Frozen II - Il Segreto di Arendelle, Walt Disney Animation Studios Opzioni

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Poster dedicati alle canzoni nei titoli di coda dalla pagina ufficiale Facebook del film:








E da Twitter la tripletta dei poster:

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Cover dei CD e LP dedicati alla musica del film:

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Nuove immagini:






Spot Tv francese... il titolo francese della canzone Into the Unknown sarà "Dans un autre monde" (tradotto: In un altro mondo):

La Reine des Neiges 2 - Spot TV : Dans un autre monde | Disney - Click

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Ecco qui la gamma dei prodotti di merchangising dedicati al film, presentati al Frozen Fan Fest:

Frozen Fan Fest Product Lineup Revealed

With Frozen 2 venturing into theaters on November 22 Disney and several partnering companies have revealed the exciting new merchandise that will be available to purchase this week. From new dolls and costumes, to skateboards and toys, there’s something here for Frozen fans of all ages.




Ecco qui li potete vedere (ci sono foto e video, sono moltissimi, quindi richiamiamo il link):

Click

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Dal sito /Film:

‘Frozen II’ Box Office Forecast Predicts an Opening Weekend as High as $145 Million

This fall brings Frozen II to theaters, the highly anticipated sequel to Walt Disney Animation’s original fantasy musical from all the way back in 2013. Are fans still hungry to see what’s going on with Anna and Elsa after six years? Or have they let it go? If the long range Frozen II box office predictions come to fruition, it would appear that Frozen fever is still alive and well, and the sequel’s opening weekend could more than double the original movie’s debut at the box office.

Box Office Pro has the early Frozen II box office numbers, which has a forecast of anywhere between $115 million and $145 million. Even the lower end prediction is nearly twice as much as the $67 million three-day weekend opening of the original movie, which actually debuted at #2 on the charts thanks to the arrival of The Hunger Games: Catching Fire.

Though the original Frozen didn’t have a massive opening weekend, it did have long legs at the box office thanks to repeat viewings, taking it over $400 million domestically and $1.27 billion worldwide. That popularity combined with the fact that it will be the first major family-driven tentpole since The Lion King back in July will undoubtedly have families flocking to theaters. And since it opens the weekend before Thanksgiving, you can probably assume on a huge holiday haul for the second weekend too.

But that’s something that could also work against a big opening weekend. Some families might wait until their extended relatives are in town that second weekend for a big family trip to the movies after Thanksgiving dinner. It’s a huge holiday weekend at the box office.

Six years is a long time to wait for a sequel, and there’s a chance some fans may not be interested in what the sequel is selling so far. But for now, the interest and social media trending seems to be on par with other big animated sequels like Incredibles 2, Finding Dory and Toy Story 4, animated sequels tend to underperform when compared to their predecessor. Frozen II could easily buck that trend, but it remains to be seen if the sequel can capture the same musical magic that made that first movie so addicting.

Thankfully, the movie won’t have any major family competition until Jumanji: The Next Level arrives nearly a month later, so it should have plenty of time to rake in even more dough for Disney. Frozen II arrives in theaters on November 22, 2019, and if you’d like to know more about the sequel, be sure to check out our latest report featuring new details about the story.

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Intervista a Jennifer Lee, Chris Buck e Peter Del Vecho:

Dal sito AWN:

Jennifer Lee, Chris Buck and Peter Del Vecho Reunite for ‘Frozen 2’

The Oscar-winning filmmakers behind ‘Frozen,’ Disney’s highest grossing animated feature film of all time, team up again on the long-awaited sequel.

The wait is almost over… Frozen 2, the highly anticipated sequel to Disney’s enormously successful, Oscar-winning 2013 animated musical adventure, Frozen, hits theatres this coming November 12. Powered by the Oscar-winning song, “Let It Go,” with music and lyrics by Kristen Anderson-Lopez and Robert Lopez, Frozen broke numerous box office records on its way to becoming the highest grossing animated feature of all time, generating just under $1.3 billion worldwide.

Directors Jennifer Lee and Chris Buck, along with producer Peter Del Vecho, took home Oscars, Annies and numerous other industry awards for their work on the film, which introduced the world to the snowy kingdom of Arendelle’s two resilient and determined royal sisters, Elsa and Anna, their unassuming mountain man friend, Kristoff, his trusted reindeer companion Sven, and a magical though someone shrill and obnoxious carrot-nosed snowman sidekick, Olaf.

Six years later, the sisters and their friends are back in a brand-new adventure. In Frozen 2, Elsa travels far beyond the gates of Arendelle on a dangerous and difficult journey to a mysterious enchanted forest. She learns of its historical curse as she seeks the source of a mystical voice that calls out to her while also putting her kingdom in jeopardy. Idina Menzel, Kristen Bell, Jonathan Groff and Josh Gad return as the voices of Elsa, Anna, Kristoff and Olaf, while Evan Rachel Wood (Westworld) joins the cast as Queen Iduna, Anna and Elsa’s mother, and Sterling K. Brown (This Is Us, Black Panther) portrays Lieutenant Destin Mattias.

Much has happened at Disney since I last spoke to Lee, Buck and Del Vecho, including Frozen’s immensely successful run and entertainment franchise expansion, the Fox studio purchase, the creation of Disney+, which launches November 12, and of course, the upheaval surrounding the departure of the legendary John Lasseter. In June 2018, Lee, Disney’s first female animated feature film director, took over as Disney Feature Animation’s chief creative officer after Lasseter left the studio. So, while we’re taught never to say never, it’s highly likely these three may never again helm a film together in quite the same manner.

Just recently, I had the opportunity to sit down once more with the trio, who though clearly tired from a string of long days spent finishing up their film, shared their obvious love for a set of vibrant, non-traditional fairy tale characters they created, that once again, they get to share with eager audiences around the world.

