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."
Like other Disney media products which are often localized through Disney Character Voices International, Frozen was translated and dubbed into 41 languages (compared with only 15 for The Lion King). A major challenge was to find sopranos capable of matching Menzel's warm vocal tone and three-octave vocal range in their native languages. Rick Dempsey, the unit's senior executive, regarded the process of translating the film as "exceptionally challenging"; he explained, "It's a difficult juggling act to get the right intent of the lyrics and also have it match rhythmically to the music. And then you have to go back and adjust for lip sync! [It]...requires a lot of patience and precision." Lopez explained that they were told by Disney to remove complex wordplay and puns from their songs, to ensure the film was easily translatable and had globally appealing lyrics. For the casting of dubbed versions, Disney required native speakers in order to "ensure that the film feels 'local'." They used Bell and Menzel's voices as their "blueprint" in casting, and tried to match the voices "as much as possible," meaning that they auditioned approximately 200 singers to fill the 41 slots for Elsa alone. For nearly 15 dubbed versions, they cast Elsa's singing and speaking parts separately, since not all vocalists could act the part they were singing. After casting all the other roles for all 41 languages, the international cast ended up including more than 900 people, who voiced their roles through approximately 1,300 recording sessions. The Italian version of the movie was awarded best foreign dubbing worldwide.
Frozen became Fandango's top advance ticket seller among original animated films, ahead of previous record-holder Brave, and became the top-selling animated film in the company's history in late January 2014. The sing-along version of the film later topped the best-selling list of the movie ticketing service again for three days. Frozen opened on Friday, November 22, 2013, exclusively at the El Capitan Theatre in Hollywood for a five-day limited release and earned $342,839 before its wide opening on Wednesday, November 27, 2013. During the three-day weekend it earned $243,390, scoring the seventh-largest per-theater average. On the opening day of its wide release, the film earned $15.2 million, including $1.2 million from Tuesday late-night shows, and set a record for the highest pre-Thanksgiving Wednesday opening, ahead of Tangled ($11.9 million). It was also the second-largest pre-Thanksgiving Wednesday among all films, behind Catching Fire ($20.8 million). The film finished in second place over the traditional three-day weekend (Friday-to-Sunday) with $67.4 million, setting an opening weekend record among Walt Disney Animation Studios films. It also scored the second-largest opening weekend among films that did not debut at #1. Female audiences accounted for 57% of Frozen's total audiences on the first weekend, while family audiences held a proportion of 81%. Among films that opened during Thanksgiving, it set new records; three-day ($67.4 million from Friday to Sunday) and five-day ($93.6 million from Wednesday to Sunday). It also achieved the second-largest three-day and five-day Thanksgiving gross among all films, behind Catching Fire.
In the old version of the game, Elsa appears in her Snow Queen outfit in the original movie before the sequel was released, when the sequel was released, the original Elsa outfit was replaced by in the new adventure outfit from Elsa and he is no longer seen around the game and their interactions have completely changed from the original version to the new version.
Anna and Elsa were originally slated to join the Disney Princess franchise as the twelfth and thirteenth Princesses, respectfully. The two were even given two-dimensional art, similar to those of Rapunzel and Merida. However, with the financial and critical success of their movie, the two are currently the stars of the Frozen franchise, rendering it unnecessary to include the two in another major franchise because of how well their movie did at the box office.
Although she is crueler in this version than in previous ones, this film gives her some sympathy, hinting that she had an unhappy childhood. When Sara confronts her asking if her father ever called her a princess she storms out of the room, only to be revealed quietly crying outside.
Being a musician, Fantasia was probably my favorite Disney movie. The version I saw (when they rereleased it) no longer had the pickaninny character, but I immediately noticed that it *does* have the only identifiably "black" centaurs as zebra-bottomed slavegirls to Dionysus.
There are so many problematic gender issues wrapped up in Disney Princess-dom to begin with, although I've enjoyed many of the movies. But let's assume that Disney wants to make a princess-y fairy tale (i.e. not a modern-day story like Lilo & Stitch) that features a black protagonist. I'm having trouble imagining a storyline that wouldn't in some way raise red flags for social critics.
Including elements derived from the cultural experiences of POCs certainly leaves Disney open for criticism, and if the movie resorts to stereotyping then it deserves critique. But if handled well, I think it'll be a far better contribution than if they'd merely pasted darker skin tones into one of the boring princess-in-a-vaguely-European-castle stories with no additional cultural context.
I would have to agree with you. There really aren't many black protagonists in t.v shows and movies of today. I have never seen The Princess and the Frog, but when I saw previews of this movie on t.v. my reaction was like "oh I have never seen a african american princess in a disney movie before; this movie seems like it would be great to watch."
In most Disney movies I have seen, there are many types of ethnic groups that have not yet come to stand out in Disney. Like Latina princesses. There may be up one or two out there, but in my life I have not come across one yet.
The problem isn't that there isn't a white equivalent (BTW Fiona turns into a ogre during the night and does spend the majority of the movie as a human). The problem is that there isn't enough princesses of color in the first place. It's not a big deal that Fiona from Shrek spends a small part of the movie as an ogre when there are plenty of other white princesses that do/are other things. The fact is since Tiana is the only black Disney princess, she is representing the whole by herself. In other words, 100% of Disney black princesses are maids, and spend the movie as a green frog. You see it wouldn't be so problematic if there were other black Disney characters that were portrayed in a good light. But as we have it now, all but one of the black Disney characters are villains, servants, or any other stereotype. Now that we finally have our one black princess, it's dissapointing because it seems they still haven't managed to break those stereotypes; plus it seems they will be hiding her ethnicity behind the exterior of a green frog for the majority of the movie.I think the question we need to be asking isn't if this role would be offensive if we switched her out with a white person; rather the question is why can't we find black Disney characters in this genre that aren't stereotypes?
We've never had a black Disney princess before. Now we do. Does the story tap into "black" stereotypes? Kinda. The setting is New Orleans, if I'm not mistaken, and yes, black people live in New Orleans. The people of New Orleans have a certain culture---jazz music and the practice of voodoo being part of it. If they had a movie set in New Orleans that -didn't- have jazz music, people would get upset because a big part of the culture is being ignored. If it was a white girl instead of the black girl, people would be complaining that it's another white princess story, and that there's a -white- princess in a setting that is filled with black characters. If there were no black people at all, there would be complaints.
my daughter just turned 5. i made a reservation to take her to disney for her princess make over. they dont have any princess tiana dresses, and no provision for tiana. this floored me as the movie has been out for 3 yrs now..so i bought her a dress, im taking her to disney anyway and they;re gonna figure out how to make my beautiful little girl a tiana princess. changes need to be made, just sayin 2b1af7f3a8