Frozen is a 2013 American computer-animated musical fantasy film produced by Walt Disney Animation Studios and released by Walt Disney Pictures. The 53rd Disney animated feature film, it is inspired by the 1844 Danish fairy tale The Snow Queen by Hans Christian Andersen. The film was directed by Chris Buck and Jennifer Lee (in her feature directorial debut) and produced by Peter Del Vecho, from a screenplay written by Lee, and a story by Buck, Lee, and Shane Morris. It stars the voices of Kristen Bell, Idina Menzel, Josh Gad, Jonathan Groff and Santino Fontana. Frozen tells the story of Princess Anna as she teams up with an iceman, his reindeer, and a snowman to find her estranged sister Elsa, whose icy powers have inadvertently trapped their kingdom in eternal winter.
Frozen underwent several story treatments before being commissioned in 2011 as a screenplay by Lee. Kristen Anderson-Lopez and Robert Lopez were hired to write the songs for the film, while Christophe Beck composed the score.
Frozen premiered at the El Capitan Theatre in Los Angeles on November 19, 2013, and went into its general theatrical release on November 27. It was praised for its visuals, screenplay, themes, music, and voice acting; some film critics consider Frozen to be Disney's best animated film since the studio's renaissance era. Frozen received two awards at the 86th Academy Awards, and numerous other accolades. It was the first Walt Disney Animation Studios film to win Best Animated Feature.
During its theatrical run, the film was a significant commercial success, earning $1.285 billion in worldwide box office revenue, overtaking Toy Story 3 to become the highest-grossing animated film of all time, and carried its position until it was overtaken by the remake of The Lion King in 2019. It also became the fifth-highest-grossing film of all time and the highest-grossing film of 2013. By January 2015, the film became the best-selling Blu-ray Disc in the United States, which resulted in the film launching a franchise, including an animated short in 2015, an animated featurette in 2017, and a feature-length sequel, Frozen II, in November 2019.
Princess Elsa of Arendelle possesses magical powers allowing her to control ice and snow, often using them to play with her younger sister Anna. After Elsa accidentally injures Anna with her magic, their parents—the King and Queen—take them to a colony of stone trolls led by Grand Pabbie, who heals Anna but erases her memories of Elsa's magic. Grand Pabbie warns Elsa that she must learn to control her powers, and that fear will be her enemy. The sisters are isolated within the castle, whose gates are closed off to the public. Out of fear of her increasingly unpredictable powers, Elsa ceases all contact with Anna, causing them to become emotionally distant. When the sisters are teenagers, the King and Queen are lost at sea and presumed dead.
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At the age of 21, Elsa is due to be crowned queen, but fears that her subjects will discover her magic and fear her. The castle gates are opened for the first time in years to the public and visiting dignitaries, including the scheming Duke of Weselton and the handsome Prince Hans of the Southern Isles. Elsa's coronation proceeds without incident, but she remains distant from Anna. Anna and Hans develop a romantic connection during the festivities, and he impulsively proposes to her, but Elsa objects when they seek her blessing. Hurt and confused, Anna protests, begging Elsa to explain her fear and isolation. The emotional strain causes Elsa to accidentally unleash her powers before the court. Branded a monster by the Duke, Elsa flees to the North Mountain, where she finally acknowledges her powers, building an ice palace to live a hermit life. Unbeknownst to Elsa, her magic has caused Arendelle to fall under an eternal winter.
Anna ventures to find Elsa and end the winter, leaving Hans in command. After getting lost, she meets an iceman named Kristoff and his reindeer Sven, recruiting them to take her to the mountains. An attack by wolves damages Kristoff's sleigh beyond repair. Forced to continuing the journey on foot, Anna and Kristoff meet Olaf, a talking snowman unknowingly created by Elsa, who offers to guide them to her. When Anna's horse reports back to Arendelle without her, Hans sets out to find her along with the Duke's minions, whom the Duke secretly gives orders to kill Elsa.