Dan Sarto: Since the last time the three of us talked, there have been many big changes, both for you guys personally, as well as for Disney. What does that mean for you? Is this your last film together? Is it possible to balance your studio roles with hands-on filmmaking? It's tough enough to make a film, let alone handle all these other duties. What is that going to mean?

Jennifer Lee: Well, for me, I will say that the writing process, and animation, is so intense that I'm fine with taking a little break. I don't know if I'll take a rest and be recharged as a writer. What I'm looking forward to is getting to help our filmmakers with their vision, based on all the experience we've had. And it's fun to come into the room, give the notes and not have to then go home and get up at 5:00 in the morning and execute them. I'm enjoying that [laughs].

Working with new filmmakers, working with filmmakers I know and love, whom I've gotten to be with for 10 years, I'm looking forward to that. All of us have been juggling Frozen 2 with all the changes [here at Disney], so it's nice to be here… we lock lighting tomorrow and it feels great.

Chris Buck: I don't think it will really hit me until we're done with the mix. Usually when we get to the mix and we see the final version, we go, "Oh, okay... we finished." Because you know, in animation, it's a marathon. With any of these movies, you do have to pace yourself. You always keep chugging. And when it's over, that's when you have to sort of go back to being a human again. It's like, "Oh, this is my real life.”

JL: Do some errands. Grocery shop. Yeah.

CB: ... and you get to rejoin the rest of us. Amy [Astley, VP, Communications and Publicity, Walt Disney Animation Studios] jokes about it, but she saw me after we’d finished Frozen and I had actually gotten to go out for lunch from 12:00 to 1:00 and do an errand. And I was so excited. I was like, "I got to do an errand!" So, we'll see. Maybe I'll get to doing an errand after this one’s done.

Peter Del Vecho: I think, like Jen, there's another part of the job that I'd like to focus on, but I can't imagine being very far from the filmmaking process, because that's what we do, that's what we love.

JL: That's part of why filmmakers are in these roles, because we understand.

DS: Putting filmmakers in senior leadership roles is critical because ultimately, it's all about these films. It's all about that hour and a half interaction with an audience. And if that's not working, nothing else matters.

JL: You said it beautifully. That's exactly right.

DS: Frozen, I think it's safe to say, was successful at a level that I think took everyone by surprise.

PDV: Including us.

DS: You guys don’t make many sequels. Is there more pressure on you the second time around? With so many places where such a property can plant seeds within the Disney media empire, does that mean more pressure for you to deliver on such an important film?

JL: That's a great question. When we talked about doing a sequel, we all, including Bobby and Kristin, made a pact that we would not let each other worry about the pressure. Otherwise, we couldn’t build the story with the authenticity we needed. And for the most part we did just that throughout the process. I think we did a good job grounding each other. But as we were starting to hand it over, show material, there was always that excitement and nervousness, because the biggest thing is you are handing it over to the world.

With Frozen, we felt excited about what we had. We felt connected to it, and we knew there was something special about it. We just didn't know if anyone would come and see it. And so, now, the second time, you realize the relationships now. We have a relationship with these characters, but so do a lot of people out there. And it's going to be a new experience. You put this new film out and its scary, but exciting…

PDV: The audience knows these characters. That was the key to us… making sure that everything we did was authentic to Anna and Elsa…

JL: To who they are. That was the greatest challenge though. But with the studio’s support for the new film, it was always, “When it's ready, when it's right, it'll go out. You keep working on it.” There was always support for making it the best story we could. The best creative work you can do, that’s always the focus, versus, “Wouldn't it be great if we could make a giant ride based on that?” There's never that conversation. It's always, “How does it make me feel? Does it feel authentic?” As you said, it’s all about, is this the best story we can tell? It's what we do with everything.

CB: And the pressure, actually... the external pressure, I didn't even think about it to be honest. The pressure was amongst ourselves. Jen would bring in pages and we'd talk about the scenes and ask, “Is this true to Anna? Is this a moment that feels real and believable?” Same with Elsa. Same with Olaf. All of them. We were always putting pressure on each other to say, "This movie, or this moment can be better and more true." And so, for me it wasn't even the world. It was really us. It's what we've always done and what we'll continue to do.

DS: I’m sure the high bar you set for yourselves is pressure enough.

JL: Yeah. Very true.

DS: Concerning a sequel, you have a relationship with fans, and you have established characters and storylines to work from. But you also have expectations to fulfill. You need to include just enough of where you've already been to make people feel you're taking them somewhere they want to go. But, you’ve got to bring them somewhere new or they’ll feel, "We've already seen this." From a storytelling standpoint, is that more challenging than just coming up with something brand new?

JL: Yes, it is. The good thing for us was, and we had the same thing in Frozen, we knew our ending from an emotional standpoint. We always knew where we wanted to go and why. But yes, you could feel the greatest challenge of a sequel is, while you know these characters, which should make it easier, the concept of how you grow from here, how you take them into new places but also places that feel true, that tug of war and that juggle, and then you add music onto that, it’s really difficult. All of those things are why, I mean… it's been a four year journey and over 85% of that time, we were still working the story. In fact, the pencils were finally set down only about a month ago. You don't stop until everything feels there. Or if Peter finally goes, "Hey!" No, I'm kidding. Actually, that's not true. When he says, "Hey,” you blow past that date by five or six weeks.

PDV: Well, I actually know you're going to blow past it.

JL: Yeah, I mean, we work it to the very end.

PDV: To that point, truthfully, it's not just me, it's the whole crew. Everyone, when they see the changes that we want to make, even in the late stages, when they see the movie getting better, they will bend over backwards. Because if the crew believes in the movie, then they really help you get it up on the screen.

DS: Frozen introduced non-traditional princess characters. Female characters who didn’t just play to the traditional princess true love happily ever after trope. And it has become more and more important in entertainment and media to tell stories that don’t just play up the same old tired plotlines. Elsa and Anna are not traditional fairy tale characters, even though they feel so familiar to us now. How do you push out and expand upon the issue of female empowerment in the new film?

