disney conducted test screenings of the half- [57][66] completed film with two audiences (one made up of fam- significant revisions after that point. As a result, ilies and the other made up of adults)[66] in Phoenix, Ari- the single “most daunting” challenge facing the anima- tion team was a short schedule of less than 12 months zona,[56] at which Lasseter and Catmull were personally present.[52][69] Lee recalled that it was the moment when to turn Lee’s still-evolving shooting script into an actual film.[32]:155 Other films like Pixar’s Toy Story 2 had been they realized they “had something, because the reaction was huge.”[69] Catmull, who had instructed Lee at the out- successfully completed on even shorter schedules, but a short schedule necessarily meant “late nights, overtime, set to “earn that ending,” told her afterwards, “you did [32]:155 it”.[52] and stress.” Lee estimated the total size of the en- tire team on Frozen to be around 600 to 650 people, “in- cluding around 70 lighting people[,] 70-plus animators,” and 15 to 20 storyboard artists.[77] 4.1 Animation Del Vecho explained how the film’s animation team was Similar to Tangled, Frozen employed a unique artistic organized: “On this movie we do have character leads, style by blending together features of both computer- supervising animators on specific characters. The anima- generated imagery (CGI) and traditional hand-drawn tors themselves may work on multiple characters but it’s animation.[70] From the beginning, Buck knew Giaimo always under one lead. I think it was different on Tan- was the best candidate to develop the style he had in gled, for example, but we chose to do it this way as we mind—which would draw from the best Disney hand- wanted one person to fully understand and develop their drawn classics of the 1950s, the Disney Little Golden own character and then be able to impart that to the crew. Books, and mid-century modern design—and persuaded Hyrum Osmond, the animator on Olaf, is quiet but he him to come back to Disney to serve as the art direc- has a funny, wacky personality so we knew he'd bring tor for Frozen.[32]:33 Buck, Lasseter, and Giaimo were all a lot of comedy to it; Anna’s animator, Becky Bresee, old friends who had first met at CalArts,[32]:33 and Gi- it’s her first time leading a character and we wanted her [34][49][78] aimo had previously served as the art director for Dis- to lead Anna.” Acting coach Warner Loughlin ney’s Pocahontas (1995), which Buck had worked on as was brought in to help the film’s animators understand [74] a supervising animator.[71] the characters they were creating. In order to get the general feeling of each scene, some animators did their To create the look of Frozen, Giaimo began pre- own acting. “I actually film myself acting the scene out, production research by reading extensively about the en- which I find very helpful,” said animation supervisor Re- tire region of Scandinavia and visiting the Danish-themed becca Wilson Bresee. This helped her discover elements city of Solvang near Los Angeles, but eventually zeroed 4.1 Animation 7

that made the scene feel real and believable.[79] Elsa’s while other departments dealt with movement, rigging supervising animator was Wayne Unten, who asked for and weight, thickness and lighting of textile animation.[83] that role because he was fascinated by the complexity [80] During production, the film’s English title was changed of the character. Unten carefully developed Elsa’s fa- from The Snow Queen to Frozen, a decision that drew cial expressions in order to bring out her fear as con- [80] comparisons to another Disney film, Tangled. Peter Del trasted against Anna’s fearlessness. He also studied Vecho explained that “the title Frozen came up indepen- videos from Menzel’s recording sessions and animated [74] dently of the title Tangled. It’s because, to us, it repre- Elsa’s breathing to match Menzel’s breathing. sents the movie. Frozen plays on the level of ice and snow Regarding the look and nature of the film’s but also the frozen relationship, the frozen heart that has cinematography, Giaimo was greatly influenced by to be thawed. We don't think of comparisons between Jack Cardiff's work in Black Narcissus. According to Tangled and Frozen, though.” He also mentioned that the him, it lent a hyper-reality to the film: “Because this is a film will still retain its original title, The Snow Queen, in movie with such scale and we have the Norwegian fjords some countries: “because that just resonated stronger in to draw from, I really wanted to explore the depth. From some countries than Frozen. Maybe there’s a richness to a design perspective, since I was stressing the horizontal The Snow Queen in the country’s heritage and they just and vertical aspects, and what the fjords provide, it was wanted to emphasize that.”[34] perfect. We encased the sibling story in scale.” Ted D. McCord's work in The Sound of Music was another major influence for Giaimo. It was also Giaimo’s idea 4.1.1 Technology development that Frozen should be filmed in the CinemaScope aspect ratio, which was approved by Lasseter.[78] Giaimo also wanted to ensure that Norway’s fjords, architecture and rosemaling folk art, were critical factors in designing the environment of Arendelle. Giaimo, whose back- ground is in traditional animation, said that the art design environment represents a unity of character and environment and that he originally wanted to incorpo- rate saturated colors, which is typically ill-advised in computer animation.[78] For further authenticity, a live reindeer named Sage was brought into the studio for animators to study its movements and mannerisms for the character Sven.[81][82] Another important issue Giaimo insisted on addressing was costumes, in that he “knew from the start” it would be a “costume film.”[32]:77 To realize that vision, he brought in character designer Jean Gillmore to act as a dedicated "costume designer".[83] While traditional animation sim- ply integrates costume design with character design and treats clothing as merely part of the characters, computer- Test animation demonstrating snow effects employed in the film. generated animation regards costume as almost a sep- [83] arate entity with its own properties and behaviors — The studio also developed several new tools to generate and Frozen required a level of as-yet untried detail, down realistic and believable shots, particularly the heavy and [32]:76 to minutia like fabrics, buttons, trim, and stitching. deep snow and its interactions with the characters. Disney Gillmore explained that her “general approach was to wanted an “all-encompassing” and organic tool to pro- meld the historic silhouettes of 1840 Western Europe vide snow effects but not require switching between dif- (give or take), with the shapes and garment relationships ferent methods.[85] As noted above, several Disney artists and details of folk costume in early Norway, circa 19th and special effects personnel traveled to Wyoming to ex- [83] century.” This meant using primarily wool fabric with perience walking through deep snow.[72] Dr. Kenneth [32]:75 accents of velvet, linen, and silk. During production, Libbrecht, a professor from the California Institute of Giaimo and Gillmore “ran around” supplying various de- Technology, was invited to give lectures to the effects partments with real-world samples to use as references; group on how snow and ice form, and why snowflakes are they were able to draw upon both the studio’s own in- unique.[72] Using this knowledge, the effects group cre- house library of fabric samples as well as the resources ated a snowflake generator that allowed them to randomly of Disney Parks' costume division in Fullerton, Califor- create 2,000 unique snowflake shapes for the film.[79] nia.[83] The film’s “look development artists” (the Dis- ney job title for texture artists[84]:58–59) created the dig- Another challenge that the studio had to face was to itally painted simulation of the appearance of surfaces, deliver shots of heavy and deep snow that both inter- acted believably with characters and had a realistic sticky 8 4 PRODUCTION