When Anna reaches the ice palace and reveals to Elsa what has become of Arendelle, a horrified Elsa confesses she does not know how to undo her magic. Her fear causes her powers to manifest themselves once more, and she accidentally freezes Anna's heart, mortally injuring her. In desperation to keep Anna safe, Elsa creates a giant snow monster named Marshmallow, who chases Anna, Kristoff and Olaf away. Realizing the effects of Elsa's spell on Anna, Kristoff takes her to the trolls, his adoptive family. Grand Pabbie reveals that Anna will freeze solid unless "an act of true love" reverses the spell. Kristoff and Olaf race Anna back home so Hans can give her true love's kiss. Hans and his men reach Elsa's palace, defeating Marshmallow, who falls into a chasm, and capturing Elsa.
Anna is delivered to Hans, but rather than kissing her, Hans reveals he was actually planning to seize the throne of Arendelle by eliminating both sisters. Hans locks a heartbroken Anna in a room to die and then manipulates the dignitaries and the Duke into believing that she died from Elsa's spell. He orders the queen's execution, only to discover she has escaped her detention cell. Anna is freed by Olaf, and they venture into the blizzard outside to meet Kristoff, whom Olaf has revealed is in love with her. Hans confronts Elsa outside, claiming that she killed Anna, causing Elsa to break down and abruptly stop the storm. Moments before Hans can kill Elsa, Anna leaps in the way and freezes solid, stopping Hans. Devastated, Elsa hugs and mourns over her sister, who thaws out, her heroism constituting "an act of true love".
Realizing that love is the key to controlling her magic, Elsa dispels the eternal winter, and gives Olaf a flurry small cloud to experience warmth. Hans is arrested and banished from Arendelle for his treason while Elsa cancels the trade agreement with Weselton to get back at the Duke. Anna gives Kristoff a new sleigh and the two kiss. The sisters are reunited, and Elsa promises never to lock the castle gates again.
Marshmallow, having survived the fall, finds Elsa's discarded crown and places it on top of its head.
Conception and early attempts to adapt The Snow Queen
Concept art from Disney's shelved hand-drawn film adaptation of The Snow Queen.
In March 1940, Walt Disney suggested a co-production to film producer Samuel Goldwyn, where his studio would shoot the live-action sequences of Hans Christian Andersen's life and Disney's studio would animate Andersen's fairy tales. The animated sequences would be based on some of Andersen's best-known works, such as The Little Mermaid, The Little Match Girl, The Steadfast Tin Soldier, The Snow Queen, Thumbelina, The Ugly Duckling, The Red Shoes, and The Emperor's New Clothes. However, the studio encountered difficulty with The Snow Queen, as it could not find a way to adapt and relate the Snow Queen character to modern audiences.
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After the United States entered World War II, Disney focused on making wartime propaganda, which caused development on the Disney–Goldwyn project to grind to a halt in 1942. Goldwyn went on to produce his own live-action film version in 1952, entitled Hans Christian Andersen, with Danny Kaye as Andersen, Charles Vidor directing, Moss Hart writing, and Frank Loesser penning the songs. All of Andersen's fairy tales were, instead, told in song and ballet in live-action, like the rest of the film. It went on to receive six Academy Award nominations the following year. Back at Disney, The Snow Queen, along with other Andersen fairy tales (including The Little Mermaid), were shelved.
"Hans Christian Andersen's original version of The Snow Queen is a pretty dark tale and it doesn't translate easily into a film. For us the breakthrough came when we tried to give really human qualities to the Snow Queen. When we decided to make the Snow Queen Elsa and our protagonist Anna sisters, that gave a way to relate to the characters in a way that conveyed what each was going through and that would relate for today's audiences. This film has a lot of complicated characters and complicated relationships in it. There are times when Elsa does villainous things but because you understand where it comes from, from this desire to defend herself, you can always relate to her. 'Inspired by' means exactly that. There is 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 way that we can understand the characters and relate to them."