CB: It's interesting. Let me back up a little bit in that the original concept with these two women, was that we wanted to try something different. There are many forms of true love. And we wanted to try something that was not a kiss from the prince that would save the day.

And so, when the two became sisters, which was not our original plan [in Frozen] it was all about the strength of that relationship, that bond and true love between them, that saved the day. Anna's true love for Elsa.

JL: Familial love.

CB: It was familial love. And we continue that in Frozen 2. The strength of Anna and Elsa… we would always come back to them… they'd be our true North. Anytime our story would stray a little bit, we're like, “What are they feeling right now? What's the tension between them?” We’d go back to that true familial love between those two. In the new film, we stuck to that, only we go deeper with it this time.

JL: We used to joke a little about how being a princess was always the happily ever after thing. The princess life is the decadent life, or the “no more worries” life. And that was symbolic and meant a sort of happily ever after feeling. But in terms of the stakes of Frozen, which is carried into Frozen 2, what was more exciting was the idea of the responsibility that you have as the leader of a kingdom. And we hadn't looked at it from that angle, particularly with female characters.

And we continue to do that. These two women carry responsibility. They carry burdens that cause tug of wars. They carry deep respect and love for one another. They are protective of one another. And you pull on that and push on that, and it feels like life. It feels authentic.

What I love about these characters, and it was built sort of from the inside out, was the fact that… we all make huge mistakes in life but we persevere through. And we are grounded by our moral compass. And we put them in the active role to do those things, to make those mistakes but also have triumphs… to have strong will. In building these types of characters, my hope was always that it doesn't matter if they're female or male, you’d want to go on a journey with any characters like that. So, having them be women didn't matter. You'd go whether you're a man, a woman, a boy or a girl.

CB: One of the most satisfying things for me has been that men and boys love Anna and Elsa, and love their journey. And love a strong woman.

JL: We met a father who had just recently seen Frozen and was saying, “And Anna, you know, she's fearless and she loves her sister so much, almost to a fault at times. And that thing, you know, you're going to worry, is that going to pull them apart? And when she makes that decision... " And to hear him know Anna as well as we do, to be invested in her, is one of the most ... that was an extremely emotional moment for me.

DS: Last thing. Besides the story, is there anything you can point to that kept you up at night on this film?

CB: Well, the size of the story.

JL: It's always the story.

CB: It really is, I mean, because we have such an amazing team of artists. I don't worry about any of that.

JL: Those are the parts of the production you look forward to. You're like, "Oh good, I get to go into animation." Then you’re like, “Ohhhh, I have to go into story…” And it’s the truth. You love those story artists because they help you solve the problems. It's not them. It's just the fact that you're still always trying to correct something in the story.

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Intervista agli animatori:

Dal sito Screenrant:

Frozen 2 Interview: Animators On The Enchanted Forest & Dark Sea

Arendelle and Elsa's Ice Castle were the prime locations in the first Frozen movie, but Frozen 2 takes Anna and Elsa out of their home and into the Enchanted Forest, where they will also encounter the Dark Sea. It's an area filled with magical creatures, such as the Nokk the water horse and Gale the wind spirit, and several people at Disney helped bring it to life.

Forests and seas are two things that Walt Disney Animation Studios has done before, with one of the most prominent examples of the latter being 2016's Moana. However, Moana's water is considerably different than the water (and waves, for that matter) in Frozen 2, as the upcoming sequel is much rougher and more dangerous.

Bill Schwab (Art Director of Characters), Tony Smeed (Head of Animation), Erin Ramos (Effects Supervisor), Trent Corey (Animation Supervisor), Svetla Radivoeva (Animation Supervisor), and Hannah Swan (Software Engineer) presented Frozen 2's Enchanted Forest and Dark Sea to Screen Rant and other outlets, and afterwards, they answered a few questions in a Q&A session.

With Gale, you said that originally one of the initial ideas for her was to have it to show up as kind of like an actual physical character made of debris. What made you guys decide to go away from that and make her purely invisible and just kind of a spirit?

Tony Smeed (Head of Animation): Yeah, that was very, very early. And as the story developed, I think the feeling was that she worked better as just being wind. And I think the test that Trent showed that Mark Henn did, we really saw how much personality we could get. With abstraction was kind of the test that made that make sense for us.

Trent Correy (Animation Supervisor): I think, too, as we went further, we had a wind expert come in and talk about the physics of wind, and that was really interesting to us. So, we bring in all that stuff to kind of ground the character. It really felt like a fun idea.

Svetla Radivoeva (Animation Supervisor): Also, you guys went indoor skydiving, too.

Trent Correy: Yeah, we went indoor skydiving and we all embarrassed ourselves.

Svetla Radivoeva : We love our research.

Trent Correy: Except Tony. He was a pro.

Tony Smeed: Beginners luck.


What can you tell us about the salamander?

Trent Correy: When we were working with the salamander we just- we took reference from all sorts of lizard, salamander, reptilians, and just really tried to have fun with the character. He's kind of in that moment where you just want something cute to look at. So, you'll find out more when you go see Frozen 2.

Svetla Radivoeva: In theaters, November 22nd.

Does every element have its own spirit representation, from the ones that you’re telling us is an element here? Or is that the full slate?

Trent Correy: You'll find out more when you see Frozen 2 in theaters.

Who was in charge of naming Gale?

Trent Correy: I'm gonna guess it was Jen Lee.

Bill Schwab (Art Director of Characters): It was probably the directors. Yeah, that was the name when I came onto the show.

Trent Correy: Gale force winds, I assume that.

When it comes to creature animation, how much, for the salamander for example, you showed what you do for the forests and what you did for the wind, but are you literally just looking at lizards crawling around in a cage. Or was that more completely abstract?