quality.[85] According to principal software engineer An- tions and put it into any one of our scenes in the film,” drew Selle, "[Snow]'s not really a fluid. It’s not really a said technology manager Evan Goldberg.[79] solid. It breaks apart. It can be compressed into snow- balls. All of these different effects are very difficult to capture simultaneously.”[72] In order to achieve this, soft- 4.1.2 Scandinavian and Sámi inspiration ware engineers used advanced mathematics (the Material Point Method) and physics, with assistance from math- The setting was principally based on Norway, and the ematics researchers at the University of California, Los cultural influences in the film come from Scandinavian Angeles[86][87] to create a snow simulator software appli- culture.[91] Several landmarks in Norway appear in the cation called Matterhorn. The tool was capable of de- film, including the Akershus Fortress in Oslo, the Nidaros picting realistic snow in a virtual environment and was Cathedral in Trondheim, and Bryggen in Bergen. Numer- used in at least 43 scenes in the film, including several key ous other typical cultural Scandinavian elements are also sequences.[49][85][86][88] Software engineer Alexey Stom- included in the film, such as stave churches,[91] trolls,[14]:6 akhin referred to snow as “an important character in the Viking ships, Fjord horses,[92] clothes,[72] and food such film,”[86] therefore it attracted special attention from the as lutefisk.[14]:43[93] A maypole is also present in the film, filmmakers.[72] “When you stretch it, snow will break as well as the brief appearance of runes in a book that the into chunks. Since snow doesn't have any connections, King opens to figure out where the trolls live.[14]:6 The it doesn't have a mesh, it can break very easily. So that perennial Norwegian debate over how to stack firewood was an important property we took advantage of,” ex- properly (bark up or bark down)[94] is briefly shown in plained Selle. “There you see [Kristoff] walking through the film.[14]:59 The film also contains several elements and see his footprints breaking the snow into little pieces specifically drawn from Sámi culture, such as the usage and chunk up and you see [Anna] being pulled out and of reindeer for transportation and the equipment used to the snow having packed together and broken into pieces. control these, clothing styles (the outfits of the ice cut- It’s very organic how that happens. You don't see that ters), and parts of the musical score.[95][96] Decorations, they're pieces already – you see the snow as one thing such as those on the castle pillars and Kristoff’s sled, are and then breaking up.”[85] The tool also proved to be also in styles inspired by Sámi duodji decorations. During particularly useful in scenes involving characters walking their field work in Norway, Disney’s team, for inspiration, through deep snow, as it ensured that the snow reacted visited Rørosrein, a Sámi family-owned company in the naturally to each step.[72] village Plassje that produces reindeer meat and arranges tourist events.[97] Arendelle was inspired by Nærøyfjord, Other tools designed to help artists complete compli- a branch of Norway’s longest fjord Sognefjorden, which cated effects included Spaces, which allowed Olaf’s de- has been listed as a UNESCO World Heritage Site;[98] constructible parts to be moved around and rebuilt, Flour- while a castle in Oslo with beautiful hand-painted pat- ish, which aided extra movement such as leaves and twigs terns on all four walls served as the inspiration for the to be art-directed; Snow Batcher, which helped preview kingdom’s royal castle interior.[99] the final look of the snow, especially when characters were interacting with an area of snow by walking through The filmmakers’ trip to Norway provided essential knowl- a volume, and Tonic, which enabled artists to sculpt edge for the animators to come up with the design aes- their characters’ hair as procedural volumes.[85] Tonic thetic for the film in terms of color, light, and atmosphere. also aided in animating fur and hair elements such as According to Giaimo, there were three important factors Elsa’s hair, which contains 420,000 computer-generated that they had acquired from the Norway research trip: the strands, while the average number for a real human be- fjords, which are the massive vertical rock formations, ing is only 100,000.[72] The number of character rigs in and serve as the setting for the secluded kingdom of Aren- Frozen is 312 and the number of simulated costumes also delle; the medieval stave churches, whose rustic triangu- reached 245 cloth rigs, which were far beyond all other lar rooflines and shingles inspired the castle compound; Disney films to date.[18][79] Fifty effects artists and light- and the rosemaling folk art, whose distinctive paneling ing artists worked together on the technology to create and grid patterns informed the architecture, decor, and “one single shot” in which Elsa builds her ice palace. Its costumes.[78] complexity required 30 hours to render each frame, with 4,000 computers rendering one frame at a time.[89][90] Besides 3D effects, the filmmakers also used 2D artwork 4.2 Music and sound design and drawings for specific elements and sequences in the film, including Elsa’s magic and snow sculptures, as well Main article: Frozen (soundtrack) as freezing fountains and floors.[85][88] The effects group The songs for Frozen were written and composed created a “capture stage” where the entire world of Frozen by the husband-and-wife songwriting team of Robert gets displayed on monitors, which can be “filmed” on spe- Lopez and Kristen Anderson-Lopez, both of whom cial cameras to operate a three-dimensional scene. “We had previously worked with Disney Animation on can take this virtual set that’s mimicking all of my ac- Winnie the Pooh (2011) (also produced by Del Ve- cho, who then hired them for Frozen[66]) and before 4.2 Music and sound design 9

for an Old Norse song written for Elsa’s coronation[109] and traveled to Trondheim, Norway[106] to record the all- female choir Cantus, for a piece inspired by traditional Sámi music.[109] Under the supervision of sound engineer David Boucher, the lead cast members began recording the film’s vo- cal tracks in October 2012 at the Sunset Sound record- ing studio in Hollywood before the songs had been or- chestrated, meaning they heard only Lopez’s demo pi- ano track in their headphones as they sang.[110] Most of the dialogue was recorded at the Roy E. Disney Anima- tion Building in Burbank under the supervision of orig- inal dialogue mixer Gabriel Guy, who also mixed the film’s sound effects.[60] Some dialogue was recorded af- ter recording songs at both Sunset Sound and Capitol Studios; for scenes involving Anna and Elsa, both stu- dios offered vocal isolation booths where Menzel and Bell could read dialogue with line-of-sight with one an- other, while avoiding "bleedthrough" between their re- spective tracks.[60] Additional dialogue was recorded at an ADR facility on the Walt Disney Studios lot in Bur- bank (across the street from the Disney Animation build- ing) and at the Soundtrack Group’s New York studio,[60] since the production team had to work around the busy schedules of the film’s New York-based cast members like Fontana.[111] Christophe Beck composed the film’s score. Lopez and Anderson-Lopez’s piano-vocal scores for the songs along with the vocal tracks were sent to that, with Disney Parks on Finding Nemo-The Musical Salem, Oregon-based Dave Metzger for arrangement and [110][112] (2007).[19][100][101] About 23 minutes of the film are ded- orchestration; Metzger also orchestrated a signif- [101] icated to their musical numbers.[102] Because they live in icant portion of Beck’s score. New York City, collaborating closely with the produc- For the orchestral film score, Beck paid homage to the tion team in Burbank required two-hour-long transconti- Norway- and Sápmi-inspired setting by employing re- nental videoconferences nearly every weekday for about gional instruments, such as the bukkehorn, and tradi- 14 months.[75][101][103][104] For each song they composed, tional vocal techniques, such as kulning.[109] Beck worked they recorded a demo in their home studio (with both of with Lopez and Anderson-Lopez on incorporating their them singing the lyrics and Lopez accompanying on pi- songs into arrangements in the score. The trio’s goal ano), then emailed it to Burbank for discussion at the next “was to create a cohesive musical journey from begin- videoconference.[105] Lopez and Anderson-Lopez were ning to end.”[109] Similarly, Beck’s scoring mixer, Casey aware of the fact that their work would be compared Stone (who also supervised the recording of the score), to that of Alan Menken and Howard Ashman from the worked with Boucher to align their microphone setups to Disney Renaissance era, and whenever they felt lost, they ensure the transitions between the songs and score were asked “What would Ashman do?"[106] In the end, they seamless, even though they were separately recorded on wrote 25 songs for the film, of which eight made it into different dates.[110] The final orchestrations of both the the final version.[106] One song ("For the First Time In songs and score were all recorded at the Eastwood Scor- Forever") had a reprise and the other (“Let It Go”) was ing Stage[110][113] on the Warner Bros. studio lot in Bur- covered by Demi Lovato over the final credits, for a total bank by an 80-piece orchestra, featuring 32 vocalists, of ten songs. Seven of the 17 that did not make it were including native Norwegian Christine Hals.[109] Boucher later released on the deluxe edition soundtrack. supervised the recording of Anderson-Lopez and Lopez’s In February 2013, Christophe Beck was hired to score songs from July 22 to 24, 2013, then Stone supervised the the film, following his work on Paperman, a Disney an- recording of Beck’s score from September 3 to 6 and 9 imated short film released the year prior to Frozen.[107] to 10. Boucher mixed the songs at the Eastwood stage, It was revealed on September 14, 2013, that Sámi mu- while Stone mixed the score at Beck’s personal studio in [110] sician Frode Fjellheim's Eatnemen Vuelie would be the Santa Monica, California. film’s opening song, as it contains elements of the tra- Regarding the sound of Frozen, director Jennifer Lee ditional Sámi singing style joik.[108] The music produc- stated that sound played a huge part in making the film ers recruited a Norwegian linguist to assist with the lyrics 10 5 RELEASE