Producer Peter Del Vecho, on the difficulties adapting The Snow Queen
In the late 1990s, Walt Disney Feature Animation started developing a new adaptation of The Snow Queen after the tremendous success of their recent films during the Disney Renaissance era (1989–1999), but the project was scrapped completely in late 2002, when Glen Keane reportedly quit the project and went on to work on another project which became Tangled (2010). Even before then, Harvey Fierstein pitched his version of the story to Disney's executives, but was turned down. Paul and Gaëtan Brizzi, Dick Zondag and Dave Goetz reportedly all tried their hand at it, but failed. After a number of unsuccessful attempts from 2000 to 2002, Disney shelved the project again. 10–11 During one of those attempts, Michael Eisner, then-chairman and chief executive officer of The Walt Disney Company, offered his support to the project and suggested doing it with Oscar-winning director John Lasseter at Pixar after the then-expected renewal of Pixar's contract with Disney. But negotiations between Pixar and Disney collapsed in January 2004 and that contract was never renewed. Instead, Eisner's successor Bob Iger negotiated Disney's purchase of Pixar in January 2006 for $7.4 billion, and Lasseter was promoted to chief creative officer of both Pixar and Disney Animation.
Development
Development of Frozen began in 2008, when Lasseter was able to convince Chris Buck (who co-directed the 1999 film Tarzan for the studio) to return to Walt Disney Animation Studios from Sony Pictures Animation (where he had recently co-directed the Oscar-nominated 2007 film Surf's Up); that September, Buck pitched several ideas to Lasseter, one of which was The Snow Queen. Buck later revealed that his initial inspiration for The Snow Queen was not the Andersen fairy tale itself, but that he wanted "to do something different on the definition of true love." "Disney had already done the 'kissed by a prince' thing, so thought it was time for something new," he recalled. It turned out Lasseter had been interested in The Snow Queen for a long time; back when Pixar was working with Disney on Toy Story in the 1990s, he saw and was "blown away" by some of the pre-production art from Disney's prior attempts. Development began under the title Anna and the Snow Queen, which was planned to be traditionally animated. According to Josh Gad, he first became involved with the film at that early stage, when the plot was still relatively close to the original Andersen fairy tale and Megan Mullally was going to play Elsa. By early 2010, the project entered development hell once again, when the studio again failed to find a way to make the story and the Snow Queen character work.
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Resurgence
On December 22, 2011, following the success of Tangled, Disney announced a new title for the film, Frozen, and a release date of November 27, 2013. A month later, it was confirmed that the film would be a computer-animated feature instead of the originally intended hand-drawn animation due to complex elements in the script regarding strong visuals. Kristen Anderson-Lopez and Robert Lopez joined the project and started writing songs for Frozen in January 2012. On March 5, 2012, it was announced that Buck would be directing, with Lasseter and Peter Del Vecho producing.
After Disney decided to advance The Snow Queen into development again, one of the main challenges Buck and Del Vecho faced was the character of the Snow Queen, who was then a villain in their drafts. The studio has a tradition of screening animated films in development every twelve weeks, then holding lengthy "notes sessions" in which its directors and screenwriters from different projects provide extensive "notes" on each other's work.
Buck and Del Vecho presented their storyboards to Lasseter, and the entire production team adjourned to a conference to hear his thoughts on the project. Art director Michael Giaimo later acknowledged Lasseter as the "game changer" of the film: "I remember John saying that the latest version of The Snow Queen story that Chris Buck and his team had come up with was fun, very light-hearted. But the characters didn't resonate. They aren't multi-faceted. Which is why John felt that audiences wouldn't really be able to connect with them.
The production team then addressed the film's problems, drafting several variations on The Snow Queen story until the characters and story felt relevant. At that stage, the first major breakthrough was the decision to rewrite the film's protagonist, Anna (who was based on the Gerda character from The Snow Queen), as the younger sibling of Elsa, thereby effectively establishing a family dynamic between the characters. This was unusual in that relationships between sisters are rarely used as a major plot element in American animated films, with the notable exception of Disney's Lilo & Stitch (2002). To fully explore the unique dynamics of such relationships, Disney Animation convened a "Sister Summit", at which women from all over the studio who grew up with sisters were asked to discuss their relationships with their sisters.