Trent Correy: Yeah, I mean, first of all, salamanders move very slow. And we wanted a little more speed with the salamander. So, I looked at a ton of different reference of iguanas, lizards, basically anything. But, really, I mean, it's such a fun, cute, cartoony character. A lot of it just kind of came from the heads of the animators. There wasn’t a ton of reference used. And, really, the drawings that Bill and his team did really inspired the character.

You talked about the water being a huge part of Moana and then the dark sea here. How much more advanced were the water scenes between then and now?

Erin Ramos (Effects Supervisor): That's a good question. The challenges on Frozen, it's funny 'cause I always stress that water effects aren't always the same. And so, I mean, we're running much bigger sims on this show. We had to make these huge, breaking waves that are fully simulated. So, it was definitely a step above where we were with Moana. I think Moana, the challenge was just getting the water to feel very gentle. It's actually pretty hard to tame simulations. But then for this, just getting the right size of these waves, getting the scale - nailing that was the big challenge here. And also, honestly, the interaction with Animation, just the back and forth that we had to do that was the biggest challenge for this movie. It's definitely from, like, when a boat’s cutting through the water, it's one thing. But when her feet have to register on the surface of the water, on a surface that's simulated. So, you don't know what you're gonna get. You run a simulation, and it comes out like, all right, that looks cool. And you run it again, you might get something completely different. Her footstep could've worked with one time, and then the next time it didn't work.

Can you tell us a little bit about your personal experience when you first read the script or when you first approached and talked about the character, what meeting these characters is like for you and what your initial thoughts about how that's changed?

Bill Schwab: I mean, just because I'm on so early in design. And I worked on the first film, so I was so excited to be a part of Frozen 2. And you hear it a lot up here, but it's so true, is research. And for me, that's a way to really focus in on a character and kind of just start finding things that I’d never- you just become experts on so many things here through research. And I find, personally, that's very inspirational for me.

Trent Correy: Similar to Bill, I started on the first movie, and I was a trainee and worked on crowds. And then- and I got to work on Olaf in the first movie. So, to come back on this one and work with Olaf and the new characters- I do remember Tony asked me, ‘hey, we want you to supervise the wind.’ And I thought it was a joke. That's not a real character.

Svetla Radivoeva: I came very late in the team, but I saw Bill’s drawings and Vis Dev drawings, and I fell in love with them. So, I thought- I never supervised before. But I thought if I'm ever going to do this, I am so in love with this film. And I couldn’t wait to see how we're going to end up having the Nokk in CG since it’s so abstract and strange. I’m pretty proud of what we did.

Erin Ramos: When I came on, I came on early-ish. But the storyboards for the dark sea sequence were the first thing I ever saw on this movie. And I just knew I want to work on that. It looked so cool. And also, it looks terrifying. I mean, just looking at what the scope of what we needed to do was just much more than we had to do in Moana. So, yeah, I mean, I was excited to be a part of that and create it.

The main thing I took away from the presentations is the collaborative process. Can you talk about that versus any other projects you’ve worked on for Disney thus far?

Trent Correy: That's probably because of the characters in this movie. They kind of lend themselves to collaboration. I mean, often times, we might just be working on a human. But with the wind and with the Nokk that you saw-

Erin Ramos: Yeah, both the Gale and the Nokk were- I mean, it was Animation and Effects. Animation would start, and then Effects would pick up and add the rest of it, fill in all the gaps, and just help bring it to fruition. So, it was really cool.

Trent Correy: I feel the studio as a whole, everything we work on has become more collaborative just because the films are getting more complex. Like Moana was so complex, too, with the water. And it's just getting more and more.

Svetla Radivoeva: It was interesting to come out of- 'cause you usually stay in the bubble of Animation or bubble of Effects. But it was interesting to come out of that and start conversations with our colleagues and learn more about each other. The more you learn about them and their work, the more you can become a better animate knowing what they're looking for and what they're aware of.

Trent Correy : Actually, even with what Hannah was talking about, we met with the developers. This is the first time animation and developers- we met twice a week for almost a year to develop that tool. And it's a lot of really smart people like Hannah and a lot of artists trying to work together. So, that collaboration was really cool.

Hannah Swan (Software Engineer): Yeah, it's my first tool, so I can't compare it to anything before. But I know that just seeing Trent use an in-progress tool, one that isn't complete, just sparked ideas for me. And then I would make something, and then you’d play with it. And it would spark an idea with him. It was just a lot of back and forth.

Trent Correy: Yeah, I think that process before might've been: we need this tool. They would've made the tool and then given it to us, done. There was very little back and forth previously, so it's a very cool experience.

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Intervista ai direttori dell'animazione e agli sceneggiatori capo:

Dal sito Screenrant:

Frozen 2 Interview: Heads Of Animation & Story

A significant portion of Frozen 2's story delves into the difference between fairy tales and myths, which splits Anna and Elsa's as Anna is a fairy tale character and Elsa is a mythic character. The team responsible for shepherding this facet of Frozen 2 shared some details regarding how they designed and told the princesses' stories during a recent Q&A session.

At an early press day for Frozen 2 at Walt Disney Animation Studios, Screen Rant and other entertainment outlets sat in on presentations from the animations and artists themselves; they explained what they did to bring Anna and Elsa's latest journey to life on the big screen and even shared a few behind the scenes facts about the production.

After the presentation, they - Marc Smith (Director of Story), Becky Bresee (Head of Animation), Marlon West (Head of Effects Animation), Hyun-Min Lee (Animation Supervisor - Anna), Griselda Sastrawinata-Lema (Visual Development Artist), and Wayne Unten (Animation Supervisor - Elsa) - answered a couple of questions from the attending journalists.

Do you factor in the actors that are voicing the roles? And when you're designing the physicality of them, are you thinking of how the lines are going to be delivered when you're programming how they're moving?