“visceral” and “transported"; she explained, "[i]n letting arately, since not all vocalists could act the part they were it tell the story emotionally, the sound of the ice when it’s singing.[117] After casting all the other roles for all 41 lan- at its most dangerous just makes you shudder.”[114] The guages, the international cast ended up including more complete silence at the climax of the film right after Anna than 900 people, who voiced their roles through approx- freezes was Lasseter’s idea, one he “really wanted”.[114] In imately 1,300 recording sessions.[119] that scene, even the ambient sound that would normally be there was taken out in order to make it feel unusual.[114] Lee explained “that was a moment where we wanted ev- 5 Release erything to feel suspended.”[114] To obtain certain snow and ice sound effects, sound de- signer Odin Benitez traveled to Mammoth Mountain, California to record them at a frozen lake.[75] However, the foley work for the film was recorded on the foley stage on the Warner Bros. lot by a Warner Bros. crew.[60][113] The foley artists received daily deliveries of 50 pounds (22.6 kg) of snow ice while working, to help them record all the necessary snow and ice sounds for the film.[60] Be- cause the film’s visuals were finalized so late, five separate versions of nearly every footstep on snow were recorded (corresponding to five different types of snow), then one was later selected during mixing to match the snow as ren- dered in the final version of each scene.[60] One issue that the production team was “particular” about was the sound of Elsa’s footsteps in the ice palace, which required eight attempts, including wine glasses on ice and metal knives on ice; they ended up using a mix of three sounds.[60] Although the vocals, music, sound effects, and almost all the dialogue were all recorded elsewhere, the final re- Peter Del Vecho, producer; Jennifer Lee, writer and director; and recording mix to Dolby Atmos format was performed at Chris Buck, director, at the film’s premiere at the El Capitan The- the Disney lot by Casey E. Fluhr of Disney Digital Studio atre in Hollywood, California. Services.[60][113] Frozen was released theatrically in the United States on November 27, 2013, and it was accompanied by the new 4.3 Localization Mickey Mouse animated short film, Get a Horse![120] The film’s premiere was at the El Capitan Theatre in Like other Disney media products which are often Hollywood, California on November 19, 2013,[121] and localized through Disney Character Voices International, had a five-day limited release there, starting from Novem- Frozen was translated and dubbed into 41 languages ber 22, before going into wide release.[122][123] (compared with only 15 for The Lion King).[115] A ma- jor challenge was to find sopranos capable of matching Prior to the film’s release, Lopez and Anderson-Lopez’s "Let It Go" and “In Summer” were previewed at the 2013 Menzel’s warm vocal tone and three-octave vocal range in [124] [115][116] D23 Expo; Idina Menzel performed the former. A their native languages. Rick Dempsey, the unit’s [125][126] senior executive, regarded the process of translating the teaser trailer was released on June 18, 2013, fol- lowed by the release of the official trailer on September film as “exceptionally challenging"; he explained, “It’s a [127][128][129] difficult juggling act to get the right intent of the lyrics and 26, 2013. Frozen was also promoted heav- also have it match rhythmically to the music. And then ily at several Disney theme parks including Disneyland's you have to go back and adjust for lip sync! [It]...requires Fantasyland, Disney California Adventure's World of [117] Color, Epcot's Norway pavilion, and Disneyland Paris' a lot of patience and precision.” Lopez explained that [4][130][131] they were told by Disney to remove complex wordplay Disney Dreams! show,; Disneyland and Epcot both offered meet-and-greet sessions involving the film’s and puns from their songs, to ensure the film was easily [132] translatable and had globally appealing lyrics.[118] For the two main characters, Anna and Elsa. On November casting of dubbed versions, Disney required native speak- 6, 2013, Disney Consumer Products began releasing a [117] line of toys and other merchandise relating to the film in ers in order to “ensure that the film feels 'local'.” They [133] used Bell and Menzel’s voices as their “blueprint” in cast- Disney Store and other retailers. ing, and tried to match the voices “as much as possible,” On January 31, 2014, a sing-along version of Frozen was meaning that they auditioned approximately 200 singers released in 2,057 theaters in the United States. It featured to fill the 41 slots for Elsa alone.[117] For nearly 15 dubbed on-screen lyrics, and viewers were invited to follow the versions, they cast Elsa’s singing and speaking parts sep- bouncing snowflake and sing along with the songs from 5.2 Video games 11