Writing
In March 2012, Jennifer Lee, one of the writers of Wreck-It Ralph, was brought in as screenwriter. Before Lee was brought on board, the efforts of the previous screen and songwriters had "imploded", which allowed the songwriters "to put a lot of their DNA" into the new script. The production team "essentially started over and ... had 17 months," which resulted in a very "intense schedule" and implied "a lot of choices had to be made fast".
While developing the story, Jennifer Lee and Chris Buck drew influence from several sources. They said the biggest influence on the film was the country of Norway, when the art department visited the country, drawing inspiration from the country's culture and environment. They also cited the influence of several films, including Hayao Miyazaki's anime productions along with the David Lean productions Lawrence of Arabia (1962) and Doctor Zhivago (1965), stating that they were inspired by their sense of "epic adventure and that big scope and scale and then the intimacy of funny quirky characters.
According to Lee, several core concepts were already in place, such as the film's "frozen heart" hook: "That was a concept and the phrase ... an act of true love will thaw a frozen heart. They already knew the ending involved true love in the sense of the emotional bond between siblings, not romance, in that "Anna was going to save Elsa. We didn't know how or why. Lee said Edwin Catmull, president of Disney Animation, told her early on about the film's ending: you have to earn that ending. If you do it will be great. If you don't, it will suck". However, the final version differed sharply from the earlier ones. In the original, Elsa had been evil from the start, kidnapping Anna from her own wedding to intentionally freeze her heart and later descending upon the town with an army of snowmen. The whole second act was about Anna trying to get to Hans and to kiss him and then Elsa trying to stop her". Buck revealed that the original plot attempted to make Anna sympathetic by focusing on her frustration as the "spare" in relation to the "heir". The pacing of the revised plot focused on musical comedy with less action and adventure.
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A breakthrough was the composition of the song "Let It Go" by Lopez and Anderson-Lopez, which forced a reimagining of Elsa as a more complex, vulnerable, and sympathetic character. In The Daily Telegraph's words, the songwriters saw Elsa not as a villain but as "a scared girl struggling to control and come to terms with her gift". "Bobby and Kristen...started talking about what would it feel like", Lee said. "And this concept of letting out who she is that she's kept to herself for so long and she's alone and free, but then the sadness of the fact that the last moment is she's alone". Del Vecho explained that "Let It Go" changed Elsa into a person "ruled by fear and Anna was ruled by her own love of other people and her own drive", which caused Lee to "rewrite the first act and then that rippled through the entire movie. So that was when we really found the movie and who these characters were".
Another breakthrough was developing the plot twist that Prince Hans, having not even been in the first drafts, would be revealed as the true villain only near the end. Del Vecho said, "if we were going to make the ending so surprising you had to believe at one point that Hans was the answer he's not the answer, it's Kristoff. If you can get the audience to leap ahead and think they have figured it out you can surprise them by turning it the other way". Lee acknowledged that Hans was written as "sociopathic" and "twisted". "It was difficult to lay the foundation for Anna's belated turn to Kristoff without also making Hans' betrayal of Anna too predictable, in that the audience had to "feel ... her feeling something but not quite understanding it ... Because the minute it is [understood,] it deflated. In earlier drafts, Anna openly flirted with Kristoff at their first meeting, but that was changed after Walt Disney Studios chairman Alan Horn pointed out that it would confuse and annoy viewers, since Anna was already engaged to Hans.
Lee had to work through how to write Anna's personality; some of her colleagues felt Anna should be more dysfunctional and co-dependent. Lee disagreed, but it took her almost a year to convincingly articulate "this is what Anna's journey is. No more than that. No less than that. In the end, Lee successfully argued for a simple coming-of-age story, "where she goes from having a naive view of life and love – because she's lonely – to the most sophisticated and mature view of love, where she's capable of the ultimate love, which is sacrifice". Lee also had to let go of ideas that she liked, such as a scene portraying Anna and Elsa's relationship as teenagers, because they needed to maintain the separation between Anna and Elsa. To construct Anna and Elsa's relationship, Lee found inspiration from her own relationship with her older sister. Lee called her older sister "my Elsa" in an op-ed in the Los Angeles Times, and walked the red carpet with her at the 86th Academy Awards. Lee explained, "having to ... lose each other and then rediscover each other as adults, that was a big part of my life".
