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The toughest time of production
is a year out
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when all the balls are up in the air,
and the balls start falling.
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I was confused.
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I felt like I had to take notes
to understand what was going on.
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Maybe we have one song left to write,
or maybe we have five.
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It's still a question
of whether this movie works.
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[Buck] "Show Yourself" still needs
a lot of work.
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We'd been playing with this voice,
and we all have different opinions.
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I feel like this whole thing
is falling apart.
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[Buck] The next screening
keeps getting closer
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but we still have yet
to figure out "Show Yourself."
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You know, we can't stop the
production train. We have to keep going.
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So there's a lot of other work
that needs to be done.
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Other songs that need some attention.
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We need to get things into production.
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A lot of times,
getting songs in production
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will feed the beast, as we call it,
the beast of production.
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We have only about 20%
of the movie animated.
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So this is an exciting time, but it's also
scary because you're running out of time.
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[Anderson-Lopez] In the first movie,
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we did not get to write a song
for Kristoff,
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and it's going to be our great shame
that we carry with us
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for the rest of our lives, but we've
tried to make it right with Frozen II
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by giving Kristoff an epic song.
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The first song we wrote for Kristoff
was the proposal.
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[Kristoff] And I guess I--
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-I wanted to ask you something.
-[Anna] Uh-huh.
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[Anna] Yes! I mean, uh, okay.
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We wrote this frenetic number for him
called "Get This Right."
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[Kristoff]
♪ I wanna get this right, baby ♪
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♪ I wanna thrill you
In the way you deserve ♪
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♪ I wanna blow your mind, darling ♪
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♪ I'm just having trouble
Gettin' up the nerve ♪
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♪ I wanna give you what you want
I wanna be the man you choose ♪
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♪ I wanna sweep you off your feet
Without puking on your shoes ♪
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♪ Maybe I'll do better in the candlelight
I gotta get this right ♪
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No, no, no, stay right where you are.
I'll put out the fire, my love.
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[Lopez] Eventually,
the song fell to the floor.
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I was like, "Oh, that's such a bummer"
because it was such a fun song.
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And they're like, "But don't worry. We're
gonna write you an emotional rock ballad."
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[Anderson-Lopez]
♪ Again you're gone-- ♪
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Right, that's not on here. This is just--
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That was just like,
"Okay, when I forget what that is,
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-I have this here, and I go back to it."
-Well, that definitely triggered
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the spark point where I--
a whole lyric sort of poured out.
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Then Kristen went into that room
over there and just came back out
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-with this whole thing.
-The first line of...
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♪ Again you're gone ♪
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[chuckles]
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♪ Off on a distant path than mine ♪
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♪ Or a different path than mine ♪
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...and suddenly because of that riff,
I was able to hear the whole thing,
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and we thought this was our moment
to write the '80s power ballad
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we've always wanted to write.
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You know, the kind that you sing alone
at three in the morning
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-after you've had a breakup kind of song.
-Or in seventh grade,
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you dance with the girl with your arms
fully extended on her shoulders like that.
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This one was complicated
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because every different section of it
is in a different key,
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which is a technique from the '80s
that we wanted to use
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because it makes him feel
like he's kind of--
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He keeps going deeper and deeper,
feeling things more and more.
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I'm so excited, and I can't wait to give
them a glimpse of where we're going.
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[line ringing]
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-Hello.
-Hi.
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-[Del Vecho] Hello.
-[Lee] Hi.
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We were just getting into some stuff
about "Show Yourself", but I wondered--
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So if we just wanna start with Kristoff
and then we can--
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Because that's the easier one.
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So, where are you guys
this morning on that?
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[Anderson-Lopez]
We started writing a Kristoff song,
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which may or may not be
in the right direction,
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but we started listening to
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all of our favorite male,
big feelings kind of songs.
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And we were like,
"Oh, wouldn't it be so fun
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to take this guy who's basically
like a Nick Offerman character
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and have him have these big feelings,
and do we go into '80s video?"
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We showed him "Eternal Flame"
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where, like, heads are floating in the sky
and blurring into somebody else's head.
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[Lee] I think we go for it.
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I think the key, though,
is that it has to be sincere.
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We're not laughing at him,
but we all know that feeling.
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-You're in your car going... [sobbing]
-[team laughing]
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We should play you the song, and you
have to tell us if we've gone too campy.
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Okay. [laughs]
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[melody playing on piano]
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♪ Again you're gone ♪
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♪ Off on a different path than mine ♪
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♪ I'm left behind ♪
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♪ Wondering if I should follow ♪
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♪ You had to go ♪
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♪ And of course it's always fine ♪
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♪ I probably could catch up
With you tomorrow ♪
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♪ But is this what it feels like
To be growing apart? ♪
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♪ When did I become the one ♪
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♪ Who's always chasing your heart? ♪
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♪ Something... ♪
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-I'm not sure exactly the rest of it.
-Yeah and then we're--
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[cheering, applause]
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[laughing]
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-It's like...
-[Del Vecho] But I kinda liked it.
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-It didn't hit me as too campy at all.
-[Lee] No.
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It hit me as, like,
"We all know those songs!"
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Nothing gets you like those.
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[Del Vecho] Because I can feel
what he's singing about.
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Yes. Thank you. It's like a dream.
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-[Del Vecho] Great. Yay!
-[Buck] Fantastic.
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[Lee] Thanks.
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[Buck]
I love the, sort of, '80s power ballad.
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Feels right for Kristoff.
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Our challenge now is to board something
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that is as funny as their lyrics are,
but also sincere.
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[Lee] Once we have a demo that we're all
happy with, it's time to get the actor in.
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I cannot wait for Jonathan to come in.
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I think we have Kristen coming in,
and Josh first,
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but they're coming for dialogue,
so that will be fun.
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[Bell] In animation, you write a script,
and then you record it,
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and then they go back
to the drawing board,
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and it changes dramatically.
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-I'm gonna start at 14, okay?
-[Lee] Yeah. Let's do that.
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And you've been running, running,
and finally stop.
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[woman] Sequence 270,
slate 2019, take one.
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Lieutenant Mattias, let me through.
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[Buck] We cannot let you break the dam.
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It's the only way to free the forest.
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The changes are necessary
but it is difficult to keep up with.
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Over the course of three and a half years,
I'll go in every six weeks, I guess.
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Sometimes I'll record for eight hours,
sometimes for two.
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[Buck] But we have sworn
to protect Arendelle at all costs.
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Even if it costs Arendelle its future?
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-I love it. Yeah.
-Good. I love it.
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-Now this party comes to life.
-[Del Vecho] Chris and Jenn,
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we're gonna switch over to Josh dialogue.
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[Lee] Oh, wait. We're doing Josh dialogue.
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-[woman] How long do we have to get?
-[Lee] Two lines.
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-Jenn.
-[Bell] Thanks, guys.
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-Bye.
-[Del Vecho] Thank you. Bye, Kristen.
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-[woman] Bye.
-I'll walk out with you just
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-to make sure your car is still there.
-[Bell] Okay, good. Thanks.
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Wait, wait, wait. Before--
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She has not seen the trailer.
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-So can we show her the trailer?
-[Lee] You haven't seen the--
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-[Gad] 'Cause I want to see her reaction.
-[woman] You need to see the trailer.
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-[Lee] What? It's so good.
