As well as struggling to come to terms with the emotional turmoil of puberty, adolescence, and, indeed, sexual development, Elsa must also negotiate her chaotic magical powers and assume the very adult responsibility of ruling a kingdom. By the end of the movie, she appears to have successfully navigated all these requirements, but the process is not smooth. Over the course of the movie, she employs repression, isolation, splitting, projection and acting out as a means of coping with the various demands on her. This, too, reflects the processes that adolescents themselves may attempt.
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Given Lee's extensive involvement in the development process,[34] she was promoted to co-director by studio heads Lasseter and Catmull in August 2012,[48][62] which was announced that November,[63] making Lee the first woman to direct a full-length animated film from Walt Disney Animation Studios.[34][50][51] 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".[48]
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."[34][51][82] Acting coach Warner Loughlin was brought in to help the film's animators understand the characters they were creating.[78] 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.[83] Elsa's supervising animator was Wayne Unten, who asked for that role because he was fascinated by the complexity of the character.[84] Unten carefully developed Elsa's facial expressions in order to bring out her fear as contrasted against Anna's fearlessness.[84] He also studied videos from Menzel's recording sessions and animated Elsa's breathing to match Menzel's breathing.[78] Head of Animation, Lino DiSalvo, said, "The goal for the film was to animate the most believable CG characters you've ever seen."[85]
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.[82] 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.[82] 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.[86][87]
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."[34]
To obtain certain snow and ice sound effects, sound designer Odin Benitez traveled to Mammoth Mountain, California, to record them at a frozen lake.[79] However, the foley work for the film was recorded on the foley stage on the Warner Bros. Pictures lot by a Warner Bros. crew.[70][125] The foley artists received daily deliveries of 50 pounds (22.7 kg) of snow ice while working, to help them record all the necessary snow and ice sounds for the film.[70] Because the film's visuals were finalized so late, five separate versions of nearly every footstep on snow were recorded (corresponding to five different types of snow), then one was later selected during mixing to match the snow as rendered in the final version of each scene.[70] One issue that the production team was "particular" about was the sound of Elsa's footsteps in the ice palace, which required eight attempts, including wine glasses on ice and metal knives on ice; they ended up using a mix of three sounds.[70]
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).[128] A major challenge was to find sopranos capable of matching Menzel's warm vocal tone and three-octave vocal range in their native languages.[128][129] 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."[130] 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.[131] For the casting of dubbed versions, Disney required native speakers in order to "ensure that the film feels 'local'."[130] 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.[130] 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.[130] 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.[132] The Italian version of the movie was awarded best foreign dubbing worldwide.[133]
Frozen was released for digital download on February 25, 2014, on Google Play, the iTunes Store, and Amazon Video.[161] It was subsequently released by Walt Disney Studios Home Entertainment on Blu-ray Disc and DVD on March 18, 2014.[162] Bonus features for the Blu-ray release include[163][164] "The Making of Frozen", a three-minute musical production about how the film was made,[165] "D'frosted", an inside look at how Disney tried to adapt the original fairy tale into an animated feature, four deleted scenes with introduction by the directors, the original theatrical short Get a Horse!, the film's teaser trailer, and "Let It Go" (End Credit Version) music videos by Demi Lovato, Martina Stoessel, and Marsha Milan Londoh;[166] while the DVD release includes the Get a Horse! theatrical short, "Let It Go" musical videos and the film's teaser trailer.[163]
Bloomberg Business reported in March 2014 that outside analysts had projected the film's total cost at somewhere around $323 million to $350 million for production, marketing, and distribution, and had also projected that the film would generate $1.3 billion in revenue from box office ticket sales, digital downloads, discs, and television rights.[198]
Frozen became Fandango's top advance ticket seller among original animated films, ahead of previous record-holder Brave,[199] and became the top-selling animated film in the company's history in late January 2014.[158] The sing-along version of the film later topped the best-selling list of the movie ticketing service again for three days.[158] 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.[200] During the three-day weekend it earned $243,390, scoring the seventh-largest per-theater average.[201] On the opening day of its wide release, the film earned $15.2 million,[202] including $1.2 million from Tuesday late-night shows,[203] and set a record for the highest pre-Thanksgiving Wednesday opening, ahead of Tangled ($11.9 million).[204] 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.[205] It also scored the second-largest opening weekend among films that did not debut at #1.[206][207] Female audiences accounted for 57% of Frozen's total audiences on the first weekend, while family audiences held a proportion of 81%.[207][208] Among films that opened during Thanksgiving, it set new records; three-day ($67.4 million from Friday to Sunday)[209] and five-day ($93.6 million from Wednesday to Sunday).[210] It also achieved the second-largest three-day[211] and five-day[212] Thanksgiving gross among all films, behind Catching Fire.[213] 2ff7e9595c
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