The team also turned Olaf from Elsa's obnoxious sidekick into Anna's comically innocent one. Lee's initial response to the original "mean" version of Olaf had been, "Kill the f-ing snowman", and she found Olaf by far "the hardest character to deal with". The problem of how Anna would save Elsa at the climax was solved by story artist John Ripa. At the story meeting where Ripa pitched his take on the story, Lasseter said, "I've never seen anything like that before", followed by a standing ovation. Along the way, the team abandoned a lot of the detail of earlier drafts, such as a troll with a Brooklyn accent to explain the backstory behind Elsa's magical powers, and a regent for whom Lee was hoping to cast comedian Louis C.K. These were excised because they amounted to a "much more complex story than really we felt like we could fit in this 90-minute film". As Del Vecho put it, "the more we tried to explain things at the beginning, the more complicated it got".
Given Lee's extensive involvement in the development process, she was promoted to co-director by studio heads Lasseter and Catmull in August 2012, which was announced that November, making Lee the first woman to direct a full-length animated film from Walt Disney Animation Studios. Lee later said that she was "really moved by a lot of what Chris had done" and that they "shared a vision" of the story, having "very similar sensibilities".
By November 2012, the team thought they had finally "cracked" the film's story, but according to Del Vecho, in late February 2013 it was realized that it still "wasn't working", which necessitated more rewriting from February through June 2013. He explained, "we rewrote songs, we took out characters and changed everything, and suddenly the movie gelled. But that was close. In hindsight, piece of cake, but during, it was a big struggle. Looking back, Anderson-Lopez joked she and Lopez thought they could have ended up working as "birthday party clown[s]" if the final product "pulled ... down" their careers and recalled that "we were really writing up until the last minute". In June (five months before the announced release date), the songwriters finally got the film working when they composed the song "For the First Time in Forever", which, in Lopez's words, "became the linchpin of the whole movie". That month, Disney conducted test screenings of the part-completed film with two audiences (one of families and the other of adults) in Phoenix, Arizona, at which Lasseter and Catmull were present. Lee recalled that it was the moment when they realized they "had something, because the reaction was huge". Catmull told her afterwards, "you did it".
Similar to Tangled, Frozen employed a unique artistic style by blending together features of both computer-generated imagery (CGI) and traditional hand-drawn animation. From the beginning, Buck knew Giaimo was the best candidate to develop the style he had in mind – which would draw from the best Disney hand-drawn films of the 1950s, the Disney Little Golden Books, and mid-century modern design – and persuaded him to come back to Disney to serve as the art director for Frozen. Buck, Lasseter, and Giaimo were all old friends who had first met at the California Institute of the Arts, and Giaimo had previously served as the art director for Disney's Pocahontas (1995), which Buck had worked on as a supervising animator.
To create the look of Frozen, Giaimo began pre-production research by reading extensively about the entire region of Scandinavia and visiting the Danish-themed city of Solvang near Los Angeles, but eventually zeroed in on Norway in particular because "80 percent" of the visuals that appealed to him were from Norway. Disney eventually sponsored three research field trips. Animators and special effects specialists were dispatched to Jackson Hole, Wyoming, to experience walking, running, and falling in deep snow in a variety of types of attire, including long skirts (which both female and male personnel tried on); while lighting and arts teams visited an Ice Hotel in Quebec City, Quebec to study how light reflects and refracts on snow and ice. Finally, Giaimo and several artists traveled to Norway to draw inspiration from its mountains, fjords, architecture, and culture. "We had a very short time schedule for 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 material and creating a believable world, and again that doesn't mean it's a realistic world – but a believable one. It was important to see the scope and scale of Norway, and important for our animators to know what it's like," Del Vecho said. "There is a real feeling of Lawrence of Arabia scope and scale to this," he finished.