-[Gad] Come here. Come here.
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-Come here.
-And we're...
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[Del Vecho] This will go out
with Captain Marvel.
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It'll be this trailer?
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-[Del Vecho] Yes.
-Yes.
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[Del Vecho] It's also going
to be dropped online,
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I think starting next week. So just--
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-Hot drop online next week?
-[Del Vecho] Yeah.
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[rumbling]
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[waves crashing]
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-That's animation?
-Yep.
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[sighs]
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[sighs]
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[Elsa] Okay.
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[grunts]
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[Elsa] Whoa!
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[angelic voice singing]
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[angelic singing continues]
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[Anna grunts]
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Feels so adult.
Like it should be rated R or something.
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-[all laughing]
-Doesn't it?
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-Game of Froze. Isn't that incredible?
-Froze. Oh, my gosh.
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[all laughing]
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When we first saw the trailer,
it was exciting but also daunting to us
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because we hadn't actually animated
anything on the movie yet
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other than some test scenes.
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We still have a whole movie to make.
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Right now, we're probably a month
from our next screening.
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Our screening's the end of March,
and we're trying out new songs.
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We have a Kristoff song that we're
recording on Monday with Jonathan Groff.
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It's a great song but it's untried.
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It'll be the first time this song
is in the screening.
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-[whistling] What's up?
-[woman] What's up?
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I have many beverages as you can see.
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-You just take it, and I'll follow you.
-[Groff] You feel what you feel.
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-Okay.
-Okay, ready?
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[Groff clears throat]
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-You guys ready?
-[man] Yeah, okay.
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[sighs]
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♪ Reindeers are better than people ♪
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♪ Sven, why is love so hard? ♪
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♪ You feel what you feel ♪
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♪ And those feelings are real ♪
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♪ Come on, Kristoff ♪
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♪ Let down your guard ♪
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Everyone always came up to me
and said that they were surprised
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that I didn't have a song
in the first Frozen movie.
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I always felt like
"Reindeers Are Better Than People"
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was a song,
and I was very proud of that song.
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-All right, we're gonna do one more.
-Let's do one more.
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Actually, for this one,
can we make "Come on, Kristoff"
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and "Let down your guard"
two different ideas?
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-"Come on, Kristoff."
-[Groff] Sure.
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[both] ♪ Let down your guard ♪
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Sure. [clears throat]
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The '80s ballad makes perfect sense to me.
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It's the genius of Bobby and Kristen
and Jenn and Chris
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for thinking up the whole thing.
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♪ Who am I ♪
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00:12:20,699 --> 00:12:23,199
♪ If I'm not your guy? ♪
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00:12:23,660 --> 00:12:29,040
♪ Where am I if we're not together? ♪
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♪ Forever ♪
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♪ Now I know you're my true North ♪
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♪ 'Cause I am lost in the woods ♪
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[Groff] You know, in the first movie,
"Let It Go" gave permission
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00:12:42,846 --> 00:12:45,926
to all the girls to shoot icicles
from their wrists,
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00:12:46,016 --> 00:12:48,976
but where was that moment
for the little boys out there?
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♪ So I'm lost in the woods ♪
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♪ Wondering if you still care ♪
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♪ But I'll wait ♪
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[Anderson-Lopez] Okay, great.
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I think we're good. So good.
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-[Anderson-Lopez] Great job.
-[Lopez] So good.
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"Lost in the Woods" is a big '80s ballad
with huge amounts of stacked harmonies.
218
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Yeah, it's got like 18 stacked
reindeer harmonies.
219
00:13:14,252 --> 00:13:18,212
Okay, so now we're gonna
comp together the choruses
220
00:13:18,298 --> 00:13:20,298
that you're gonna be harmonizing to.
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-Okay.
-[Anderson-Lopez] So take a break.
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-Come on in if you want.
-[Lopez] You're gonna take--
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Basically, what happens is,
I come in to sing the song
224
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and then Bobby and Kristen
go back through all of the takes
225
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and they pick the best lines,
the best notes, the best words,
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the most emotional interpretation,
the best sounding interpretation,
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and, sort of, cut the whole song together
228
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to make it the best version
it can possibly be.
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I like "I don't know what path you're on."
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-I feel like he could sing to that.
-The only thing-- He flips "home".
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-Flips?
-He flips...
232
00:13:52,290 --> 00:13:53,580
♪ Home ♪
233
00:13:53,666 --> 00:13:54,956
-[Lopez] Oh.
-[Buck] We put 24 up there.
234
00:13:55,043 --> 00:13:56,923
Sorry we're talking about you
like you're not here.
235
00:13:57,003 --> 00:13:58,593
-[laughs]
-I don't mind. It's so educational.
236
00:13:58,672 --> 00:13:59,712
[Anderson-Lopez laughs]
237
00:13:59,798 --> 00:14:01,048
All right. Ready?
238
00:14:01,132 --> 00:14:03,012
-Let's do it. [clears throat]
-[Buck] Take four.
239
00:14:03,843 --> 00:14:08,723
[Groff on speakers] ♪ Right is left
When you're gone ♪
240
00:14:08,807 --> 00:14:11,387
♪ I'm the one who sees you home ♪
241
00:14:11,476 --> 00:14:15,396
♪ But now I'm lost in the woods ♪
242
00:14:15,605 --> 00:14:17,895
♪ And I don't know what-- ♪
243
00:14:17,982 --> 00:14:18,982
[Buck] Keyword-- We got it. So...
244
00:14:19,067 --> 00:14:21,437
I think we got it. So now we can go...
245
00:14:21,528 --> 00:14:23,698
♪ And I don't know what path you are on ♪
246
00:14:23,780 --> 00:14:24,780
-Okay. Great.
-[Lopez] Right.
247
00:14:24,864 --> 00:14:27,374
-Roll your shoulders back.
-Do my squat.
248
00:14:27,450 --> 00:14:29,950
-[Anderson-Lopez] Do your squat.
-[man] Which is a good squat.
249
00:14:30,036 --> 00:14:31,326
[Anderson-Lopez laughs]
250
00:14:32,455 --> 00:14:34,745
♪ And I don't know ♪
251
00:14:35,333 --> 00:14:37,213
-Really nice. That's good tone.
-[Lopez] Hit it.
252
00:14:37,711 --> 00:14:41,381
♪ But now I'm lost in the woods ♪
253
00:14:41,756 --> 00:14:47,256
♪ And I don't know what path you are on ♪
254
00:14:47,345 --> 00:14:49,635
That was great. Really good take.
255
00:14:49,723 --> 00:14:50,723
-[Lopez] Yeah.
-[man] Yeah.
256
00:14:50,807 --> 00:14:51,807
[Anderson-Lopez] Should we call it?
257
00:14:51,891 --> 00:14:53,351
-Should we call the session?
-[Groff] Let's call it!
258
00:14:53,435 --> 00:14:55,225
-Yes, Jonathan Groff! Whoo-hoo!
-[man] Whoo-hoo!
259
00:14:55,311 --> 00:14:57,611
-Yay!
-[man] Whoo-hoo!
260
00:15:07,449 --> 00:15:09,449
[Smith] So this is a quick check-in.
261
00:15:09,951 --> 00:15:13,501
You had that pitch. I roughed it out.
I went back to some old drawings.