Hyun-Min Lee (Animation Supervisor - Anna): So when... Wait, that's like a huge part of it, too. We... Well, when the actors themselves, when they're recording, they're just standing in front of the microphone, usually. But we still get a recorded footage of them recording it. And there's a lot in how they're their stance is standing, or how their facial expressions are working. And because we were also animating to the pre-recorded track, when we're listening to it, we listen to the track, like, hundreds and hundreds of times to listen to all the inflections and the little breaths and intakes, and all the emotions in every single part of the dialogue. So, I think when we do get to see them actually recording those lines, it gives us a lot of good ideas and references for the subtleties that goes into actually seeing that in their face when the characters are saying it. And so, it's definitely something we study a lot.

In the first Frozen early press day, you guys talked about how you watched Idina Menzel sing, and how you actually did the breaths with her, and you could really see that in film. Is that something you did with the dance as well?

Wayne Unten (Animation Supervisor - Elsa): Yes! I mean, for the songs. We definitely... It's funny, 'cause like Hyun-Min saying, she's in front of a microphone. And a lot of it we can't see because there's the recording booth, but you can tell what the body's doing. And so we can use those accents to help sort of drive… like this moment where we might need an exit in our animation. She may be doing something completely different in the animation. But there's something physical that happens when just producing the sound. So you can kind of like, key into that a little bit...

Becky Bresee (Head of Animation): Yeah, it's balancing the mechanics of what's going on, what the breath and the body with the emotion of the scene...

Wayne Unten: Yeah...

Becky Bresee: So there's kind of a balance. 'Cause if you make it look too much like Idina, it might be just too... too much, you know? Because she's doing a lot with her body as she's singing and all of that...

Wayne Unten: Yeah, one of the things that we wanted to stay true to was, what is the moment. Like, we didn't want to... of course we want it to be believable. 'Cause if it's just, you know, the mouth is moving, but then you don't feel it, then it draws the audience out. And, at the same time, if we went too far with that, and too far with singing, then that could also draw the audience out, and take them away from the story. So it's really it's about... thinking about the audience, in a way. Like, it's kind of like this trust. We're telling a story, and we don't want them to be taken out of that story.

I had a question about Elsa's costumes. We talked about Anna a little bit. But, in the first movie Elsa makes that dress out of ice. And I'm noticing in this, in the ocean scene, that her body suit kind of melts into crystals along her skin. So is she supposed to have created her clothing still in this one? Or is it just kind of a new design? How is this supposed to work?

Griselda Sastrawinata-Lemay (Visual Development Artist): I think you will have that answer later on, and we believe the costume designer's can answer that for you much better than I do.

Hyun-Min Lee: Anticipating...

Griselda Sastrawinata-Lemay: In short, yes.

So this is a follow-up to the first one. We see Elsa using her powers more, coming into her own. Did you all take any inspiration from Frozone, from Incredibles 2. Like, how he's using his ice powers more, blast-y. Did you talk to the Pixar team about how he uses his powers...

Marlon West (Head of Effects Animation): We never speak to them. [Laughs] All kidding aside, you know, even before the first Frozen, Frozone, Iceman I mean, there were other characters that shot... ice out of their hands. So our job was to really kind of separate Elsa from them. You know, she has a lot of signature design in her snow. The snow kind of gears up. And her magic kind of gears up before she blasts. And things like that. So, we were much more preoccupied with helping the story and the production design, and support Elsa; who she is throughout these two films, you see Elsa as a child creating magic one way. You see her in the first film almost involuntarily creating it. In this film she creates things. Huge pieces of magic like, quickly. So we actually think less about the specifics of snow and ice when creating things for Elsa because she... it's almost like a mental thing for her. She envisions something and it's created. Not, yeah. We really kind of lean away from other characters that are actually also kind of ice based.

Wayne Unten: Yeah. Yeah. Like, there's other emergency magic that she has.

Marlon West: Yeah.

Wayne Unten: In the dark sea sequence where we kinda see in the trailer. And you'll see more in the film. Trying to remember what you guys have seen.

Marlon West: Treading lightly.

Wayne Unten: But... One of the things that we did when we first started talks with the animators on this film, was just I brought up different clips of different superheroes, and said we're not doing this. We're really looking at what we had established on the first film. So Elsa is graceful. She's... in a way she's been kind of groomed to be the queen. But there's this nice grace to her. Her fingers, for example, when she's casting the magic, there's a nice flow to them. Instead of a claw type of thing. We did something like that in the first film. But that was only, really, to illustrate a point that... Remember in the first film, Hans says don't be the monster that they fear you are. And we had had that moment where she was being attacked by those guys. And, you know, she was kind of doing a monster type claw. So we stayed away from that. And again, like the Martha Graham, pulling from that. The inspiration from that. It works in line with how… again, she is graceful.

Like you mentioned Frozone. I wanted to make sure that we weren't repeating the things that they were doing. And I think it was pretty easy because Elsa, we've already established her as a character, and who she is. But still, wanting to study, just see what they're doing. And it looked like they were doing something more like a speed skater - which in a lot of the moves where he's active. And I think when he's battling a lot of the villains. It does feel much like a speed skater. So it looks like they were pulling from that. I can't say for sure, but it definitely feels like it. And we're pulling more from Martha Graham and modern dance.

[veu]

Intervista:

Dal sito Screenrant:

Frozen 2 Interview: Tom MacDougall, Justin Sklar & Michael Woodside

In the first Frozen, "Let it Go" was the big moment that transformed Elsa into the Snow Queen, and in Frozen 2, she undergoes another story-altering moment with "Into the Unknown". One of the biggest new songs in Frozen 2, "Into the Unknown" occurs relatively early on in the film and it allows Elsa to engage with the magical spirit calling to her from the north.

First revealed at D23 Expo 2019, the full "Into the Unknown" sequence was showcased to Screen Rant and other outlets during an early press day for Frozen 2 at Walt Disney Animation Studios. It showed the before, during, and after of the song, which included quite a bit of destruction in Arendelle and beyond.