the film.[134][135][136] After its wide release in Japan on DVD started on Disney Store on August 8.[159][160] March 14, 2014, a similar sing-along version of Frozen was released in the country in select theaters on April 26. In Japanese-dubbed versions, Japanese lyrics of the songs 5.2 Video games appeared on screen for audiences to sing along with the characters.[137] A video game titled Frozen: Olaf’s Quest was released on November 19, 2013, for Nintendo DS and Nintendo 3DS.[161] Developed by 1st Playable Productions and 5.1 Home media published by GameMill Entertainment,[162] it takes place after the events of the film. In the game, Olaf must Frozen was released for digital download on February use his unique snowman abilities to try and stay in one 25, 2014, on Google Play, iTunes, and Amazon.[138] piece throughout 60 levels.[161] Anna and Elsa were re- It was subsequently released by Walt Disney Studios leased as figurines in the Frozen toy box pack for the Home Entertainment on Blu-ray Disc and DVD on March toy-based video game Disney Infinity on November 26, 18, 2014.[139] Bonus features for the Blu-ray release 2013,[163][164] and both figures were released separately include[140][141] “The Making of Frozen”, a three-minute on March 11, 2014.[165][166] Additionally, Disney Mo- musical production about how the film was made,[142] bile released a match-three game titled Frozen: Free Fall “D'frosted”, an inside look at how Disney tried to adapt for iOS, Android, and Windows Phone platforms. It the original fairy tale into an animated feature, four takes place in the kingdom of Arendelle and closely fol- deleted scenes with introduction by the directors, the lows the original story of the film, in which players can original theatrical short Get a Horse!, the film’s teaser team up with Anna, Elsa, Kristoff, Hans, Olaf, Pabbie trailer, and “Let It Go” (End Credit Version) music videos and Sven to match puzzles with the help of each char- by Demi Lovato, Martina Stoessel, and Marsha Milan acter’s special power-ups.[167][168] Six mini-games can Londoh;[143][144] while the DVD release only includes the be played on the Disney website.[169] Sony released a Get a Horse! theatrical short, “Let It Go” musical videos limited-edition Frozen-themed Playstation 4 console in and the film’s teaser trailer.[140] Japan at the time the film was released into the Japanese [170] On its first day of release on Blu-ray and DVD, Frozen home video market. Demi Lovato’s cover of “Let It sold 3.2 million units, becoming one of the biggest home Go” appears as a purchasable song in Fantasia: Music [171][172] video sellers in the last decade, as well as Amazon's best- Evolved. selling children’s disc of all time.[145] The digital down- load release of the film also set a record as the fastest- 5.3 Trademark infringement lawsuit selling digital release of all time.[146][147] Frozen finished its first week at No. 1 in unit sales in the United States, In late December 2013, The Walt Disney Company filed selling more than three times as many units as other 19 a trademark infringement lawsuit in California federal titles in the charts combined, according to the Nielsen’s court seeking an injunc tion against the continued distri- sales chart.[148] The film sold 3,969,270 Blu-ray units [149] bution of the French film The Legend of Sarila produced (the equivalent of $79,266,322) during its first week, by 10th Ave Productions and CarpeDiem Film & TV which accounted for 50 percent of its opening home me- [148] and distributed by Phase 4 Films, which had been reti- dia sales. It topped the U.S. home video sales charts tled Frozen Land.[173] Disney alleged that less than three for six non-consecutive weeks out of seven weeks of re- [150] weeks prior to the release of Frozen, Phase 4 theatrically lease, as of May 4, 2014. In the United Kingdom, released The Legend of Sarila, which garnered “minimal Frozen debuted at No. 1 in Blu-ray and DVD sales [151] box office revenues and received no significant attention"; on the Official Video Chart. According to Official and to trade off the success of Disney’s animated film, Charts Company, more than 500,000 copies of the film Phase 4 had "redesigned the artwork, packaging, logo, were sold in its two-day opening (March 31 – April 1, [152] and other promotional materials for its newly (and inten- 2014). During its three first weeks of release in the tionally misleadingly) retitled film to mimic those used by United Kingdom, Frozen sold more than 1.45 million [Disney] for Frozen and related merchandise”.[174] While units, becoming the biggest selling video title of 2014 so [153] film titles cannot be trademarked by law, Disney cited far in the country. Frozen has sold 2,025,000 Blu-ray a number of alleged similarities between the new Phase Disc/DVD combo sets in Japan in 4 weeks, becoming the 4’s Frozen logo and Disney’s original one.[175][176] By late fastest-selling home video to sell 2 million copies, beating January 2014, the two companies had settled the case; the previous record of 11 weeks by Spirited Away. Frozen the settlement stated that the distribution and promotion also holds the records for highest number of home video of The Legend of Sarila and related merchandise must units sold on the first official day of sales and in the first [154] use its original title and Phase 4 must not use trade- official week of sales in Japan. marks, logos or other designs confusingly similar to Dis- Following an announcement on August 12, 2014, a sing- ney’s animated release.[176][177][178] Phase 4 was also re- along version of Frozen was released on DVD and Digital quired to pay Disney $100,000 before January 27, 2014 on November 18, 2014.[155][156][157][158] Pre-orders of the and make “all practicable efforts” to remove copies of 12 6 RECEPTION

Frozen Land from stores and online distributors before accounted for 57% of Frozen's total audiences on the first March 3, 2014.[176][177] weekend, while family audiences held a proportion of 81%.[196][197] Among films that opened during Thanks- giving, it set new records; three-day ($67.4 million from Friday to Sunday)[198] and five-day ($93.6 million from 6 Reception Wednesday to Sunday).[199] It also achieved the second largest three-day[200] and five-day[201] Thanksgiving gross 6.1 Box office among all films, behind Catching Fire.[202] During its second weekend of wide release, Frozen de- Frozen earned $400,738,009 in North America, and clined 53% to $31.6 million, but jumped to first place, an estimated $873,481,000 in other countries, for a setting a record for the largest post-Thanksgiving week- [3] worldwide total of $1,274,219,009. It is the fifth end, ahead of Toy Story 2 ($27.8 million).[203] Frozen [179] highest-grossing film, the highest-grossing animated became the first film since Avatar to reach first place [180][181] [182] film, the highest-grossing 2013 film, the in its sixth weekend of wide release.[204] It remained highest-grossing Walt Disney Pictures release, and the in the top 10 at the box office for sixteen consecu- [183] second highest-grossing film distributed by Disney. tive weekends[205][206] (the longest run by any film since The film earned $110.6 million worldwide in its open- 2002[181]) and achieved large weekend grosses from its [184] ing weekend. On March 2, 2014, its 101st day of fifth[207] to its twelfth weekend (of wide release), com- release, it surpassed the $1 billion mark, becoming the pared to other films in their respective weekends.[208] On eighteenth film in cinematic history, the seventh Disney- April 25, 2014, Frozen became the nineteenth film to [185] distributed film, the fifth non-sequel film, the second gross $400 million in North America and the fifteenth Disney-distributed film in 2013 (after Iron Man 3), and to do so without a major re-release.[209] the first animated film since Toy Story 3 to do so.[186] In North America, Frozen is the nineteenth highest- Bloomberg Businessweek magazine reported in March grossing film,[210] the third highest-grossing 2013 2014 that outside analysts had projected the film’s total film,[211] the fourth highest-grossing animated film,[212] cost at somewhere around $323 million to $350 million the highest-grossing 2013 animated film, the fifth for production, marketing, and distribution, and had also highest-grossing 3-D film,[213] and the second highest- projected that the film would generate $1.3 billion in rev- grossing Walt Disney Animation Studios film.[214] enue from box office ticket sales, digital downloads, discs, Excluding re-releases, it has the highest-grossing initial [187] and television rights. run among non-sequel animated films (a record previ- ously held by Finding Nemo)[215][216] and among Walt Disney Animation Studios films (a record previously 6.1.1 North America held by The Lion King).[217]

Frozen became Fandango's top advance ticket seller among original animated films, ahead of previous record- 6.1.2 Outside North America holder Brave,[188] and became the top-selling animated [136] film in the company’s history in late January 2014. [218] The sing-along version of the film later topped the best- Frozen is the fifth highest-grossing film, the highest- grossing animated film,[218][219] and the highest-grossing selling list of the movie ticketing service again for three [220] [136] 2013 film. It is the highest-grossing animated film days. Frozen opened on Friday, November 22, 2013, [221][222][223] exclusively at the El Capitan Theatre in Hollywood for a in South Korea, Denmark, and Venezuela. It is also the highest-grossing Walt Disney Animation five-day limited release and earned $342,839 before its [216] wide opening on Wednesday, November 27, 2013.[189] Studios film in more than 45 territories, including During the three-day weekend it earned $243,390, scor- the Latin America region (specifically in Mexico and ing the seventh largest per-theater average.[190] On the Brazil), the UK, Ireland, and Malta, Russia and the CIS, Ukraine, Norway, Malaysia, Singapore, Australia and opening day of its wide release, the film earned $15.2 [224][225][226][227] million,[191] including $1.2 million from Tuesday late- China. night shows,[192] and set a record for the highest pre- The film made its debut outside North America on the Thanksgiving Wednesday opening, ahead of Tangled same weekend as its wide North American release and ($11.9 million).[193] It was also the second largest earned $16.7 million from sixteen markets.[196] It topped pre-Thanksgiving Wednesday among all films, behind the box office outside North America for two weekends Catching Fire ($20.8 million). The film finished in second in 2014; January 10–12 ($27.8 million)[228] and Febru- place over the traditional three-day weekend (Friday-to- ary 7–9 ($24 million).[229] Overall, its largest opening Sunday) with $67.4 million, setting an opening weekend weekends occurred in China (five-day opening of $14.3 record among Walt Disney Animation Studios films.[194] million),[230] Russia and the CIS ($11.9 million, includ- It also scored the second largest opening weekend among ing previews from previous weekend), where the film films that did not debut at #1.[195][196] Female audiences set an opening weekend record among Disney animated 6.1 Box office 13