262
00:15:13,580 --> 00:15:14,580
Did it make sense?
263
00:15:14,664 --> 00:15:16,674
-Let's watch it. Let's watch it.
-[Lee] Okay.
264
00:15:16,750 --> 00:15:19,500
I showed a pass of "Show Yourself"
based on some of the notes.
265
00:15:20,045 --> 00:15:23,045
The art department was in the room
along with Chris and Jenn.
266
00:15:23,673 --> 00:15:25,803
I'm the production designer of Frozen II
267
00:15:25,884 --> 00:15:29,394
and I was also
the production designer on Frozen I.
268
00:15:30,013 --> 00:15:33,523
A production designer is responsible
for everything visual
269
00:15:33,600 --> 00:15:34,810
that you see on the screen.
270
00:15:35,643 --> 00:15:41,653
That would mean costuming,
color palette, lighting. All these things.
271
00:15:42,233 --> 00:15:45,953
[Elsa] ♪ I'll always feel alone ♪
272
00:15:46,279 --> 00:15:53,239
♪ Until I accept you ♪
273
00:15:53,953 --> 00:15:56,413
-[angelic voice] ♪ Ah ♪
-[Elsa] ♪ Ah ♪
274
00:15:57,207 --> 00:16:00,167
[Smith] It was really interesting
to see the reactions of people
275
00:16:00,251 --> 00:16:03,671
who haven't seen it from the beginning
and get fresh eyes on it.
276
00:16:04,839 --> 00:16:07,719
I have to say I'm a little confused.
It's so dense.
277
00:16:07,801 --> 00:16:10,851
I'm just trying to find something
really linear that--
278
00:16:10,929 --> 00:16:12,969
Like, I keep going back to "Let It Go."
279
00:16:13,056 --> 00:16:15,386
-Yep.
-So linear.
280
00:16:15,475 --> 00:16:17,385
Right.
So then that's probably where you could...
281
00:16:17,477 --> 00:16:21,977
Sometimes meetings like
that can get a little intense.
282
00:16:22,065 --> 00:16:24,225
-Every time I see the reflection...
-Yeah.
283
00:16:24,317 --> 00:16:29,657
To me, I see when she sees that,
that's her complete self.
284
00:16:29,739 --> 00:16:31,829
-No. That's the--
-Yeah, but-- You know what I mean?
285
00:16:31,908 --> 00:16:34,198
She's seeing the reflection of
the woman she's gonna be.
286
00:16:34,285 --> 00:16:37,955
My only concern of that is
the audience reading that.
287
00:16:38,039 --> 00:16:41,499
We've been following this voice,
288
00:16:41,584 --> 00:16:44,214
and then we get here,
and we see that it's an actual person.
289
00:16:44,295 --> 00:16:46,755
And then we have to communicate
that not only is it a person,
290
00:16:46,840 --> 00:16:49,510
-but it's actually... herself.
-It's her.
291
00:16:49,592 --> 00:16:52,972
And trying to do that all in the confines
of a song and all, it's...
292
00:16:53,054 --> 00:16:55,354
I think it's a lot simpler
than we're making it.
293
00:16:55,724 --> 00:16:58,694
[Smith] Artistically, it can feel
a little bit like I screwed it up,
294
00:16:58,768 --> 00:17:01,188
or I'm not the right person for it.
295
00:17:01,271 --> 00:17:03,901
This is the culmination
of Elsa's whole arc.
296
00:17:03,982 --> 00:17:05,442
It spans both movies.
297
00:17:05,525 --> 00:17:10,105
And so, I think we'll be tweaking it
for a long time to come.
298
00:17:24,919 --> 00:17:25,879
[female security]
299
00:17:25,962 --> 00:17:26,842
[Lee]
300
00:17:31,217 --> 00:17:33,217
-Happy Tuesday. [laughs]
-[laughs]
301
00:17:33,303 --> 00:17:34,643
I didn't think about that.
302
00:17:34,721 --> 00:17:35,931
[both laughing]
303
00:17:36,014 --> 00:17:37,144
[security] I'll see ya.
304
00:17:38,975 --> 00:17:41,765
[Lee] One of the hardest roles here
is being the writer.
305
00:17:41,853 --> 00:17:44,693
You have to fit the writing in
on top of everything else.
306
00:17:44,773 --> 00:17:48,573
So I found my routine became getting up
at quarter to five,
307
00:17:48,651 --> 00:17:52,111
getting the coffee going,
and then writing from five to seven.
308
00:17:52,197 --> 00:17:54,697
Getting my daughter to school.
Going through the day.
309
00:17:54,783 --> 00:17:57,543
Going home. Dinner.
Go back to it at night.
310
00:17:57,619 --> 00:17:59,039
And then doing marathons
311
00:17:59,120 --> 00:18:01,710
from about 5:00 a.m. to 1:00
on Saturday and Sunday,
312
00:18:01,790 --> 00:18:03,920
and just doing that for months.
313
00:18:07,087 --> 00:18:10,627
[Buck] I call this the "Groundhog Day"
of production.
314
00:18:11,841 --> 00:18:13,181
Every day is the same.
315
00:18:13,677 --> 00:18:17,137
And it is just going
from one place to the next,
316
00:18:17,222 --> 00:18:19,312
and one department to the next.
317
00:18:19,933 --> 00:18:22,853
You work with all the story artists,
318
00:18:22,936 --> 00:18:27,516
editorial, layout, character animation...
319
00:18:29,067 --> 00:18:30,187
technical animation...
320
00:18:31,861 --> 00:18:33,201
effects...
321
00:18:34,364 --> 00:18:35,784
and then that's lighting.
322
00:18:37,033 --> 00:18:40,253
We usually eat lunch while we're working.
323
00:18:40,328 --> 00:18:42,708
'Cause you try to be fresh for everyone,
324
00:18:42,789 --> 00:18:45,539
and make sure that you're making
the right notes at the right time.
325
00:18:45,625 --> 00:18:46,625
-We're gonna do--
-Yes.
326
00:18:46,710 --> 00:18:48,960
Can we do it where it's not
on their faces so there's no dialogue?
327
00:18:49,587 --> 00:18:51,457
So then-- 'Cause I don't know
what the dialogue would be.
328
00:18:51,548 --> 00:18:53,258
-[Del Vecho] Oh.
-[Lee] You know what I mean?
329
00:18:53,341 --> 00:18:54,591
I'm still writing.
330
00:18:54,676 --> 00:18:58,636
Every scene requires almost
the same amount of intense work.
331
00:18:59,597 --> 00:19:01,977
Everything becomes clearer
and clearer every day,
332
00:19:02,058 --> 00:19:03,768
but there's no shortcut.
333
00:19:04,811 --> 00:19:06,441
-Thank you, Jeff.
-I loved it. Thanks, guys.
334
00:19:09,816 --> 00:19:11,736
[chattering]
335
00:19:15,613 --> 00:19:19,033
I am headed-- Excuse us.
I'm headed to issuing.
336
00:19:21,703 --> 00:19:24,253
Issuing is when you get assigned a shot.
337
00:19:24,664 --> 00:19:26,084
We all go in the room and sit,
338
00:19:26,166 --> 00:19:29,166
and we watch the sequence as a whole
together with the directors.
339
00:19:29,252 --> 00:19:33,722
That's your chance to ask any questions
that you have about the shot.