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During 2012, while Giaimo and the animators and artists conducted preparatory research and developed the film's overall look, the production team was still struggling to develop a compelling script, as explained above. That problem was not adequately solved until November 2012, and the script would later require even more significant revisions after that point. As a result, the single "most daunting" challenge facing the animation team was a short schedule of less than 12 months to turn Lee's still-evolving shooting script into an actual film. Other films like Pixar's Toy Story 2 had been successfully completed on even shorter schedules, but a short schedule necessarily meant "late nights, overtime, and stress. Lee estimated the total size of the entire team on Frozen to be around 600 to 650 people, "including around 70 lighting people, 70-plus animators," and 15 to 20 storyboard artists.
Del Vecho explained how the film's animation team was organized: "On this movie we do have character leads, supervising animators on specific characters. The animators themselves may work on multiple characters but it's always under one lead. I think it was different on Tangled, for example, but we chose to do it this way as we wanted one person to fully understand and develop their own character and then be able to impart that to the crew. Hyrum Osmond, the supervising animator on Olaf, is quiet but he has a funny, wacky personality so we knew he'd bring a lot of comedy to it; Anna's animator, Becky Bresee, it's her first time leading a character and we wanted her to lead Anna. Acting coach Warner Loughlin was brought in to help the film's animators understand the characters they were creating. In order to get the general feeling of each scene, some animators did their own acting. "I actually film myself acting the scene out, which I find very helpful," said animation supervisor Rebecca Wilson Bresee. This helped her discover elements that made the scene feel real and believable. Elsa's supervising animator was Wayne Unten, who asked for that role because he was fascinated by the complexity of the character. Unten carefully developed Elsa's facial expressions in order to bring out her fear as contrasted against Anna's fearlessness. He also studied videos from Menzel's recording sessions and animated Elsa's breathing to match Menzel's breathing. Head of Animation, Lino DiSalvo, said, "The goal for the film was to animate the most believable CG characters you've ever seen.
Regarding the look and nature of the film's cinematography, Giaimo was greatly influenced by Jack Cardiff's work in Black Narcissus (1947). According to him, it lent a hyper-reality to the film: "Because this is a movie with such scale and we have the Norwegian fjords to draw from, I really wanted to explore the depth. From a design perspective, since I was stressing the horizontal and vertical aspects, and what the fjords provide, it was 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 that Frozen should be produced in the CinemaScope widescreen process, which was approved by Lasseter. This made Frozen the first animated film to be completely produced in CinemaScope since 2000's Titan A.E.. 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 background is in traditional animation, said that the art design environment represents a unity of character and environment and that he originally wanted to incorporate saturated colors, which is typically ill-advised in computer animation. 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.
Another important issue Giaimo insisted on addressing was costumes, in that he "knew from the start" it would be a "costume film". To realize that vision, he brought in character designer Jean Gillmore to act as a dedicated "costume designer". While traditional animation simply integrates costume design with character design and treats clothing as merely part of the characters, computer-generated animation regards costume as almost a separate entity with its own properties and behaviors and Frozen required a level of as-yet untried detail, down to minutiae like fabrics, buttons, trim, and stitching. Gillmore explained that her "general approach was to meld the historic silhouettes of 1840 Western Europe (give or take), with the shapes and garment relationships and details of folk costume in early Norway, circa 19th century. This meant using primarily wool fabric with accents of velvet, linen, and silk. During production, Giaimo and Gillmore "ran around" supplying various departments with real-world samples to use as references; they were able to draw upon both the studio's own in-house library of fabric samples and the resources of Walt Disney Parks and Resorts' costume division in Fullerton, California. The film's "look development artists" (the Disney job title for texture artists created the digitally painted simulation of the appearance of surfaces, while other departments dealt with movement, rigging and weight, thickness and lighting of textile animation.
During production, the film's English title was changed from The Snow Queen to Frozen, a decision that drew comparisons to another Disney film, Tangled. Peter Del Vecho explained that "the title Frozen came up independently of the title Tangled. It's because, to us, it represents the movie. Frozen plays on the level of ice and snow but also the frozen relationship, the frozen heart that has to be thawed. We don't think of comparisons between Tangled and Frozen, though." He also mentioned that the film will still retain its original title, The Snow Queen, in some countries: "because that just resonated stronger in some countries than Frozen. Maybe there's a richness to The Snow Queen in the country's heritage and they just wanted to emphasize that.