films (ahead of Tangled),[231] and Japan (three-day open- exclusive choice for family audiences” and attributed its ing of $9.73 million).[232][233] It set an opening week- successful opening to strong word-of-mouth and the stu- end record among animated films in Sweden.[234] In to- dio’s marketing, which highlighted the connection be- tal earnings, the film’s top market after North Amer- tween Frozen and Disney’s previous successful releases ica is Japan ($247.6 million), followed by South Korea like Tangled and Wreck-It Ralph, as well as the elements ($76.6 million) and the United Kingdom, Ireland and of humor.[196] In an interview conducted in early De- Malta ($65.7 million).[235][236] In South Korea, Frozen cember 2013, Disney’s distribution executive Dave Hol- is the second largest foreign film both in terms of at- lis praised the efforts of the filmmakers and the stu- tendance and gross,[237] the largest Disney release[181] dio’s marketing team: “For a company whose founda- and the first animated film to earn more than ten million tion is built on animation, an opening like this is really admissions.[238] In Japan, it is the third highest-grossing great.”[197] He further commented that audiences could film of all time, the second highest grossing imported film be “very targeted with a message”, and that Frozen aimed (behind Titanic) and the highest-grossing Disney film.[239] at a general audience instead of any one particular audi- It topped the country’s box office for sixteen consecutive ence segment.[197] weekends[235] until being surpassed by another Disney re- [240] When Frozen became a box office success, Bilge Ebiri of lease, Maleficent. Vulture analyzed the film’s elements and suggested eight factors that might have led to its success. He thought Frozen managed to capture the classic Disney spirit of 6.1.3 Commercial analysis the Disney Renaissance films and early classics such as Snow White and the Seven Dwarfs and Cinderella.[246] He Ray Subers, writing for Box Office Mojo, compared the also wrote that the film has Olaf, a “wisecracking, ir- film to Disney’s 2010 animated feature Tangled by say- reverent” sidekick with mild humor which is “a require- ing that the film’s story was not as “immediately inter- ment of modern animated kids’ movies,” and its “witty, esting” and its marketing was aimed at boys (similar to catchy” songs were “pretty good.”[246] Furthermore, Ebiri [241] that of Tangled). Noting that the 2013 holiday season noted that Frozen was a “revisionist” film that didn't “have (Thanksgiving and Christmas) lacked compelling content a typical villain"; Elsa, the person who should be the for families, Subers predicted that the film would “play villain didn't turn out to be a villain, but “a girl who’s well all the way through Christmas” and end up gross- having trouble.” She was the one who "[created] most ing $185 million in North America (similar to Wreck-It of the challenges [for] the film’s more typical heroes — [241] Ralph). Boxoffice.com noted the success of previous Princess Anna.”[246] The story of two sisters who went Disney’s animated films released during the holiday sea- separated when they grew up were real-life overtones son (Tangled and Wreck-It Ralph), but argued that the with many audiences who had siblings, and the struggle cast might not attract audiences due to the lack of ma- of Elsa to overcome the shame and fear of her powers [242] jor stars. They issued a $170,000,000 North Amer- was also relatable.[246] Finally, he identified several fac- [242] ica box office forecast for the film. Chris Agar from tors which he believed attracted female audiences: two ScreenRant expressed a similar opinion; he cited a string strong female characters; a twist on the usual romantic of recent box office successes of the studio, and thought subplot, when the traditional “Prince Charming” — Hans that Frozen would fill a void of kid-friendly films in the — turned out to be a gold-digging villain; and the “act of marketplace, but did not expect it to surpass Catching Fire true love” which saved Anna was her own sacrifice in sav- [243] in terms of box office gross. ing Elsa.[246] Clayton Dillard of Slant Magazine commented that while Scott Davis of Forbes credited the film’s commercial suc- the trailers made the film seem “pallid,” positive crit- cess to its film’s marketing aimed at both sexes as well as ical reviews could attract interest from both “core de- the success of its soundtrack.[248] mographics” and adult audiences, and therefore he be- lieved Frozen stood a good chance of surpassing Tan- The commercial success of Frozen in Japan was consid- [38] gled's Thanksgiving three-day opening record.[244] Brad ered to be a “phenomenon” which received widespread Brevet of Ropeofsilicon.com described the film’s market- media coverage. Released in that market as Anna and [249][250] ing as a “severely hit and miss” campaign, which could the Snow Queen, the film increased its gross affect its box office performance.[245] After Frozen fin- each week in its three first weeks of release, and only ished its first weekend with a record $93.6 million during started to drop in the fourth; while other films usu- Thanksgiving, most box-office watchers predicted that ally peak in the opening week and decline in the lat- [251] it would end up grossing between $250 and $300 mil- ter ones. Frozen has received over 7 million admis- [249] lion in North America.[246] Breitbart.com suggested that sions in Japan as of April 16, and nearly 18.7 mil- [252] with “strong buzz” and “huge family audience support,” lion admissions as of June 23. Many cinemagoers Frozen would “easily break the $130 million” mark in were reported to have watched both the original and the [250] North America.[247] At the time, Box Office Mojo reis- Japanese-dubbed version. Japan Today also reported sued a $250 million box office gross prediction for North that the local dubbed version was “particularly popular” [249] America.[196] Box Office Mojo noted that it would be “the in the country. Gavin J. Blair of The Hollywood Re- 14 6 RECEPTION

porter commented on the film’s earnings in Japan: “Even 6.2 Critical response after its $9.6 million (¥986.4 million) three-day open- ing, a record bow for a Disney animation in Japan, few Frozen opened to strong early reviews,[7] with several crit- would have predicted the kind of numbers Frozen has now ics comparing it favorably to the films of the Disney Re- racked up.”[252] Disney’s head of distribution Dave Hollis naissance, particularly The Little Mermaid, Beauty and said in an interview that “It’s become very clear that the the Beast, Aladdin, and The Lion King.[26][257][258][259] themes and emotions of Frozen transcend geography, but Some journalists thought the film’s success marked a sec- what’s going on in Japan is extraordinary.”[253][254] ond Disney Renaissance.[260][261] The film was praised "Frozen's success doesn't benefit from a general appetite for its visuals, themes, musical numbers, screenplay, and for American films in Japan” (as reported by International voice acting, especially that of Kristen Bell, Idina Men- [262] Business Times),[255] but according to Akira Lippit of zel, and Josh Gad. The "Let It Go" musical sequence [263][264][265] USC School of Cinematic Arts, there were several factors was also particularly praised by critics. The that constituted this phenomenon: besides the fact that review aggregation website Rotten Tomatoes reports that animated films “are held in great regard in Japan, and the 89% of critics gave the film a positive review based on Disney brand name with all of its heritage is extremely 189 reviews, with the site’s consensus being: “Beautifully valuable”, “the biggest reason is the primary audience animated, smartly written, and stocked with singalong ... 13- to 17-year-old teenage girls.”[253] He further ex- songs, Frozen adds another worthy entry to the Disney [266] plained that audiences of this age range have a vital role canon.” Metacritic, which determines a normalized in shaping Japanese pop culture and "Frozen has so many rating out of 100 from the reviews of mainstream crit- elements that appeal to them, with its story of a young ics, calculated a score of 74 based on 43 reviews, indicat- [267] girl with power and mystique, who finds her own sort of ing “generally favorable reviews.” CinemaScore gave good in herself.”[253] He compared the film’s current sit- Frozen an “A+" on an A+ to F scale, based on polls con- [197][268] uation with a similar phenomenon which occurred with ducted during the opening weekend. Surveys con- Titanic in 1997, “when millions of Japanese teen girls ducted by Fandango among 1,000 ticket buyers revealed turned out to watch Leonard[o] DiCaprio go under — that 75% of purchasers had seen the film at least once, and several times,” and thought the same would happen with 52% had seen it twice. It was also pointed out that 55% Frozen.[253] Another reason that contributed to the film’s of audiences identified “Let It Go” as their favorite song, success in the market was that Disney took great care in while “Do You Want to Build a Snowman?" and “For the choosing “high quality”[255] voice actors for the Japanese- First Time in Forever” held proportions of 21% and 9%, [136] dubbed version, since Japan’s pop music scene had an respectively. Frozen was named the seventh best film [269] important role particularly with teenage audiences.[253] of 2013 by Richard Corliss of Time and Kyle Smith [270] Orika Hiromura, Disney Japan’s marketing project leader of the New York Post. for Frozen, said in an interview with the Wall Street Jour- Alonso Duralde of The Wrap wrote that the film is “the nal: “We really put effort into finding actors who could best animated musical to come out of Disney since the not only play the role but also belt out the tunes as well. tragic death of lyricist Howard Ashman, whose work on We found the perfect match in Takako Matsu and Sayaka The Little Mermaid and Beauty and the Beast helped build Kanda, and they really added a whole new dimension to the studio’s modern animated division into what it is to- the storytelling.”[137] day.” He also said that “while it lags the tiniest bit on its When asked about the success of Frozen, director Chris way to the conclusion, the script... really delivers; it of- Buck stated: “We never expected anything like this. We fers characters to care about, along with some nifty twists [26] just hoped to make a movie that did as well as Tangled! and surprises along the way.” Todd McCarthy of The I hoped the audience would embrace it and respond to Hollywood Reporter observed Frozen as a true musical it, but there’s no way we could have predicted this.”[38] and wrote, “You can practically see the Broadway mu- He cited a number of reasons for the film’s popularity: sical Frozen is destined to become while watching Dis- “There are characters that people relate to; the songs are ney’s 3D animated princess tale.” McCarthy described so strong and memorable. We also have some flawed the film as “energetic, humorous and not too cloying, as characters, which is what Jen[nifer Lee] and I like to do well as the first Hollywood film in many years to warn of – we essentially create two imperfect princesses.”[38] He global cooling rather than warming, this tuneful toon up- also said that what people could infer from the film had grades what has been a lackluster year for big studio ani- “blow[n] [him] away.”[38] As Frozen approached the first mated fare and, beginning with its Thanksgiving opening, anniversary of its release, Menzel mentioned the film’s should live up to box office expectations as one of the stu- [271] continuing popularity in an October 2014 interview: “It’s dio’s hoped-for holiday-spanning blockbusters.” Kyle just a remarkable thing. Usually you do a project and it Smith of the New York Post awarded the film 3.5 out of 4 has its moment. This just feels like it keeps going.”[256] stars and praised the film as “a great big snowy pleasure with an emotionally gripping core, brilliant Broadway- style songs and a crafty plot. Its first and third acts are better than the jokey middle, but this is the rare example of a Walt Disney Animation Studios effort that reaches 6.3 Portrayal of emotions and perceived LGBT parallels 15

as deep as a Pixar film.”[272] Scott Mendelson of Forbes Lemire gave a mixed review in which she awarded two- wrote, "Frozen is both a declaration of Disney’s renewed and-a-half stars out of four.[284] Lemire praised the visu- cultural relevance and a reaffirmation of Disney coming als and the performance of “Let It Go,” as well as the posi- to terms with its own legacy and its own identity. It’s also tive messages Frozen sends.[284] However, she referred to a just plain terrific bit of family entertainment.”[273] the film as “cynical” and criticized it as an “attempt to [284] The Los Angeles Times extolled the film’s ensemble voice shake things up without shaking them up too much.” talent and elaborate musical sequences, and declared She also noted the similarity between Elsa and another Frozen was “a welcome return to greatness for Walt well-known fictional female who unleashes paranormal powers when agitated, Carrie.[284] Disney Animation Studios.”[257] Entertainment Weekly ' s Owen Gleiberman gave the film a “B+" grade and labeled it as a “squarely enchanting fairy tale that shows you how [258] the definition of what’s fresh in animation can shift.” 6.3 Portrayal of emotions and perceived Richard Corliss of Time stated that: “It’s great to see Dis- LGBT parallels ney returning to its roots and blooming anew: creating su- perior musical entertainment that draws on the Walt tra- dition of animation splendor and the verve of Broadway Allegations of sexism occurred following a statement by present.”[274] Richard Roeper wrote that the film was an Lino DiSalvo, the film’s head of animation, who said to “absolute delight from start to finish.”[275] Both Michael Fan Voice‘s Jenna Busch: “Historically speaking, animat- Phillips of Chicago Tribune and Stephen Holden of The ing female characters are really, really difficult, because New York Times praised the film’s characters and musical they have to go through these range of emotions, but [285][286][287] sequences, which also drew comparisons to the theatrics you have to keep them pretty.” However, a found in Wicked.[276][277] Emma Dibdin of Digital Spy Disney spokesperson later told Time that DiSalvo’s quote awarded the film five out of five stars and called the film was widely misinterpreted, stating that he was “describ- “a new Disney classic” and “an exhilarating, joyous, hu- ing some technical aspects of CG animation and not mak- man story that’s as frequently laugh-out-loud funny as it is ing a general comment on animating females versus males [285][287] startling and daring and poignant. Hot on the heels of the or other characters.” Director Lee also said that 90th anniversary, it’s impossible to imagine a more per- DiSalvo’s words were recklessly taken out of context, and fect celebration of everything Disney is at its best.”[278] that he was talking in very technical terms about CG ani- Frozen was also praised in Norwegian Sámi media as mation. “It is hard no matter what the gender is. I felt hor- [288] showcasing Sámi culture (which historically has faced at- rible for him,” she said. In an August 2014 interview, tempted eradication by the Norwegian state) to a broad DiSalvo explained what he had been trying to explain all audience in a good way. Composer Frode Fjellheim was along when his statements were taken out of context— lauded by Norwegian Sámi President Aili Keskitalo for the difficulty with turning any kind of animated charac- his contributions to the film, during the President’s 2014 ter from a series of sketches on a 2D emotion model sheet New Year’s speech.[279][280] into a properly rigged 3D character model: “Translating that emotional range onto a CG character is one of the Scott Foundas of Variety was less impressed with the most difficult parts of the process. Male. Female. Snow- film, describing it as “formulaic”, though he praised its man. Animal.”[289] He added, “The really sad thing is voice acting and technical artistry: “The tactile, snow- people took that ... catchy headline and they just repop- capped Arendelle landscape, including Elsa’s ice-castle ulated it everywhere. People didn’t get back to me for retreat is Frozen ' s other true marvel, enhanced by 3D comments and the sad thing is that’s the way the internet and the decision to shoot in widescreen – a nod to the works. They don’t want the truth.”[289] CinemaScope richness of Sleeping Beauty and Lady and the Tramp... That’s almost but not quite enough to make Several viewers outside the film industry, such as [290][291][292] [293] up for the somewhat slack plotting and the generic nature evangelical pastors and commentators, of the main characters. Neither princess here is a patch argued that Frozen promotes normalization of homosexu- on “Tangled’s” babe-in-the-woods Rapunzel, while both ality, while others believed that the main character, Elsa, Hans and Kristoff are cut from pretty standard-issue hero represents a positive image of LGBT youth, viewing the cloth until a reasonably surprising third-act twist some- film and the song "Let It Go" as a metaphor for coming [294][295] what ups the ante. Only Olaf is unimpeachable: Get out. These claims were met with mixed reac- [294] this snowman a spinoff feature to call his own.”[281] The tions from both audiences and the LGBT community. Seattle Times gave the film two out of four stars, stating When asked about perceptions of a homosexual under- that “While it is an often gorgeous film with computer- tone in the film, Lee said, “We know what we made. But generated fjords and ice sculptures and castle interiors, at the same time I feel like once we hand the film over, it the important thing that glues all this stuff together – story belongs to the world, so I don't like to say anything, and [296] – is sadly lacking.”[282] Joe Williams of the St. Louis let the fans talk. I think it’s up to them.” She also Post-Dispatch also criticized the story as the film’s weak- mentioned that Disney films were made in different eras est point.[283] Writing on Roger Ebert's website, Christy and were all celebrated for different reasons, but a 2013 film would have a “2013 point of view.”[295][297] 16 8 FRANCHISE

6.4 Accolades

Cosplayers posing as Anna and Elsa.

tress of their hapless parents, teachers, and classmates. Chris Buck, Jennifer Lee and Peter Del Vecho at the 41st Annie Columnist Joel Stein of Time magazine wrote about his Awards ceremony. young son Laszlo’s frustration with the inescapable “cul- tural assault” of Frozen at preschool and all social and Main article: List of accolades received by Frozen (2013 extracurricular activities, and how he had arranged for film) a Skype call with lead actress Bell after Laszlo began asking why the film was made.[313] When Laszlo asked Frozen was nominated for various awards and won a num- whether Bell knew when she made Frozen that it would ber of them, including several for Best Animated Feature. take over kids’ lives, she replied: “I did not know that The song "Let It Go" was particularly praised. The film people would not let it go. No pun intended.”[313] When was nominated for two Golden Globes at the 71st Golden Terry Gross raised a similar point with songwriters Lopez Globe Awards and won for Best Animated Feature, be- and Anderson-Lopez in an April interview on NPR, they coming the first Walt Disney Animation Studios film to explained there was simply no way they could have known win in this category.[9] It also won two Academy Awards how popular their work on Frozen would become.[314] for Best Animated Feature and Best Original Song (“Let They were just trying to “tell a story that resonated” and It Go”),[8] the BAFTA Award for Best Animated Film “that didn't suck.”[314] at the British Academy Film Awards (BAFTA),[10] five [11][298] In a 2014 mid-year report of the top 100 commonly used Annie Awards (including Best Animated Feature), baby names conducted by Babycentre.co.uk, Elsa was and two Critics’ Choice Awards for Best Animated Fea- [12] ranked 88; it was the first time ever that the name had ture and Best Original Song (“Let It Go”). It received [315] [299] appeared on their chart. Sarah Barrett, managing di- other similar nominations at the Satellite Awards, and rector of the site, explained that while the film’s popu- various critics’ groups and circles. At the 57th Annual lar heroine is called Anna, “Elsa offers a more unique Grammy Awards, the Frozen soundtrack was nominated name and is also a strong female role model.”[316] Many in two categories: Best Compilation Soundtrack For Vi- parents revealed that their choices of name were “heav- sual Media, Best Score Soundtrack For Visual Media ily influenced” by the siblings. Vice president of Disney (with credits going to Christophe Beck as composer); the UK Anna Hill later commented that “We're delighted that song Let It Go received a nomination for Best Song Written Elsa is a popular name for babies and it’s lovely to hear For Visual Media, with credits going to Kristen-Anderson that for many families, it is actually their siblings who Lopez and Robert Lopez as songwriters and Idina Menzel [300][301][302] have chosen it,” and that “Elsa’s fight to overcome her as performer. fears and the powerful strength of the family bond” were relatable to many families.[316] 7 Cultural impact 8 Franchise During spring and summer of 2014, several journalists observed that Frozen was unusually catchy in compar- ison to the vast majority of films, in that many chil- Main article: Frozen (franchise) dren in both the U.S.[303][304][305][306][307][308] and the UK[309][310][311][312] were watching Frozen so many times In January 2014, Iger announced that Frozen would that they now knew all the songs by heart and kept singing be adapted into a Broadway stage musical.[317][318][319] them again and again at every opportunity to the dis- In the space of a single business quarter, Iger went 17

from speaking of Frozen's “franchise potential” 9 See also (in February 2014)[320]:8,13 to saying that it was “probably” one of Disney’s “top five franchises” • List of Disney animated features (in May 2014).[321][322] The film’s massive popu- larity resulted in an unusually severe merchandise • List of Disney animated films based on fairy tales shortage in the United States[323][324][325][326][327] and several other industrialized countries in April 2014,[328][329][330][331][332][333][334][335] which caused re- 10 References sale prices for higher-quality limited-edition Frozen dolls [325][326] and costumes to skyrocket past $1,000 on eBay. [1] “Frozen”. Ontario Film Review Board. November 12, By the time the merchandise shortage was finally re- 2013. Retrieved January 15, 2014. solved in early November 2014 (nearly a year after the film’s release),[336] Disney had sold over three million [2] Smith, Grady (November 27, 2013). “Box office pre- view: “Frozen” ready to storm the chart, but it won't Frozen costumes in North America alone.[337] Wait times beat “Catching Fire"". Entertainment Weekly. Retrieved for the meet-and-greets at Disney Parks soon regularly November 29, 2013. exceeded four hours and forced management in February 2014 to indefinitely extend what was originally intended [3] “Frozen (2013)". Box Office Mojo. Retrieved August 10, as a temporary film promotion.[132][323] Disney Parks 2014. later put on a temporary event (Frozen Summer Fun) [338] [4] “Disneyland Resort Debuts “World of Color – Winter at Disney’s Hollywood Studios, then announced on Dreams,” a Merry New Spectacular for 2013 Holiday Sea- September 12, 2014 that the Maelstrom ride at Epcot’s son”. PR Newswire. July 27, 2013. Retrieved July 27, Norway pavilion would be closed and replaced with a 2013. from the upcoming Walt Disney Pictures animated Frozen-based attraction to open in early 2016.[339][340] feature “Frozen” By August 2014, the publisher Random House had sold over 8 million Frozen-related books.[341] Tour operators, [5] Liu, Meng (November 19, 2013). “Disney’s “Frozen” Pre- miere Turns L.A. Into a Winter Wonderland”. The Holly- including Adventures by Disney, added more Norway wood Reporter. Retrieved November 20, 2013. tours in response to rising demand during 2014.[342][343] Meanwhile, the producers of Once Upon a Time (made by [6] Barnes, Brooks (December 1, 2013). “Boys Don't Run Away From These Princesses”. The New York Times. Re- Disney-owned ABC Studios) independently conceived of trieved December 2, 2013. and obtained authorization from both ABC and Disney for a Frozen-inspired crossover story arc in the show’s [7] Zuckerman, Esther (November 4, 2013). “Is “Frozen” a fourth season, which was first revealed at the end of New, Bona Fide Disney Classic?". The Atlantic Wire. Re- the show’s third season in May 2014, which was broad- trieved November 4, 2013. [344][345][346] cast in fall 2014. On September 2, 2014, [8] Staff. “2013 Academy Awards Nominations and Winners ABC broadcast The Story of Frozen: Making a Dis- by Category”. Box Office Mojo. Retrieved March 2, 2014. ney Animated Classic, a one-hour “making of” televi- sion special.[347][348][349] At the end of the special, Las- [9] “Golden Globes 2014: And the winners are...”. USA To- seter announced that the production team would be re- day. January 12, 2014. Retrieved January 16, 2014. uniting to make Frozen Fever, a short film which will [10] “Film in 2014”. BAFTA. Retrieved January 8, 2014. debut in theaters with Disney’s Cinderella on March 13, 2015.[350][351][352][353] On September 4, 2014, Feld En- [11] Times staff writers (February 1, 2014). “Annie Awards tertainment's Disney on Ice presented the world premiere 2014: Complete list of winners and nominees”. Los An- of a touring ice skating show based on the film at Amway geles Times. Retrieved February 5, 2014. [354][355] Center in Orlando, Florida. [12] “Critics’ Choice Awards: The Winners”. The Hollywood To date, Disney has not announced a true feature-length Reporter (Prometheus Global Media). January 17, 2014. sequel. Iger stated in May 2014 that the company will not Retrieved January 17, 2014. [356] “mandate a sequel” or “force storytelling”. In Novem- [13] Graser, Marc (December 3, 2014). "‘Frozen Fever’ Short ber 2014, Idina Menzel suggested that a feature-length se- to Debut in Front of Disney’s ‘Cinderella’". Variety. Re- quel might be made after all.[357] However, on December trieved December 3, 2014. 1, when the issue came up again during an interview on the Today show on the NBC network, Menzel said, “You [14] Lee, Jennifer (September 23, 2013). "Frozen's Fi- know, I have no idea. I just assumed that because it’s so nal Shooting Draft”. Walt Disney Animation Studios. Archived from the original on April 1, 2014. Retrieved successful that’s what they’re up to!"[358][359][360] February 20, 2014.

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11 Further reading

• Solomon, Charles (2013). The Art of Frozen. San Francisco: Chronicle Books LLC (published De- cember 3, 2013). ISBN 9781452117164. OCLC 843955758.

12 External links

• Official website • Frozen at the Internet Movie Database • Frozen at the TCM Movie Database • Frozen at the Big Cartoon DataBase • Frozen at AllMovie • Frozen at Box Office Mojo • Frozen at Metacritic • Frozen at Rotten Tomatoes • Frozen at Walt Disney Animation Studios 30 13 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

13 Text and image sources, contributors, and licenses

13.1 Text

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13.2 Images

• File:41st_Annie_Awards,_Chris_Buck,_Jennifer_Lee,_Peter_Del_Vecho-crop.jpg Source: http://upload.wikimedia.org/wikipedia/ commons/6/6f/41st_Annie_Awards%2C_Chris_Buck%2C_Jennifer_Lee%2C_Peter_Del_Vecho-crop.jpg License: CC BY-2.0 Contrib- utors: http://www.flickr.com/photos/voicechasers/12306218105/ Original artist: Voice Chasers • File:Animation_disc.svg Source: http://upload.wikimedia.org/wikipedia/commons/d/da/Animation_disc.svg License: CC-BY-SA-3.0 Contributors: Originally from en.wikipedia; description page is/was here. Original artist: Original uploader was Richtom80 at en.wikipedia • File:Anna_and_Elsa_cosplay_by_VintageAerith_and_SunsetDragon_(or_Kit).jpg Source: http://upload.wikimedia.org/wikipedia/ commons/e/e3/Anna_and_Elsa_cosplay_by_VintageAerith_and_SunsetDragon_%28or_Kit%29.jpg License: CC BY-SA 2.0 Contribu- tors: ? Original artist: ? • File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original artist: ? • File:Disney’{}s_\char"0022\relax{}The_Snow_Queen”.jpg Source: http://upload.wikimedia.org/wikipedia/en/f/fb/Disney%27s_ %22The_Snow_Queen%22.jpg License: Fair use Contributors: http://collider.com/frozen-disney-concept-art/187051/ Original artist: ? • File:Folder_Hexagonal_Icon.svg Source: http://upload.wikimedia.org/wikipedia/en/4/48/Folder_Hexagonal_Icon.svg License: Cc-by- sa-3.0 Contributors: ? Original artist: ? • File:Frozen_premier.jpg Source: http://upload.wikimedia.org/wikipedia/commons/0/04/Frozen_premier.jpg License: CC BY-SA 2.0 Contributors: http://www.flickr.com/photos/minglemediatv/10972106425/ Original artist: • Original work: Mingle MediaTV on Flickr • File:Idina_Menzel_Defense.gov_Crop.png Source: http://upload.wikimedia.org/wikipedia/commons/0/00/Idina_Menzel_Defense. gov_Crop.png License: Public domain Contributors: Defense.gov photo essay 080525-N-0696M-277.jpg Original artist: U.S. Navy Petty Officer 1st Class Chad J. McNeeley • File:Jonathan_Groff_2010.jpg Source: http://upload.wikimedia.org/wikipedia/commons/e/e9/Jonathan_Groff_2010.jpg License: CC BY-2.0 Contributors: Flickr Original artist: Hilary from United Kingdom • File:Josh_Gad_at_the_2010_Streamy_Awards.jpg Source: http://upload.wikimedia.org/wikipedia/commons/1/1c/Josh_Gad_at_the_ 2010_Streamy_Awards.jpg License: CC BY-2.0 Contributors: Streamy Awards Photo 0159 Original artist: The Bui Brothers • File:Kristen_Bell_by_Gage_Skidmore.jpg Source: http://upload.wikimedia.org/wikipedia/commons/7/72/Kristen_Bell_by_Gage_ Skidmore.jpg License: CC-BY-SA-3.0 Contributors: Own work Original artist: Gage Skidmore • File:Magic_Kingdom_castle.jpg Source: http://upload.wikimedia.org/wikipedia/commons/1/1a/Magic_Kingdom_castle.jpg License: CC-BY-SA-3.0 Contributors: ? Original artist: ? • File:Master_class_with_Christophe_Beck_(by_Canadian_File_Centre).jpg Source: http://upload.wikimedia.org/wikipedia/ commons/c/c5/Master_class_with_Christophe_Beck_%28by_Canadian_File_Centre%29.jpg License: CC BY-2.0 Contributors: Master class with Christophe Beck Original artist: Canadian Film Centre from Toronto, Canada • File:Portal-puzzle.svg Source: http://upload.wikimedia.org/wikipedia/en/f/fd/Portal-puzzle.svg License: Public domain Contributors: ? Original artist: ? • File:Santino_Fontana_performing_Broadway’{}s_Cinderella.jpg Source: http://upload.wikimedia.org/wikipedia/commons/0/03/ Santino_Fontana_performing_Broadway%27s_Cinderella.jpg License: CC BY-2.0 Contributors: http://www.flickr.com/photos/ huntingtontheatreco/8675363673/ Original artist: • Original work: The Huntington on Flickr • File:Snow_Simulation_(Frozen_2013_film).jpg Source: http://upload.wikimedia.org/wikipedia/en/2/28/Snow_ Simulation_%28Frozen_2013_film%29.jpg License: Fair use Contributors: http://www.cgmeetup.net/home/ making-of-disneys-frozen-snow-simulation/ Original artist: Walt Disney Animation Studios • File:Symbol_book_class2.svg Source: http://upload.wikimedia.org/wikipedia/commons/8/89/Symbol_book_class2.svg License: CC BY-SA 2.5 Contributors: Mad by Lokal_Profil by combining: Original artist: Lokal_Profil • File:Symbol_support_vote.svg Source: http://upload.wikimedia.org/wikipedia/en/9/94/Symbol_support_vote.svg License: Public do- main Contributors: ? Original artist: ? • File:Wikiquote-logo.svg Source: http://upload.wikimedia.org/wikipedia/commons/f/fa/Wikiquote-logo.svg License: Public domain Contributors: ? Original artist: ?

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