340
00:19:34,924 --> 00:19:36,684
-[woman] We have a shot from Malerie.
-[Lee] Hey, Malerie.
341
00:19:36,760 --> 00:19:39,430
-Hello.
-You get this shot.
342
00:19:39,512 --> 00:19:40,512
Woo.
343
00:19:41,473 --> 00:19:43,773
[Lee] All right.
So let's watch it. Here we go.
344
00:19:43,850 --> 00:19:47,810
[Kristoff] ♪ ...path
'Cause you are mine ♪
345
00:19:47,896 --> 00:19:49,306
♪ You are mine ♪
346
00:19:49,397 --> 00:19:51,017
♪ Until then ♪
347
00:19:51,107 --> 00:19:55,107
-♪ I'm lost in the woods ♪
-♪ Lost in the woods ♪
348
00:19:55,195 --> 00:19:56,315
♪ In the woods
Lost in the woods ♪
349
00:19:56,404 --> 00:19:57,494
[Lee] Well, that's why.
350
00:19:57,572 --> 00:19:58,992
[Kristoff] ♪ I'm lost in the woods ♪
351
00:19:59,074 --> 00:20:00,204
Oh, my God.
352
00:20:00,283 --> 00:20:01,913
[Kristoff] ♪ Lost in the woods ♪
353
00:20:01,993 --> 00:20:02,993
-Well.
-[Sklar] Is that...
354
00:20:03,078 --> 00:20:05,038
I hope you get another shot
after this. No.
355
00:20:05,121 --> 00:20:06,751
-[Buck laughs]
-We'll see.
356
00:20:06,831 --> 00:20:08,211
[Sklar] It's the number of reindeer.
357
00:20:08,291 --> 00:20:10,881
-It's also the transition out of this.
-No. Yeah.
358
00:20:10,960 --> 00:20:14,300
So it's figuring out what
that choreography is going to be
359
00:20:14,381 --> 00:20:15,671
and how we get in and out of it.
360
00:20:15,757 --> 00:20:18,507
Is it okay if I throw a thought out there?
361
00:20:19,010 --> 00:20:22,140
-Maybe he could be walking?
-That was awkward.
362
00:20:22,889 --> 00:20:25,849
Um, only because then
it'll make the transition
363
00:20:25,934 --> 00:20:28,694
-into him riding more natural.
-Yeah.
364
00:20:29,145 --> 00:20:31,305
[Walters] So it's almost
like he's doing, like, a--
365
00:20:32,023 --> 00:20:33,693
Just like a walk in place, like...
366
00:20:34,651 --> 00:20:37,781
Like, I'm just gonna keep going
until I find her.
367
00:20:37,862 --> 00:20:39,742
You know, like, that kind of a walk.
368
00:20:39,823 --> 00:20:42,533
I kind of really like that
'cause I think it helps
369
00:20:42,617 --> 00:20:46,157
to give this sense
of a power and an energy
370
00:20:46,246 --> 00:20:47,576
-that can lead into the riding.
-[Sklar] So he's--
371
00:20:47,664 --> 00:20:49,084
[Lee] Because part of me feels like,
372
00:20:49,165 --> 00:20:52,625
do you wanna do something abstract
where you feel he's gotta move?
373
00:20:52,711 --> 00:20:57,721
And then you just, almost like,
feel the rein-- the antlers come in.
374
00:20:58,341 --> 00:20:59,881
-Almost like a prop,
-Yeah.
375
00:20:59,968 --> 00:21:01,718
but then he's riding--
Do you know what I mean?
376
00:21:01,803 --> 00:21:03,513
It's almost like Sven comes
and picks him up
377
00:21:03,596 --> 00:21:04,886
-and takes him away. Like--
-[Lee] Yeah.
378
00:21:04,973 --> 00:21:11,353
I would love to see you try to do this.
Keep with this pace, with him singing.
379
00:21:11,438 --> 00:21:13,768
♪ Lost in the woods ♪
380
00:21:13,857 --> 00:21:15,607
-[Walters] Yeah. Yeah.
-You've got an energy.
381
00:21:15,692 --> 00:21:16,742
-[Buck] Yeah. Awesome.
-Awesome.
382
00:21:16,818 --> 00:21:18,028
-Thanks, Malerie.
-All right. Thanks, you guys.
383
00:21:18,111 --> 00:21:19,451
-Okay.
-Okay.
384
00:21:20,238 --> 00:21:22,738
[woman] Thank you.
All right. I think we're good.
385
00:21:22,824 --> 00:21:24,084
-Thank you.
-[man] Cool.
386
00:21:24,159 --> 00:21:25,619
-That worked out.
-Yeah.
387
00:21:25,702 --> 00:21:27,582
[chattering]
388
00:21:37,714 --> 00:21:42,224
This is me printing out
my daughter's math homework. [laughs]
389
00:21:42,302 --> 00:21:44,472
She's 15.
She's a sophomore in high school,
390
00:21:44,554 --> 00:21:46,064
and our printer broke at home,
391
00:21:46,139 --> 00:21:48,059
and she has a huge math exam,
and we have--
392
00:21:48,141 --> 00:21:52,441
and so, I got sent the link to print out
all the homework so she would--
393
00:21:52,520 --> 00:21:55,190
So I have to fit that in
[chuckles] during the day.
394
00:21:55,732 --> 00:21:56,732
[laughs]
395
00:21:57,734 --> 00:21:59,744
I am all a champion of single mothers
396
00:21:59,819 --> 00:22:02,279
'cause they are the hardest workers
in the world.
397
00:22:02,364 --> 00:22:06,414
And so for me with my daughter,
I am honest and prioritize,
398
00:22:06,493 --> 00:22:08,913
and she's in the dialogue with me.
399
00:22:11,414 --> 00:22:13,754
I have an incredible partner
who's a part of it.
400
00:22:13,833 --> 00:22:17,553
I have great support. So, I can't act
like I'm carrying it alone.
401
00:22:18,046 --> 00:22:19,956
But it's just, I think, um...
402
00:22:20,048 --> 00:22:24,178
women can do that,
but they have a right to prioritize
403
00:22:24,260 --> 00:22:27,220
and to ask for help
and to not have to be Superwoman.
404
00:22:38,983 --> 00:22:40,113
-You walking out?
-She's walking out with you.
405
00:22:40,193 --> 00:22:41,533
-Yeah. You're my peaches.
-Always.
406
00:22:41,611 --> 00:22:44,361
-I'll stay here and work hard. Bye, guys.
-[laughs]
407
00:22:44,447 --> 00:22:48,027
-[Lee sighs]
-[Hudson] Should we just go have martinis?
408
00:22:48,118 --> 00:22:49,408
[Lee] You don't have to tell me twice.
409
00:22:50,370 --> 00:22:51,750
We're really working hard.
410
00:22:51,830 --> 00:22:54,250
These are the 14-hour days,
six days a week.
411
00:22:54,332 --> 00:22:57,292
They'll go to seven
for a couple of weeks at the end.
412
00:22:57,377 --> 00:23:00,337
We try not to,
but we always end up there. Always.
413
00:23:00,880 --> 00:23:02,220
[Lee]
414
00:23:02,924 --> 00:23:04,474
[Hudson]
415
00:23:21,568 --> 00:23:23,278
I am a character technical director.