Brittney Lee (Visual Development Artist), Normand Lemay (Head of Story), Tom MacDougall (Executive Music Producer), Dale Mayeda (Co-head of Effects Animation), Justin Sklar (Animation Supervisor), and Michael Woodside (Animation Supervisor) discussed "Into the Unknown" in a dedicated presentation, and they answered just a few questions afterward in a brief Q&A session.

What language might you use to describe a cohesive style of the Frozen score. Like, when I think of Hercules which is very gospel, or Princess and the Frog, which is the New Orleans jazz element, what makes Frozen come alive and with that motif?

Tom MacDougall (Executive Music Producer) : I don’t think there’s anything particularly musically about it, but I think it’s really the way that we’re able to find a different language for each character. You know, sometimes, like, Moana had the Pacific Islands sort of veneer over the whole show, or Hercules, like you said, the gospel, but for this movie, Elsa kinda lives in her own domain of singing and performance, and then you’ve got Olaf who’s almost got this soft-shoe thing, and he’s kind of a throwback to something else. And then Anna has a sweeter, more earnest sense, so I would probably put it in those terms of really just embracing the specifics of the characters and then, in various subtle ways, nuancing the musical approach to them.

This is very technical, but when we heard the demo and then saw the final performance, those three swirls - there was a musical cue for each one of them taking off. What happens first? Do they decide that they want a little bit more instrumental in the song, or did you guys animate those and then tie the music in?

Justin Sklar (Animation Supervisor): They went in and sort of pre-scored, so we got the score much earlier than we would on a typical film, and so, Jackie Koehler, the animator for that shot, was working with Dan Lund at that time, but they got the score, so they were able to work together to make that one musical moment.

Michael Woodside (Animation Supervisor): Yeah, one of the things that was interesting, typically things go from layout to animation to effects, and it’s kind of linear, but because this was a musical sequence and we wanted everything to be so cohesive, we were actually all in the room together; and it was talking about it and working on it together and saying - let’s, you know, at this moment she’ll gesture and react to that, and we’ll put a little spiral to represent something, and then eventually they’ll be really pretty sparkles added and things like that. So, kind of listening to the music after it was scored and just making sure that we’re hearing every little beat really helped us to get every little detail.

[veu]

Intervista a tre personalità della Disney, tra cui la veterana Lisa Keene:

Dal sito Screenrant:

Frozen 2 Interview: Sean Jenkins, David Womersley & Lisa Keene

Even though Frozen 2 continues the story from the first film, the world of the sequel is decidedly different in every way, shape, and form from Frozen - and Sean Jenkins (Head of Environments), David Womersley (Art Director of Environments), and Lisa Keene (Production Designer) were among the top people on the production who helped create the new version of Frozen's world.

Of course, the environment in the first Frozen was covered in snow thanks to Elsa's icy powers, but the sequel now takes place in the fall season, which means the snow is gone and there is a lot more verticality that audiences haven't seen before. Furthermore, since there are sequences that take place throughout Arendelle's village, the entire area needed to be redesigned.

In addition to doing all of that, creating the Enchanted Forest and everything that exists inside it - from the smallest leaves to the mist that encloses the magical land - took time and effort to get it right. After explaining their process and showcasing some examples, Jenkins, Womersley, and Keene answered a few questions from Screen Rant and other outlets in a Q&A session.

This seems like such a building out the village into such a dramatic full city planning, all of that. It’s amazing. But I was thinking about Frozen Fever, Olaf’s Frozen Adventure, the sort of things that came in between, which largely did take place maybe - I can’t recall where they sort of took place, but I imagine there were moments in villages and moments outside the castle and outside the forest. Did those inform? Are we going to pretend those don’t exist?

David Womersley: No, they did take place but in a similar way that the first one happened where it was more separate locations within that village. I think on Frozen 2 is the first time we actually really, really started to see the whole thing. We have movements over and we have movements through.

Did you have parts that you actually were able to bring over and reconstruct so they weren’t lost spaces? They were reabsorbed into a bigger plan?

David Womersley: Yeah, it wasn’t, it wasn’t changed so much as enhanced, I think. So things happened in the story all the time, you know, that you come in and say, well, I hope something happened, and then, oh, we have to do one of those, build something like that. So you’re building stuff at the time. You’re reacting to the story all the time.

Lisa Keene: And story changes almost until it comes out, so you’re constantly on your toes trying to keep up.

At the previous presentation they talked about the research trip to Iceland and Norway. Were you on that trip? And whether you were or you were not, you talk about what aspects of the research from that trip went into the forest or the addition of Arendelle?

Lisa Keene : Sure. We went on the first trip. So most of our research and reference and photography happened from the first Frozen. There was a lot that they saw in fall that we did not get to see, so we were like huddling on the photographs and research that they brought back and the descriptions of the environments. So, it was a little different for us this time around, but we had so much to start with that it was - this was just an addition not a complete re-envisionment.

Sean Jenkins : I mean a lot of the things that they would refer to was that fall color was down on the forest floor. The texture on how it was, it almost felt like sponge that you could bounce off of.

Lisa Keene: They would talk about the way it sounded when they walked on it and that kind of thing. And all that stuff means something visual to us as artists, so we can fold that kind of thing in and then do our own research and back that up.

So the fall forest is - the colors, they’re warm, and I think of them as sort of comforting and, and yet this is a stage for all kinds of challenges and scary, scary things. Was that a challenge to-

Lisa Keene: Well, we make it scary when we need to. And comforting when it’s not.

David Womersley: Lighting. Lighting helps a lot, yeah.

Lisa Keene: Yeah. We take that all through the gamut of emotions. And when you get a script and you’re reading that script and you sit down with the directors, you talk about every section of the film and how do they want to emotionally feel and make the audience feel through each step of it. And that’s one of the processes that we go through. So, we can pretty much take anything and turn that into any emotional state that we needed to, that’s all very articulated and worked out and choreographed as we move through the story. And that will change. As the story changes, we’ll back up and revamp and reconstruct and then add on. And we’re constantly moving things around in order to support the narrative.