416
00:23:23,361 --> 00:23:28,161
I've been in charge of creating all
the rigs for the reindeers on Frozen II.
417
00:23:29,617 --> 00:23:31,947
And we create all these bones
and muscles and stuff,
418
00:23:32,037 --> 00:23:34,157
so we can make the character articulate
419
00:23:34,247 --> 00:23:37,747
and perform, not only on the body,
but also on the face.
420
00:23:39,711 --> 00:23:42,341
This is what we call the skeleton
of a character.
421
00:23:43,381 --> 00:23:47,181
As you can see, this is Elsa.
This is Sven.
422
00:23:47,260 --> 00:23:48,930
So the structure is very similar.
423
00:23:49,012 --> 00:23:51,102
The only difference, for example,
424
00:23:51,181 --> 00:23:56,021
Elsa has five fingers
and Sven has three hooves.
425
00:23:57,354 --> 00:24:00,024
On Frozen I Sven didn't talk at all.
426
00:24:00,815 --> 00:24:03,395
But the reindeers
are singing a song on Frozen II.
427
00:24:03,485 --> 00:24:05,275
So we have to just take a pass
428
00:24:05,362 --> 00:24:09,122
to make sure that all the reindeers
not only can express themselves,
429
00:24:09,199 --> 00:24:11,369
but also, like, sing and stuff.
430
00:24:11,451 --> 00:24:13,501
So that was quite a challenge.
That was quite a challenge.
431
00:24:14,287 --> 00:24:17,537
So we work very closely
with the animation team.
432
00:24:18,625 --> 00:24:19,915
It's like F1 racing.
433
00:24:20,377 --> 00:24:23,667
They are the ones driving the car,
but they have a team of mechanics,
434
00:24:23,755 --> 00:24:26,465
and we are in charge of making sure
that the driver,
435
00:24:26,549 --> 00:24:29,049
or the animators in this case,
they have everything they need
436
00:24:29,135 --> 00:24:33,255
to make the characters
sing and dance and cry and jump.
437
00:24:36,184 --> 00:24:37,274
-Have a good one.
-You too.
438
00:24:43,900 --> 00:24:45,400
[Walters] This is really embarrassing.
439
00:24:45,944 --> 00:24:47,744
[laughs]
440
00:24:47,821 --> 00:24:52,491
It's easier to animate, at least for me,
once I can get in front of a camera
441
00:24:52,575 --> 00:24:56,035
and just act out what Kristoff
is feeling in the moment
442
00:24:56,121 --> 00:24:58,711
and then just see how that translates.
443
00:24:58,790 --> 00:25:01,710
Um... Are you ready? [laughs]
444
00:25:01,793 --> 00:25:05,553
-[Kristoff] ♪ 'Cause you are mine ♪
-♪ You are mine ♪
445
00:25:05,630 --> 00:25:07,300
♪ Until then ♪
446
00:25:07,382 --> 00:25:11,392
-♪ I'm lost in the woods ♪
-♪ Lost in the woods ♪
447
00:25:11,469 --> 00:25:13,679
♪ In the woods
Lost in the woods ♪
448
00:25:13,763 --> 00:25:15,813
♪ I'm lost in the woods ♪
449
00:25:15,890 --> 00:25:18,390
[laughs] These are kinda placeholders
to make sure that,
450
00:25:18,476 --> 00:25:22,556
if I had a different performance
on each one, that it was gonna read.
451
00:25:22,647 --> 00:25:25,227
And I'm finding right now that some
of these head movements
452
00:25:25,316 --> 00:25:28,646
are just a little bit too subtle to read
because the reindeer are running.
453
00:25:28,737 --> 00:25:30,277
I'm having to change it a little bit.
454
00:25:30,363 --> 00:25:32,913
These guys are each
singing individual parts.
455
00:25:34,159 --> 00:25:38,079
So the reindeer on the right
have this audio.
456
00:25:38,163 --> 00:25:44,003
[Groff as reindeer] ♪ La La
Lost in the woods ♪
457
00:25:44,085 --> 00:25:45,665
So they're, like, high-pitched,
458
00:25:45,754 --> 00:25:52,014
and then the left reindeer
are the lower... "la's."
459
00:25:52,093 --> 00:25:58,393
[Groff as reindeer] ♪ La La
Lost in the woods ♪
460
00:25:59,017 --> 00:26:00,557
And then Sven...
461
00:26:00,643 --> 00:26:06,693
[Sven] ♪ Lost in the woods
In the woods ♪
462
00:26:08,026 --> 00:26:09,776
Jonathan Groff is amazing,
463
00:26:10,236 --> 00:26:13,906
and it's cool knowing that all these
really high-pitched, silly tracks,
464
00:26:13,990 --> 00:26:16,080
when they're all put together
sound like...
465
00:26:16,159 --> 00:26:19,039
[Kristoff] ♪ In the woods
Lost in the woods ♪
466
00:26:19,120 --> 00:26:21,410
♪ In the woods
Lost in the woods ♪
467
00:26:21,498 --> 00:26:23,118
♪ I'm lost in the woo-- ♪
468
00:26:23,208 --> 00:26:24,378
Like that. It's cool.
469
00:26:24,459 --> 00:26:25,879
It's really cool.
470
00:26:26,711 --> 00:26:29,801
Can't believe I just showed
that to you guys. [chuckles]
471
00:26:39,516 --> 00:26:41,976
[Del Vecho] We're only two weeks away
from our March screening.
472
00:26:42,060 --> 00:26:45,110
It's important, leading up to a screening,
that we get really organized
473
00:26:45,188 --> 00:26:47,018
so we recognize the work
that's left to do.
474
00:26:47,107 --> 00:26:48,727
There's a lot riding on this screening
475
00:26:48,983 --> 00:26:52,033
um, as every screening, but I think
we're feeling it a lot in this one.
476
00:26:52,112 --> 00:26:55,122
What's really crucial to us
is staying on time.
477
00:26:55,198 --> 00:26:59,868
Time is the big brick wall, and that's
the pressure leading into the screening.
478
00:26:59,953 --> 00:27:02,873
[Latham] I added a really scary red line
on our schedule.
479
00:27:02,956 --> 00:27:08,126
The new sketches we're gonna say we need
by the 22nd, which is next Friday.
480
00:27:08,211 --> 00:27:10,921
So we have a week and a half
to get everything done.
481
00:27:11,006 --> 00:27:14,006
So we're doing well and getting things
to Jeff for Friday.
482
00:27:14,676 --> 00:27:17,346
"Some things Never Change" is going
to be pitched tomorrow
483
00:27:17,429 --> 00:27:20,389
and I think we all feel pretty good
about that.
484
00:27:20,932 --> 00:27:22,482
That brings us to "Show Yourself,"
485
00:27:22,559 --> 00:27:25,349
which we all know
where we stand on that song.
486
00:27:25,437 --> 00:27:27,687
[Del Vecho chuckles] Marc's smiling.
Look at that smile.
487
00:27:27,772 --> 00:27:29,522
-[all laughing]
-No pressure, Marc.
488
00:27:30,150 --> 00:27:33,700
But you're-- You're trying to--
What are you trying to do?
489
00:27:33,862 --> 00:27:35,452
[all laughing]
490
00:27:35,530 --> 00:27:38,660
I feel like "Show Yourself"
is hanging by a thread, I think.
491
00:27:38,742 --> 00:27:40,372
-We'll see how it looks tomorrow.
-Okay.
492
00:27:40,452 --> 00:27:42,662
I haven't seen it yet all together, so...
493
00:27:42,746 --> 00:27:47,246
So I would anticipate there's some things
that are gonna change. So that'll put--
494
00:27:47,333 --> 00:27:49,923
-Some things never change.
-Yeah, this bunch, everything changes.
495
00:27:50,003 --> 00:27:51,883
-Some things always change.
-[Buck] Too true.
496
00:27:51,963 --> 00:27:53,553
-Yeah.
-[Latham] Yeah.
497
00:28:01,181 --> 00:28:02,771
-[Groff] Well, hello there.
-Well, hello there.
498
00:28:02,849 --> 00:28:04,099
How's it going?
499
00:28:04,184 --> 00:28:06,234
-Good, man. How you been?
-I've been good.
500
00:28:08,772 --> 00:28:11,782
We should get him saying
the whole "Will you marry me" to...
501
00:28:11,858 --> 00:28:13,068
-[Buck] We have it.
-[Del Vecho] Yeah.
502
00:28:16,488 --> 00:28:19,778
Leading up for the screening,
we tend to bring in the cast a lot.
503
00:28:19,866 --> 00:28:22,406
We're getting all the dialogue recorded
and cut in.
504
00:28:23,161 --> 00:28:25,911
The actors will do every line,
you know, 10, 20 times.
505
00:28:26,414 --> 00:28:31,714
Because until you hear their voices,
you don't know if the dialogue is right.
506
00:28:31,795 --> 00:28:33,505
I don't know if he can see us.
Can he see us?
507
00:28:33,588 --> 00:28:35,798
-Hello.
-[Buck] Hello, Mr. Groff.
508
00:28:35,882 --> 00:28:36,932
How is it going?
509
00:28:37,008 --> 00:28:38,838
We're running on fumes.
510
00:28:38,927 --> 00:28:40,177
[Groff] Are you? Bless.
511
00:28:40,261 --> 00:28:43,601
We won't take too much of your time.
This is more just like pickups.
512
00:28:43,682 --> 00:28:47,142
We just had a joke brainstorming session
right before this,
513
00:28:47,227 --> 00:28:50,017
and we wrote down a lot of stuff we
haven't even decided if we want to do yet,
514
00:28:50,105 --> 00:28:52,355
but if there's anything
that we can hit with you,
515
00:28:52,440 --> 00:28:54,570
I just want to make sure we get a chance.
516
00:28:55,235 --> 00:28:58,905
[woman] It's Jonathan Groff as Kristoff.
Sequence 160, slate 2543, take one.
517
00:28:59,447 --> 00:29:00,867
Tell me what's going on.
518
00:29:01,908 --> 00:29:03,328
I've been hearing this voice.
519
00:29:04,035 --> 00:29:05,445
You're hearing voices?
520
00:29:05,537 --> 00:29:07,617
Not voices. A voice.
521
00:29:09,332 --> 00:29:11,382
Is that better? Oh, I get it. Okay.
522
00:29:11,459 --> 00:29:13,289
Not voices, a voice.
523
00:29:13,753 --> 00:29:14,803
Is that better?
524
00:29:15,296 --> 00:29:17,086
[laughing]
525
00:29:17,173 --> 00:29:18,433
-That's it. So--
-[Buck laughs]
526
00:29:18,508 --> 00:29:20,088
-Those are awesome. We got it.
-Okay. Great.
527
00:29:20,969 --> 00:29:24,639
[Groff] The fun of being in the booth
with Chris and Jenn,
528
00:29:24,723 --> 00:29:26,313
who have written the movie,
529
00:29:26,391 --> 00:29:29,191
is that you get to kind of explore
in the moment.
530
00:29:29,853 --> 00:29:32,523
Because I feel so comfortable
with this team,
531
00:29:32,605 --> 00:29:37,235
it's so easy to just kind of roll
and let it fly and see what comes up.
532
00:29:37,318 --> 00:29:39,238
Will you marry me?
533
00:29:40,030 --> 00:29:41,820
-[Lee] That's the energy. Exactly.
-[Groff] Okay.
534
00:29:41,906 --> 00:29:48,116
Princess Anna of Arendelle,
my feisty, fearless, ginger-sweet love.
535
00:29:48,705 --> 00:29:50,325
Will you marry me?
536
00:29:51,291 --> 00:29:53,081
Will you marry me?
537
00:29:54,544 --> 00:29:56,964
Will you marry me?
538
00:29:58,298 --> 00:29:59,298
-[Lee] We got it.
-Okay.
539
00:29:59,382 --> 00:30:01,892
-Awesome.
-[laughs]
540
00:30:01,968 --> 00:30:03,178
-[Lee] Grazie mille.
-[Buck laughs]
541
00:30:03,261 --> 00:30:05,851
[Lee] And then we just have one more line.
542
00:30:05,930 --> 00:30:08,930
Sven walks up and just patronizingly says,
543
00:30:09,517 --> 00:30:12,517
in that voice, "That went well," and then
you tell him not to patronize you.
544
00:30:12,604 --> 00:30:17,574
[Groff] Jumping from Kristoff
to Sven feels insane when I do it,
545
00:30:17,650 --> 00:30:20,740
and I have to really, um, believe in it
while I'm doing it
546
00:30:20,820 --> 00:30:22,450
or else I just start laughing.
547
00:30:22,530 --> 00:30:27,580
I think a lot of people with their pets
do weird voices alone at home,
548
00:30:27,660 --> 00:30:30,370
but you would never do that publicly.
549
00:30:30,914 --> 00:30:32,294
[Groff as Sven] That went well.
550
00:30:33,124 --> 00:30:34,424
[Groff as Kristoff] Don't patronize me.
551
00:30:36,044 --> 00:30:40,174
Don't patronize me. Don't patronize me.
552
00:30:40,632 --> 00:30:41,842
-[Groff as Sven] That went well.
-[laughs]
553
00:30:42,258 --> 00:30:43,548
Don't patronize me.
554
00:30:43,635 --> 00:30:45,045
That went well.
555
00:30:46,304 --> 00:30:48,854
Try a couple more
where you actually say Sven's name.
556
00:30:48,932 --> 00:30:50,562
Well, that went well.
557
00:30:50,642 --> 00:30:52,312
Sven, don't patronize me.
558
00:30:53,937 --> 00:30:55,187
-Well, that went we--
-[Buck] Got it.
559
00:30:55,271 --> 00:30:57,691
-Okay.
-[Lee] Awesome. Okay. [laughs]
560
00:31:01,236 --> 00:31:02,236
[Lee] Thank you.
561
00:31:02,320 --> 00:31:03,660
-[Buck] Thank you, Jonathan.
-All right, thanks, guys.
562
00:31:03,738 --> 00:31:05,658
-See you later. Bye.
-[Lee] Thank you. See you.
563
00:31:05,740 --> 00:31:07,240
-Okay.
-[Lee] Love you, bye.
564
00:31:14,874 --> 00:31:18,094
In a couple weeks
we have our fifth screening out of six.
565
00:31:18,169 --> 00:31:21,719
We are about 22% animated.