David Womersley: And sometimes it’s good that you have something that’s nice and cozy, and then you have to change. You have something happen. So you go from that mood to something very quickly, something else very quickly.

And you talked about the mist and how useful that was for the integrity of that. Is that actually a natural element of the forest, or is that an invention that you brought to the design?

Lisa Keene: Well, certainly mist is a natural element in a forest, but in our movie it’s a conceit. It’s something that’s narratively very important. So, the Enchanted Forest is surrounded by this. So, it’s a story point and stuff that I can’t talk about becomes a thing.

Can you talk about the choice of color for the elemental fire, because it’s like this very magenta, which is obviously helps it stand out against all the warm colors of-

Lisa Keene: Right. So very early on Mike Giaimo had sort of sat down - and, of course, this is part of the story process that is evolutionary. Sometimes you don’t know you’re going to have these things to deal with. And as the movie began to mature, this became a huge character aspect. So Mike would sit down and try to figure out if we have these four elements, what are the best hues to describe those four elements. And then, of course, in his head he’s thinking about not just that, but how do these things and these characters have a life beyond just this concept, things that will inform clothing and costume and all sorts of other aspects that have a life beyond just that. So, his choreography is making all of those things work together. But certainly fire was a leading color, and then everything kind of supported off of that. Water and fire were the easiest two I think for him to choreograph, and then everything kind of sat in between in a very narrow palette range.

[veu]

Dal sito AwardDaily:

Lisa Keene & David Womersley Uncover The World Of Frozen 2

With Frozen, the challenge was to convey a deep, rich and emotional range against the icy white world of Arendelle. By taking trips to Cheyenne, Wyoming and Norway, the production team and animators looked at snow and ice and how light would refract and retract and the frozen world of Arendelle became its own character within the first animated feature.

In Frozen 2, Elsa and Anna leave the world of Arendelle to learn about Elsa and her magical powers. By going on this adventure, we’re introduced to new worlds and new environments; the enchanted forest, a mysterious world that Elsa and Anna first learn about as little girls, and the dark seas beyond Arendelle.

For the production design team, Frozen gave them a starting point, but Lisa Keene and David Womersley looked to the script as their next starting point to really envision creating this magical world.

Last month, I was invited to Disney Animation Studios to learn about the crafts of Frozen 2. I sat down with Lisa Keene (Co-Production Designer) and David Womersley (Art Director Environments) to Uncover the world of Frozen 2.

Where do you begin with production design when you’re revisiting this world?

David: I think we were lucky to have one already made because it gives you a starting point.

Lisa: We started on the same day, and we’re given the script. You start reading and envisioning at that point. You run with it, and you have free reign to play and start creating. Things are still squishy and from there, it takes on its life.

David: From there, we take on other designers. As the story starts to form and it gets less squishy, we start honing because we know it’s going to be in these certain locations. You show the directors and get a sense of what they like and which way we should go with the production design. It really is about honing, and you know when something clicks.

This time we go out into the forest, the sea and we’re not in the world of ice anymore. What was the color palette for Frozen 2?

Lisa: That was the moment we all got a little bit nervous. We built Frozen on the whole conceit of snow being a white canvas and we could make it any color we wanted. Even though we had a palette, we circled around for that; we had a lot of freedom. When you are dealing with Fall, you have a range of hues from yellow to deep maroon. That’s your range, and you take that and say, “these colors are not Frozen colors, only these colors.” So now, your palette gets much smaller. Now, you have this palette that you have to live in, and you have to start making different worlds using just those hues. We have to make sure our characters read over those palettes. When Mike Giaimo works on his characters and builds those costumes for his characters, we have to work together to make sure they can be seen over the environment.

For example, there is a case in the movie – we won’t talk about, but it’s just an example. We had a color on a character that was the exact same color as the background. How do you make that work? It was very delicate to try to make sure that we lit it in a way that we could see the silhouettes that we needed to see. It’s always a puzzle when you get a palette like that that you have to work with to make sure you’re servicing everything you need to.

In Frozen 2, we get to see more of Arendelle. How did you expand on the village?

David: The main difference I think is that the last time we were in the village in the movie and the shorts since we’ve taken pieces of the village. The set was a localized part of the village that we were using for any one particular sequence. On this one, we do have occasions where you are going through the village, or you’re going above the village and you’re seeing a lot more of the village. We had to make sure the more localized locations were pulled together. A lot of the more localized locations would have more texture and detail wise. They’d be more sophisticated. We had to pull that all together and make it work more than it ever had.

Lisa: We were conscious of the town and the structures and what those structures were. As you got away from the town and hit Arendelle suburbia, it was more of the traditional cottages and cabins that might be out in the country.

David: It had always been thought out from the beginning, but it was how everything was going to be, but for this movie we found ourselves having to make sure that more of that space would work for us.

Lisa: We had to change all the colors of the buildings because of Fall.

David: We wanted to fit that aesthetic that our friend Eyvind Earle, who did Sleeping Beauty. We loved how he collected shapes and made them harmonious with each other in that beautifully graphic way. We always loved that, so we set out thinking about how the trees we chose and what shapes we chose, we were always thinking about how they’d go together. If there’s a lot of leaves on one of those that are a certain shape, and you have a lot fewer leaves against that so you get this filagree against solid.

Lisa: I think Sean Jenkins (Head of Environments) hit the nail on the head when he said, “When they told me about an organic forest, I was scared.” It’s unwieldy. It’s nature and it’s random. What we were trying to do was bring order to randomness. I think that’s the first thing we tried to do and then it was, What is that order? Next, we found something we visually liked which was Eyvind Earle to organize it, and David came up with the idea to build these islands that are these beautiful ordered shaped. If we can get those to look good from all views and we build enough of them, we can start putting them together to flesh out a forest.

That way, we maintain a style that is unique to this movie. If you had to set dress every single scene in this movie it would take forever. By building those islands, you could say, ” I need five of these and two of these” and rebuild your set. There’s a visual cohesiveness to that for the audience.