566
00:31:21,798 --> 00:31:25,088
But this is
the most precarious place to me,
567
00:31:25,176 --> 00:31:29,676
because a lot of songs have come in
since December, which is incredible,
568
00:31:29,764 --> 00:31:32,984
but we're still struggling
with "Show Yourself."
569
00:31:39,274 --> 00:31:40,824
[Anderson-Lopez]
So "Show Yourself" is in flux.
570
00:31:40,900 --> 00:31:44,990
We've spent the last 24 hours
trying to get the front right
571
00:31:45,071 --> 00:31:47,241
by bringing it to a softer place.
572
00:31:47,824 --> 00:31:51,124
Because she's just come
from this high adrenaline moment,
573
00:31:51,536 --> 00:31:55,456
we have to use the song to bring us
to a new energy,
574
00:31:55,540 --> 00:31:58,630
um, which is what we
were trying to respond to, is--
575
00:31:59,169 --> 00:32:02,009
Rather than have her come in with--
576
00:32:02,088 --> 00:32:05,718
-Aggressively.
-Aggressively with both guns blazing,
577
00:32:06,259 --> 00:32:12,019
that it's more of a deep recognition
and arrival at--
578
00:32:12,098 --> 00:32:14,598
Feeling like she's finally
where she belongs.
579
00:32:14,684 --> 00:32:17,654
So there's like a moment
of awakening, almost,
580
00:32:17,729 --> 00:32:20,229
when the song starts, and...
581
00:32:20,315 --> 00:32:22,565
-I mean, I can even play--
-Yeah. I think we should play it.
582
00:32:22,650 --> 00:32:25,820
Why don't you play it on there?
That's even-- Get the live version.
583
00:32:25,904 --> 00:32:27,414
[Lopez] The original started off--
584
00:32:28,365 --> 00:32:33,155
[Anderson-Lopez] ♪ Show Yourself
It's your turn ♪
585
00:32:33,703 --> 00:32:40,213
♪ You are the one I've been looking for
All of my life ♪
586
00:32:40,293 --> 00:32:46,763
♪ So show yourself
I'm ready to learn ♪
587
00:32:46,841 --> 00:32:49,511
-[Lopez] Whatever.
-So, anyway, it felt a little like,
588
00:32:49,594 --> 00:32:51,814
-"Elsa's really coming in hot there."
-[Lopez laughs]
589
00:32:51,888 --> 00:32:56,598
Elsa's going in really aggressive,
and it's not justified.
590
00:32:56,685 --> 00:32:58,725
So we went back to the drawing board
591
00:32:58,812 --> 00:33:02,152
and tried to build the song organically,
so this is what we did.
592
00:33:02,732 --> 00:33:04,652
[melody playing on piano]
593
00:33:04,734 --> 00:33:05,994
[Anderson-Lopez]
♪ Show yourself ♪
594
00:33:06,069 --> 00:33:07,449
So she's going in gentle.
595
00:33:07,529 --> 00:33:12,279
♪ I'm dying to meet you
Show yourself ♪
596
00:33:12,367 --> 00:33:13,697
To the voice.
597
00:33:13,785 --> 00:33:15,655
♪ It's your turn ♪
598
00:33:15,745 --> 00:33:16,955
Asking it as a question.
599
00:33:17,038 --> 00:33:23,998
♪ Are you the one I've been looking for
All of my life? ♪
600
00:33:25,171 --> 00:33:30,971
♪ Show yourself
I'm ready to learn ♪
601
00:33:32,929 --> 00:33:34,719
So anyway, that's where we are.
602
00:33:34,806 --> 00:33:37,676
We're about to show it to Jenn and Chris.
I hope they like it.
603
00:33:37,767 --> 00:33:40,767
I hope that this helps us solve
where we're going.
604
00:33:46,026 --> 00:33:47,896
For me, it's also musically clunky.
605
00:33:47,986 --> 00:33:50,566
I don't want to second-guess Bobby,
because he's brilliant at that stuff.
606
00:33:50,655 --> 00:33:54,445
Don't think we've found
a reason to keep it in.
607
00:33:54,534 --> 00:33:58,464
Maybe we'll come up with
some brilliant visual that just sells it.
608
00:33:58,538 --> 00:34:00,118
-Yeah, Marc.
-[laughs]
609
00:34:00,206 --> 00:34:02,496
Yeah, you say "we,"
but none of us can draw.
610
00:34:02,584 --> 00:34:04,134
-Yeah.
-Well, ask Kristen.
611
00:34:05,003 --> 00:34:06,173
-Hi, Chris.
-Hi.
612
00:34:07,297 --> 00:34:09,587
-Can we talk? [laughs]
-[Lee laughs]
613
00:34:09,674 --> 00:34:11,684
It's not a good day for cameras.
614
00:34:11,760 --> 00:34:12,760
[Lee sighs]
615
00:34:14,095 --> 00:34:17,675
So Chris and I sat with
the song all night and morning.
616
00:34:17,766 --> 00:34:19,726
[Buck] Ah, yes. It took all night.
617
00:34:20,268 --> 00:34:21,348
To me, it wasn't adding up.
618
00:34:21,436 --> 00:34:23,766
-I liked all the separate elements...
-No, and it's confusing.
619
00:34:23,855 --> 00:34:25,725
-It's too confusing.
-...but it's not adding up.
620
00:34:25,815 --> 00:34:29,025
It's not emotionally adding up.
I'm not feeling anything.
621
00:34:29,110 --> 00:34:32,860
And then I turn on "Let It Go", and I'm
like [whooshes] I feel it. I'm into it.
622
00:34:33,615 --> 00:34:36,325
I turn this on again, I go... [groans]
623
00:34:36,409 --> 00:34:38,699
And something hit us both
at the same moment.
624
00:34:38,787 --> 00:34:43,247
What if this song is "I'm Home,"
not "Show Yourself"?
625
00:34:44,084 --> 00:34:45,884
I just feel like the hook is wrong.
626
00:34:46,586 --> 00:34:48,206
-Oh, 'cause it--
-That's the wrong hook.
627
00:34:48,296 --> 00:34:49,296
To me, it wasn't that.
628
00:34:49,881 --> 00:34:51,551
The hook is the essence of the song.
629
00:34:51,633 --> 00:34:54,553
You almost have to change the song,
if you're going to change the hook.
630
00:34:55,303 --> 00:34:59,313
I mean, the last thing we want to do
is change a song this late,
631
00:34:59,391 --> 00:35:02,311
but it can be done,
if that's what the story needs.
632
00:35:02,977 --> 00:35:04,767
[Buck]
Is it a reprise of "Into the Unknown"?
633
00:35:05,230 --> 00:35:07,020
-[Lee] That's an option too.
-With different lyrics.
634
00:35:07,107 --> 00:35:09,147
-[Lee] "Now I understand."
-Different lyrics.
635
00:35:09,234 --> 00:35:11,364
I think we also don't have
to decide that now.
636
00:35:11,444 --> 00:35:13,664
I think for today, for Bobby and Kristen,
637
00:35:13,738 --> 00:35:17,868
it just helps them transition to
this new idea a little more smoothly.
638
00:35:17,951 --> 00:35:19,041
Who's gonna do this?
639
00:35:19,911 --> 00:35:23,121
Uh, I don't know what
the right thing to do is.
640
00:35:23,206 --> 00:35:25,876
No, I don't--
We've never had this situation before.
641
00:35:26,543 --> 00:35:27,963
They can get mad at me.
642
00:35:31,214 --> 00:35:33,594
Yeah, I don't know. Um... Uh...
643
00:35:37,595 --> 00:35:39,345
[siren blares]
644
00:35:43,518 --> 00:35:47,018
[Lopez] They're particularly late today.
They must be discussing the song.
645
00:35:47,647 --> 00:35:51,357
All right. Let's see how this all unfolds
646
00:35:51,443 --> 00:35:54,653
and not try to read the future right now.
647
00:35:54,738 --> 00:35:56,528
-[Lopez] Yeah.
-Um...
648
00:35:56,614 --> 00:35:58,284
[line ringing]
649
00:36:00,035 --> 00:36:01,035
-Hello.
-Hi.
650
00:36:01,119 --> 00:36:02,119
[Lee] Hi.
651
00:36:02,203 --> 00:36:04,913
Now one of the things that came up
with Chris and I this morning
652
00:36:04,998 --> 00:36:06,578
that we both said at the same time,
653
00:36:06,666 --> 00:36:09,376
what would the song be
if she heard the call,
654
00:36:09,836 --> 00:36:13,126
and she broke through the mist,
and there was the glacier, and she goes,
655
00:36:13,214 --> 00:36:18,684
"Oh, I'm being called home. I--"
That's the moment she understands this--
656
00:36:18,762 --> 00:36:21,012
-This is a different idea. Yeah.
-[Lee] It's a different idea.
657
00:36:21,473 --> 00:36:25,193
I was exactly where you guys
are two weeks ago
658
00:36:25,268 --> 00:36:27,978
when I was like,
"I want to try writing another song."
659
00:36:28,063 --> 00:36:32,533
The problem is, anything that's like,
"I'm home. I'm arriving,"
660
00:36:33,151 --> 00:36:34,991
really feels like "Let It Go."
661
00:36:35,070 --> 00:36:37,820
I'm not saying it should be "Let It Go,"
I'm just saying "Let It Go" is her theme.
662
00:36:37,906 --> 00:36:40,446
What I'm emotionally missing
is the evolution.
663
00:36:40,533 --> 00:36:43,243
Obviously there's-- there's a piece of us
664
00:36:43,328 --> 00:36:47,078
that just worked on this song really hard
for the last 24 hours.
665
00:36:47,165 --> 00:36:51,795
-[Lee] Of course. Believe me.
-We don't want to be precious about it.
666
00:36:51,878 --> 00:36:53,338
And we could see the screening
and be like,
667
00:36:53,421 --> 00:36:55,671
-"It's not the right song, and it's out."
-[Del Vecho] Right.
668
00:36:55,757 --> 00:36:58,927
If we know it needs to be "I am home,"
669
00:37:00,095 --> 00:37:02,215
-We'll write, "I am home."
-[Lee] Yeah. We'll know.
670
00:37:02,305 --> 00:37:05,515
Right, right. You'll know. You'll know.
671
00:37:06,434 --> 00:37:10,694
But if it doesn't,
and we just write a boring song like,
672
00:37:10,772 --> 00:37:13,022
-"I am home," then it won't--
-[both laughing]
673
00:37:13,108 --> 00:37:14,818
That's a way to say it.
674
00:37:14,901 --> 00:37:16,701
-How do you really feel?
-[laughing]
675
00:37:16,778 --> 00:37:18,698
-How do you really feel?
-[all laughing]
676
00:37:19,948 --> 00:37:22,908
[Lee] Bobby and Kristen and I,
we're not afraid of hard truths.
677
00:37:22,992 --> 00:37:24,992
There's an unwritten thing of,
678
00:37:25,912 --> 00:37:29,832
"It's okay that you have to say
this to me, and I will listen."
679
00:37:30,333 --> 00:37:31,633
-All right. Bye.
-Great. Thank you, guys.
680
00:37:31,710 --> 00:37:32,920
-Bye, guys.
-Bye.
681
00:37:36,339 --> 00:37:37,339
[both chuckle]
682
00:37:37,424 --> 00:37:39,884
-Oh, well.
-[groans] It's all right.
683
00:37:40,552 --> 00:37:43,262
[Lopez] We don't feel like
it's gonna be solved for the screening.
684
00:37:43,346 --> 00:37:45,676
We never thought it was 100% solved,
685
00:37:45,765 --> 00:37:48,475
but we thought we would stick with it
until the song worked.
686
00:37:48,560 --> 00:37:51,940
But now it seems like they're agreeing
with us two weeks ago,
687
00:37:52,022 --> 00:37:55,232
saying like, "Maybe this isn't the song."
688
00:37:55,316 --> 00:37:57,816
If we can get some wins from this,
689
00:37:57,902 --> 00:38:01,912
we can rewrite a new-- we can write
a new song using some of what we have
690
00:38:01,990 --> 00:38:04,780
-and create a new hook.
-Yeah.
691
00:38:04,868 --> 00:38:07,248
I don't know if that pitch of, like...
692
00:38:07,871 --> 00:38:10,581
she gets there, she sees a glacier,
and she suddenly realizes,
693
00:38:10,665 --> 00:38:12,955
-"There's no person. This is a glacier."
-She's like, "It wasn't a person,
694
00:38:13,043 --> 00:38:15,883
-It's a glacier that's been calling me."
-"It's a singing glacier."
695
00:38:15,962 --> 00:38:18,132
I don't think
that's gonna make any sense at all.
696
00:38:18,214 --> 00:38:20,934
-Oh, a singing glacier!
-[laughs]
697
00:38:21,009 --> 00:38:24,049
-Who doesn't have that problem? [laughs]
-[laughs]
698
00:38:25,347 --> 00:38:29,057
I think the conversation went as well
as it could possibly go.
699
00:38:30,185 --> 00:38:31,435
Where did Marc go?
700
00:38:37,484 --> 00:38:39,994
[Smith] Now we've got a screening
in two weeks,
701
00:38:40,403 --> 00:38:44,493
but the decision's been made to go forward
to try to get it ready for the screening.
702
00:38:45,784 --> 00:38:50,044
Feels a little bit like the patient is on
the operating table,
703
00:38:50,121 --> 00:38:53,291
but we got one last shot
at bringing it back.
704
00:39:02,926 --> 00:39:05,926
[Lee] Whether "Show Yourself"
is the right song and can make it,
705
00:39:06,012 --> 00:39:08,562
there's a lot of debate going on
right now on that one.
706
00:39:09,099 --> 00:39:10,979
[Smith] There's a chance
it's gonna get thrown away.
707
00:39:11,059 --> 00:39:14,149
Almost all of our work gets thrown away,
and then we do it again.
708
00:39:14,938 --> 00:39:16,228
[Buck] So tomorrow's the screening.
709
00:39:16,314 --> 00:39:19,944
There is so much in production already.
We're 25% animated.
710
00:39:20,026 --> 00:39:24,986
But, for me, I think the song
"Show Yourself" is still a problem area.
711
00:39:25,073 --> 00:39:28,493
I don't know if it works yet
in this movie.
712
00:39:28,576 --> 00:39:32,406
Ask me after the screening how I feel.
Ask me after the notes session how I feel.