[veu]

Pubblicità delle bambole Elsa e Anna singing dolls dedicate a Frozen 2 della Hasbro:

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[veu]

Ecco la durata di tutte le canzoni:

All Is Found - 2:05
Some Things Never Change - 3:29
Into the Unknown - 3:14
When I Am Older - 1:51
Reindeer(s) Are Better Than People - 0:26
Lost in the Woods - 3:00
Show Yourself - 4:20
The Next Right Thing - 3:35

[veu]

Foto di Mattias e del Nokk:

[veu]

SPOILER SU ALCUNI PASSAGGI DELLA TRAMA:


Juste après que Iduna ait chanté une berceuse à ses filles pour les endormir, Anna ouvre les yeux un peu plus tard, contemple les aurores boréales et demande à Elsa de se réveiller.
L'introduction de La Reine des Neiges II se passe donc quelques minutes avant celle de La Reine des Neiges.

- Agnarr est âgé de 14 ans dans les flashbacks.
- Il ignore qui l'a sauvé de la Forêt Enchantée.
- Il n'aurait rencontré Iduna qu'après l'accident.
- Cette dernière ne serait pas de sang royal et aurait des origines plus "humbles".
- Mattias était le garde officiel de Agnarr. Il ne sait pas qu'il a pu sortir vivant de la Forêt.
- Iduna appelait Elsa dans son enfance "My Little Snow".
- Elle cache son passé à sa famille.
- Le Roi Runeard était méfiant vis-à-vis de Northuldra pour leur connexion profonde avec la magie. Il est mort dans la bataille qui a vu les esprits se réveiller.
- Mattias est convaincu que la paix a été brisée par les nordiens, ce que refuse de croire Yelana, ne sachant pas exactement ce qu'il s'est passé ce jour-là.
- Kristoff va faire 5 tentatives de demande en mariage durant le film. La première, après les charades où la bague glisse malencontreusement sous le sofa, la deuxième, lors du voyage où il est accidentellement interrompu par Elsa qui se réveille, la troisième, près du barrage, la quatrième, où il suit un rituel nordien en remplissant une anse de fleurs mais Anna est déjà partie avec sa soeur et la cinquième qui serait la bonne.
- Honeymaren reconnaît la berceuse que chante Elsa.
- Ryder a pour nom Nattura, il n'a jamais connu autre chose que la Forêt, étant né après l'accident, et voudrait découvrir ce qu'il y a en-dehors.
- Les Géants de la Terre dorment le jour et agissent la nuit.
- Ryder va montrer à Kristoff comment faire sa demande à Anna, façon nordienne.
- L'esprit du feu peut entendre la voix, tout comme Elsa.
- Le Nokk n'apparaît pas que dans la Mer Noire, il peut aussi être dans toutes les sources d'eau.
- L'esprit du vent est appelé Gale, un surnom trouvé par Olaf.
- Anna sera plus protectrice que jamais envers les Arendelliens. Elle cherche à comprendre quel rôle elle doit occuper pour l'avenir et ne se focalise que sur sa relation avec sa soeur, au détriment de Kristoff.
- Elsa n'a pas perdu sa timidité et n'aime pas être trop mise en avant, ses devoirs de reine sont un dilemme pour elle. Elle se posera énormément de questions durant le film, vers quoi elle est réellement destinée, s'il existe d'autres personnes comme elle, que penseraient ses parents s'ils étaient encore en vie, si régner est vraiment ce qu'elle désire etc...
- Olaf considère qu'il est âgé de 3 ans et a du mal à relativiser ce qu'il lit, un problème qu'il n'aura plus quand il sera "plus vieux".
- Au moment où Elsa relâche les cristaux, une lumière aveuglante éclate vers le Nord.
- Pabbie peut ressentir les esprits.
- Le navire des parents est retrouvé dans une rivière asséchée près de la Mer du Sud, il se pourrait qu'ils soient allés jusqu'à la Mer Noire, est-il sous-entendu que le Nokk est responsable de leur mort?

[veu]

Nuovo Tv spot:

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[veu]

Nuovi poster per il merchandising (notate com'è differente il design del merchandising rispetto a quello del primo film che era molto più pastelloso e di forme rotonde):

[Fulvio84]

La grafica del merchandising e' stupenda, niente a che vedere con il CGI

[buffyfan]

Grafiche molto più artistiche finalmente….

[veu]

Nuovo promo giapponese con nuove sequenze:

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Nuovo promo americano:

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E Jennifer Lee (la regista) ha annunciato la fine della lavorazione al film che ora è completo:

[-Scrooge McDuck-]

Nuovo promo giapponese con nuove sequenze:

Click

Non oso immaginare la vagonata di soldi che farà questo film in Giappone. Laggiù sono letteralmente impazziti per Frozen, ricordo che quando andai a Tokyo Disney Sea 2 anni fa c’erano Anna e Elsa stampate su tutto, dai cartelli all’ingresso del parco alle borse di plastica dei negozi.
Potrebbe essere il secondo paese dopo gli USA come incasso, non sorprende affatto che facciano trailer specifici

[-kekkomon-]

Non oso immaginare la vagonata di soldi che farà questo film in Giappone. Laggiù sono letteralmente impazziti per Frozen, ricordo che quando andai a Tokyo Disney Sea 2 anni fa c’erano Anna e Elsa stampate su tutto, dai cartelli all’ingresso del parco alle borse di plastica dei negozi.
Potrebbe essere il secondo paese dopo gli USA come incasso, non sorprende affatto che facciano trailer specifici

Ed è il secondo trailer esclusivo per loro

[Hiroe]

E pensare che io dovrò aspettare un bel po' per vederlo... O lo guardo illegalmente o aspetto il Blu ray... Ho un bimbo di 4 mesi, non riuscirò ad andare al cinema..

[veu]

Poster dei personaggi in Giappone: