We thought this was our moment to write the '80s power ballad
we've always wanted to write.
♪ Who am I ♪
♪ If I'm not your guy? ♪
[Lee] We're still struggling with "Show Yourself."
We don't feel like it's gonna be solved for the screening.
It seems like, "Maybe this isn't the song."
I mean, the last thing we want to do is change a song this late,
but it can be done, if that's what the story needs.
[chattering]
[no audible dialogue]
[Del Vecho] Is Jenn-- Have you seen Jenn yet?
She's laying down.
Hi. You feeling okay?
All right. Good.
Is she coming? [chuckles]
No. She decided she's leaving this one for you.
-[chuckles] Okay, it's all-- -We're going to divide and conquer.
[Buck] This one's all mine. Okay.
Today is screening number five. Five of six screenings.
We're getting down to the wire here.
I don't particularly like the lull before the storm.
The screening's not till 10:30.
I came in at 7:30, and I don't know why I did that to myself.
Hopefully we have the movie, that we don't have to blow it up
and revise a lot of things.
There is so much in production already.
We're gonna do this? I guess we have to.
[Buck laughs]
-I didn't blame you this time. Yeah. -You signed up for it.
[Del Vecho] This is a critical screening for us.
Everything is at risk.
I would say Elsa's song, "Show Yourself," is a big moment.
We have some new songs.
One is "See The Sky," which is the way we introduce Mattias and the Northuldra.
That's new for this screening.
I think that's the area that still needs the most focus.
[Anderson-Lopez] This is always a scary part.
This is that moment where you see it all and really go,
"Okay. Did we do this right, or do we need to write a new song?"
Those are--
[Anderson-Lopez] Or cut a song.
We all had a nail-biter of a weekend,
-where my eye didn't stop twitching. -[chuckles]
And I'd had a moment of doubt with "Show Yourself,"
where I wanted to cut it back in February.
Now, the question is, will the whole movie add up to that song?
[Lee] You know it's gonna hurt.
I always look ahead to a week from now, and where the movie is going to go,
-from here to here, because of it. -Yeah. Yeah.
And then I just told everyone to keep texting me to breathe.
[chattering]
On Frozen I, we were, sort of, building with this, uh,
freedom of not having a million eyes on us, not having expectations,
and I think now I feel very exposed and very vulnerable.
[female and male singers] ♪ ...solution Suddenly our hopes are high ♪
♪ We almost see the sky... ♪
[Kristoff] ♪ ...Forever ♪
♪ Now I know you're my true North ♪
♪ 'Cause I am lost in the woods... ♪
[Elsa] ♪ ...hide Show yourself ♪
♪ I'm dying to meet you ♪
♪ Show yourself ♪
♪ It's your turn... ♪
[chorus harmonizing]
[applause]
-Nice. -We're getting there.
[Lee] Yeah.
[Lee]
[chattering, laughing]
This is the film, but yet there's room to keep making it better.
We have to talk about setting up "See The Sky."
What would you guys say is the main thrust of why that song is in there?
Basically, to add two more groups of people
that Elsa has to sacrifice herself for...
-Pressure. -...and to put pressure on Elsa.
But I think with the song having come in, that's the area, for me,
where I'm feeling like all the orders of events are making it really cluttered.
I'm like, "What's happening?"
Got it. We are trying to earn Elsa's journey with "Show Yourself."
and if there are any thoughts on that...
-Yes. Thank you. -I thought it was super successful.
I thought I was really, really excited when you guys got to that song
'cause I know there was a back-and-forth.
And I would maybe have a couple more spots earlier in the movie
-where she wants to find out who she is. -That's why I think we were leaning into,
"I'm being called by someone or some--" It's a spirit though. It's an entity.
[Del Vecho] So coming out of the screening,
"See The Sky" didn't land the way we hoped it would.
So clearly, there is more work to do there.
"Show Yourself" really landed the importance of that song.
I think we have a major question still to answer
in whose voice is it that's calling Elsa?
With "Show Yourself," I'm really stoked of where we are.
I think one of the things we wanna talk about too
is now you've seen the whole movie,
let's just look one last-- Let's work together.
[Anderson-Lopez] We should look at the ending.
-Something is not quite right. -[Lee] Something's a little off.
We need to change the ending of "Show Yourself."
We'll probably need to go in and change lyrics.
And then also the other complementary note
of the idea that Elsa is trying to find a person.
So "Show Yourself," it made it.
It's such a thrilling thing though,
'cause I think of all the songs in all of the Frozen,
from Frozen I to Frozen II, is the hardest one of all.
But there's a debate going on on who the voice is,
so we need to decide.
After we got all the notes for the screening,
Jenn went through and tried to implement the changes in the script.
She went through and tried to evaluate what would affect production immediately.
We got a lot of notes about "See The Sky."
Whether it's the right song.
Whether the tone of the song is correct for where we are in the movie.
[female and male singers] ♪ Our words and weapons do no good ♪
♪ You're the answer to a riddle ♪
♪ We never understood ♪
-[Mattias] She's just one person. -[Anna] Right?
As of now, we made the decision that "See The Sky" is out of the film.
So Jonny's gonna do the official alert.
Going through my process.
Just writing out a huge e-mail to the whole crew,
and just let them know that we're losing "See The Sky."
I do dark graying out of it all, and now it is out of picture.
[chattering]
[Buck] You'll be doing some of those today.
You'll be doing some that are just some pick-ups.
[Brown] Okay. No song today?
[Buck] No song.
"See The Sky" was conceived
to do some big story heavy lifting before it got cut.
Each rewrite makes the story a bit stronger,
so we have to bring the actors in to do those new lines.
-Hello. -[Lee] How are you?
-How're you doing? -I'm good.
-[laughs] Great to see you. -Good to see you too.
I was just explaining-- He said, "No song today?" and I went...
-[inhales, laughs] -[groans]
Song got cut.
-The song got cut. -What happened?
But this other song we thought was gonna get cut, didn't get cut.
I mean, the sad thing is, if this were a Broadway musical,
-it'd be fine because there'd be 22 songs. -Right. Sure.
[Brown] I was gonna sing a song. I had to sing for the audition.
My song got cut.
Maybe in Frozen III.
You trust that Jenn and Chris have an overall vision
for what the story needs to be.
And if it didn't fit in the story that they are now telling,
then you're like, "Okay, it didn't fit in the story."
But you mourn. You know, you're like, "Ah, that was so much fun."
And you're like, "Oh, well."
And then they come up with something else that's really, really fun.
Is it only the highlighted?
Yeah. But what we can-- It's only this-- We call them pick-ups. It's our pick-ups.
-Okay. -This is mostly a pick-ups pass.
-Do you have line ten there? -I do.
[Lee] So we're just softening it because--
[Brown] So, this is more just in awe of the situation?
Yeah, like you've literally fallen back.
-And you're in just complete shock. -Got it.
Just seen Elsa's powers and, again, she's someone from Arendelle.
-[Brown] Got it. -[woman] Sterling K. Brown as Mattias.
Sequence 210. Slate 2493. Take one.
[wheezes]
That was magic. Did you see that?
[panting, wheezes]
That was magic. Did you see that?
[panting]
-Louder? -[Lee] Just to shake it up to have--
Sure.
"Did you just see the coolest thing in the world that I just saw?"
-[Brown] "Did you see?" Yeah, yeah, yeah. -Just 'cause we've never tried it.
It's going. [wheezes]
That was magic.
Did you see that? [wheezes]
-[laughs] -[Lee laughs]
This thing that they call "efforting."
Like, it's all the running that the character does in the movie
and the jumping and the grasping and--
So you have to animate that, and you're running through the woods,
and you're like, [pants] "Yo. Man, that was tired."
[hums, inhales sharply]
[grunting]
[panting]
I've got her.
[pants, groans]
[grunts, exhales deeply]
[sighs]
-Cool. -[Lee] We got it. We got it.
-[Buck] Breathe, breathe. Breathe. -Yeah, don't faint.
[Lee laughing]
Look, this may not have it animated, but let's see what we got.
-Sure. -[woman] Some of it is. I saw.
[Kristoff] We'll meet you around.
[Anna grunts]
[pants]
Lieutenant Mattias.
Your Highness, what are you doing?
It's really cool because you can tell they used my face, right?
Like, the way that he'll smile sometimes or laugh,
and it'll have, like, these cheeks.
So I am tickled pink to be, um...
like, the first animated character that is of African descent in this world.
And it is interesting because when I watch it, it's like,
"Yeah, he fits. He belongs."
Ah, it's going to be good. It's gonna be a good movie.
Hey, good morning.
[Lee] We've had a major breakthrough on "Show Yourself."
-All right, so here we go. Are we ready? -[woman] Yes. [chuckles]
[Lee] Bob and Kristen called.
They have a new idea for how to handle "Show Yourself."
I think the key to cracking "Show Yourself"
really came with us finally making a decision about the voice.
Bobby and Kristen went back,
and they actually put a reprise in of the lullaby.
And so we all agreed definitively,
we're going to answer that the voice is the mother.
From the, "Ah," to the end of the song,
-and they sang it for me, and I cried. -Okay, cool.
-Oh, good. Yay. -[Del Vecho] I love it.
[Lee] The amazing thing is she steps in, and all the memories are there.
-[Del Vecho] Yeah. -And they sing,
♪ Where the north-- ♪
When this big chorus,
♪ Meets the sea There's a river full of memories ♪
Then it all goes down to the mother alone.
♪ Come, my darling, homeward bound ♪
[Smith] That's great. That gives me the chills.
And then Elsa breaks into tears, and then she just goes,
♪ I am found ♪
and then Show Yourself, and she becomes herself.
I mean, they do it in a better way than that.
-Oh, yeah. The mom, it brings it back. -That's great.
It's the lullaby, but that's where you know it punctuates it.
[Buck] That's awesome.
I get chills, 'cause the whole journey feels like it's all coming together.
[chorus] ♪ Where the Northwind ♪
-♪ Meets the sea ♪ -[angelic voice vocalizes]
-♪ There's a river... ♪ -[angelic voice vocalizes]
We started the movie off with this lullaby that Mom sung to the girls.
And now we're bringing it back in.
Right when Elsa needs her mother the most, she's still there for her.
I just love it. I guess, it unifies the movie in a way
that I feel is gonna be really powerful.
-[Lee] I never get to see you. -I know. How are you? Good to see you.
-Good. I'm so excited for... -Yeah. Hi.
-...having you on "Show Yourself." -[Buck] Right?
-Good to see you. -How's it going?
-Good. Good. Good. -Hi, everyone.
The next coolest thing to being a Disney princess is being a Disney mother.
So to be able to come and lend my voice to a Disney lullaby
is certainly one for the books. [chuckles]
♪ Ah ah ah ah ♪
Cool.
♪ Ah ah ah ah ♪
It's not just coming in and saying lines and getting it recorded.
I mean, we're all really on this journey with the characters
and trying to feel every moment and make things as authentic as possible.
I was just curious if there was anything to having her sing
one time, like, going into "Come, my darling, homeward bound."
[Wood] Working with Jenn as a female director,
she understands what goes on internally with young women and with mothers,
and so you do get some directions from her that you might not normally get
just because she's so connected to it.
[Lopez] Okay.
Hello, Evan.
-[Wood] Hi. -[Lopez] Hey.
-[Anderson-Lopez laughs] -[laughs]
-How's it going? -[Anderson-Lopez] Good!
We're so excited to get you on this.
Yeah. I'm excited too.
This solves the song. We're so grateful that you're gonna sing it.
I think there's things about both of the girls that everybody can relate to.
You know, they've been through a tremendous loss,
but they always are able to overcome the worst that life has to offer
because they have each other
and because they've had this incredible bond with their family
that carries on even after they're all gone.
That bond is just unbreakable, no matter what happens.
[chorus] ♪ Full of memory ♪
♪ Come, my darling, homeward bound ♪
[Elsa on recording] ♪ I am found ♪
-♪ Show yourself ♪ -[Elsa] ♪ Show yourself ♪
♪ Step into your power ♪
♪ Grow yourself Into something new ♪
♪ You are the one You've been waiting for ♪
♪ All of your life... ♪
-[Anderson-Lopez] I love it. Love it. -[Lopez] Loved the sound of that one.
-Thanks, you guys. -[man cheers]
Yay, Evan!
[man whistles] You don't need a touch-up. You're beautiful!
-That was incredible. -I started to cry.
-I was like, "Oh, my God." -[Wood] Oh, good!
[Iduna] ♪ Come, my darling, Homeward bound ♪
[Elsa] ♪ I am found ♪
The big thing about it now is we've got to build Ahtohallan, this glacier.
Instead of building a single ice palace, we're building an entire natural world
that will respond to her magically. [chuckles] So, it should be easy.
[laughs]
Ahtohallan has been incredibly challenging.
We are dealing with a glacier
which is, again, extremely grand and large in many ways,
not only in its exterior facade and in the interior.
We're dealing with properties of ice.
We're dealing with things that refract and reflect,
and how do we create that?
You can research in your office for days,
but until you go to the place and really see it for yourself,
you will not understand the impact that it might have.
Three years ago, we went to Norway, Finland and Iceland on a research trip.
The Dark Sea came directly out of a shoreline in Iceland. Directly.
In Iceland, we got the opportunity to walk on a glacier.
There was a power and an energy to standing on this glacier,
and to know was something crazy, 1,000 feet deep below us,
and this vibrant blue that reminded me of Elsa.
[cameraman] How's it going, Chris?
It was so incredibly haunting and mystifying.
And I think for Jenn, as a writer, standing there on the shores,
that's what you find out on a research trip.
That was a profound moment. It was profound for all of us.
[Lee] We just had this epiphany that this would be--
How would this make Elsa feel?
And it would be like-- It would be like coming home.
Her ice connecting with ice that was thousands of years old.
Ice that was of nature fully. It would speak to her.
It would probably be quite an emotional experience.
'Cause we were finding it emotional.
-[camerawoman] Jenn, what did you think? -It's good.
-Elsa would be proud. -[camerawoman] Aw.
We're now two and a half months, roughly,
roughly, from completion of this film,
and there is so much work to do on Ahtohallan.
[chuckles]
So much.
Let's take that out.
Ice wall itself is great.
I'm the art director of environments.
What we're doing is we're trying to create a couple of sequences for the movie
that take place inside and directly outside
this massive glacier called Ahtohallan.
Yeah. That's nice actually.
Is there any space behind them at all?
They're going into the wall at the bottom, but there is a bit of a slope.
I think what we should do is just push them back a little bit more into the wall.
-[Womersley] Just so we don't have as-- -So we don't see the space up here.
So they don't cast as big a shadow at the top.
So they still feel like they're a little separate.
And there are a lot of moving parts of which I'm one.
And, you know, that time is always ticking.
[clock ticking]
My team and I can finally make some decisions
on what the exterior of Ahtohallan is going to be
as Elsa approaches it from the Dark Sea.
Equally a challenge is the interior of it.
We enlisted Brittney Lee to come in and just give us much more detail.
[Brittney] The challenge is definitely finishing it in time.
I think everybody is, kind of, holding their breath
trying to figure out how we do it
because it's such a choreographed sequence including effects, including animation.
Everybody touches it in order to get it done in time.
We've always known that Ahtohallan would be a glacier,
but it wasn't until we had the song and we could hear what Elsa's going through,
that we had a better idea of what the space inside needed to be
and how she needed to move through it.
This is some design visual for Ahtohallan.
Okay.
Imagery that is evocative of-- Feels familiar. It feels like Elsa.
It's the ice palace language.
Because there is a section of the song that turns into Iduna singing the lullaby.
Which, for us, is the key moment.
-[Jenkins] Right, yeah. -[Giaimo] Okay.
This is the last real design challenge of the film.
-This has been... -Yeah. It's not a small one, no.
-This has been problematic from day one. -Yeah.
Trees and rocks seem so easy compared to this.
Yeah. Yeah, I was thinking that. Yeah, that's very cool.
-Thank you for that. -Thank you, Brittney.
-Thanks for doing it. -Thank you. Of course.
[chattering]
Today we're pitching our concepts for "Show Yourself" to Chris and Jenn.
I don't have a good sense of how this will land.
So, I'm a little nervous.
The overall take, on my end for most of this,
is that she's really being led by those lights
that you've seen in the past, that represent the elements,
and this is, sort of, their, "Hey. Welcome, Elsa. Come this way."
♪ Oh, come to me now ♪
♪ Open your door ♪
♪ Don't make me wait ♪
[Lee] It's beautiful.
♪ One moment more ♪
I fundamentally have believed in this moment where Elsa arrives at the glacier.
[chorus] ♪ Where the Northwind ♪
-♪ Meets the sea ♪ -[angelic voice vocalizes]
[Lee] She's at home with her powers and in nature.
I could feel how right that felt for her.
It's like she's coming home.
So I always knew this moment could be something beautiful and extraordinary.
[Elsa] ♪ I am found ♪
-[Buck] Oh, cool. -[Lee] So great.
'Cause those diamonds are then gonna form her dress,
so there's something about using the diamonds to create the spirits.
That then when they become part of her dress, that she's connected to them.
It's incredible.
-I haven't seen anything like this so far. -[Buck] Yeah, it's all connective tissue.
-I mean, it's beautiful. -It's lovely.
-[Lee] Thank you. -Yeah. Thank you.
-So beautiful. -Go, go, go.
[audience applauds]
[Lee] Elsa was such an interesting challenge
because she continued to put herself in situations
that made her carry more and more burden.
[yelps]
And then I look at these two sisters
and say how different they are from each other.
We have always feared Elsa's powers were too much for this world.
Now we must pray they are enough.
[sighs]
I won't let anything happen to her.
If you think of Anna now, in the first film, she's fearless.
She had nothing to lose, but now she has everything to lose.
You can't just follow me into fire.
You don't want me to follow you into fire, then don't run into fire.
And what does that feel like? How do you wrestle with that anxiety?
[sobs]
[sniffles]
I like warm hugs.
[sighs]
Anna is a lot sadder in this film than she is in the last film
so she's hitting a lot more brow shapes
that she really didn't hit a lot in the first film.
So, the human face, there's so many, like, muscles and nerves and everything,
and it's such a complicated, intricate system.
Then we have to actually really work with it a lot
to get it to simulate what a real human body does.
So, the brow comes down a lot,
then, at some point it starts building a bit of a little shelf here.
When I saw that they were really trying to take Anna to this place where
she has to fall so deep into herself,
and then, you know, how to dig herself out of it,
that was meaningful for me, in that I had a really bad struggle with depression.
I was in a really, really bad place,
and one of the people that was the biggest inspiration for me
during the really dark times is actually Kristen Bell.
♪ ...has a gravity It pulls me down ♪
[Kriger] Breathe. Then you have two beats after "tiny voice."
One, two.
[both] ♪ Whispers in my mind ♪
One, two, three.
[Bell] ♪ You are lost ♪
[Kriger] There you go.
When Anna thinks
everyone around her has perished,
she has to look inward and realize what else is there to live for.
And this mantra of "Do the next right thing"
came out of a conversation that Jenn and I had really early on
about my anxiety and depression.
[Anna on recording] ♪ You are lost ♪
♪ Hope is gone ♪
♪ But you must go on ♪
[sobs]
♪ And do the next right thing ♪
The first time, by saying, "You must go on and do the next right thing,"
it's not what she wants. It's not a mantra yet.
-[Bell] Yeah, yeah, yeah. Yeah. Totally. -And that's all.
And so that we feel how hard that is, and then even arresting the song
when the audience expects it to go for that moment of... [inhales]
-"It has a gravity. It pulls me down." -Yeah. Yeah.
[sighs] And you're like...
It may not be that in the-- I don't know if they wanna do that on the score, but--
It's cool though. It really makes you question whether she's shattered.
And I think "Do the next right thing,"
it really is for anyone who is feeling low and struggling
and does not know what to do.
Because the only thing you can do at those lowest moments is one step at a time.
-Wanna give it a try? -Yeah.
[Kriger] All right, here it comes. Bar 21.
[Anna on recording] ♪ Whispers in my mind ♪
♪ You are lost ♪
♪ Hope is gone ♪
♪ But you must go on ♪
♪ And do the next right thing ♪
Oh, my God. Okay.
-Okay. [sniffs] -[Buck] You all right?
♪ It's too much for me to take ♪
When I'm experiencing that,
for me, if I wake up and I'm feeling very low,
all I gotta do is step out of bed,
and then just, the next right thing is to brush my teeth.
And the next right thing is to go and have a cup of coffee.
And the next right thing is to wake my kids up.
♪ This next choice is one That I can make! ♪
[Bell] And I take those steps incrementally
when the world and its problems seem too big for me to handle.
Anna's the character for me
that always has this element of things I coped with growing up.
Things I've coped with in life that I never saw quite on screen
the way I wished I could've known as a child,
and so I talk a lot about Cinderella being that for me when I was bullied.
[Cinderella gasps] What? It's my...
Surprise! Surprise! Surprise!
And I put it on every day while I was doing homework,
or I'd have her voice in the background, and she was such a good person,
and it would say, "Don't believe the bullies. Don't-- You've got this."
[Fairy Godmother] Bibbidi-bobbidi-boo.
[Kriger] Okay, here we go. Take seven.
[Anna on recording] ♪ But a tiny voice ♪
[sobs]
♪ Whispers in my mind ♪
♪ You are lost ♪
♪ Hope is gone ♪
♪ But you must go on ♪
♪ And do the next right thing ♪
[sobs]
-[Lee] That was beautiful. -[man] Yeah.
[Lee] That, that hit it.
Thank you so much. It was amazing.
And it's a song that will affect me in my bones forever.
♪ And with the dawn ♪
♪ What comes then? ♪
♪ When it's clear that everything ♪
♪ Will never be the same again? ♪
♪ Then I'll make the choice ♪
♪ To hear that voice ♪
♪ And do ♪
♪ The next right thing ♪
[Lee] We built these characters from sitting in rooms
sharing our own personal journeys.
We built them from this very deep emotional place.
And one of the biggest inspirations, of course,
and something that has a huge impact on everyone,
was Chris's loss of his son, Ryder.
Sorry. That's hard to talk about.
[Buck] I lost my son on the first movie.
Right at the end of the first movie, he was killed in a car accident.
People were very excited about the movie,
and the wrap party was the weirdest thing for me.
One moment people would come up and say, "I love this movie,"
and then ten seconds later say, "And I'm so sorry."
And I got that all night.
It was the high, and the low,
and the high, and the low, and the high, and the low.
For me this-- The strength of Anna and the power of that song,
and how she does get up off the floor
and is able to put one step and just keep going
and do the next right thing,
that is a huge moment for me. It's very powerful.
When the Oscars came, they asked me and said,
"Do you wanna say something?" And I said, "Yeah. I do."
And finally, we'd like to dedicate this to our guardian angel,
that's my son, Ryder Buck.
-Thank you, Ryder. -Thank you.
Yeah, I just wanted to keep it very short, very brief.
And, but, yeah, sort of-- You know, I felt like he was looking out for us,
looking out for the movie.
[Shelley] This was Ryder's favorite spot.
He came up here and meditated, played his guitar, sang.
Well, we put his picture up here right after he passed,
and there are things that are here from then, so five and a half years.
Sometimes we'll come up here and there'll be coins and another little statue.
Yeah, this is Ryder's peak.
[Ryder Buck] ♪ Rowing out, with the tide ♪
[Buck] There was so much hope that he gave people. He was just one of those spirits.
We didn't know until after he passed how many people he had affected
and what he'd brought to the world.
I mean, we loved his music,
and we knew that he lit the place up when he was on stage, um...
but we didn't know how many lives he'd affected.
People with depression or that were suicidal,
and, you know, he brought 'em back.
I got those letters from those people.
Very sweet.
[Buck] Yeah.
It was, um... it was pretty amazing.
I know that, with Ryder, just one person, how he could touch all these people
and sometimes save a life.
And then, with this movie, with Frozen II,
Jenn was the one that, you know, she asked me was it okay
if we named one of the characters Ryder, and I said, "Of course."
-Name's Ryder. -Kristoff.
It's interesting as we've been developing Ryder
and even just within the past couple weeks.
Well, you're in luck. I know nothing about women.
We've given him more to do because he's a very light spirit.
He's a very positive character.
[as reindeer] Ready!
I could use a rehearsal.
I love love.
He's actually a really fun, really, like I said, kind of hopeful character.
I didn't know this. That's cool.
I wasn't gonna tell you, but now you know.
[laughs]
[Shelley] We've been getting ready for this for weeks.
This is in honor of my son, Ryder,
and the scholarship that we set up for him.
So it's a fundraiser.
It's a scholarship fund for people who are interested in music.
I think it's definitely a celebration of Ryder's life and his message
and how love can bring that out.
[chattering, laughing]
[Buck] I'm singing one of Ryder's songs.
It's actually the first song that he ever wrote.
Tonight we honor Ryder
but also all the recipients of the Ryder Buck Scholarship.
They are, and will be, doing exactly what Ryder is still doing tonight,
sharing the love through music.
I know that my son would be very proud of this movie and what we have all done.
And then my hope was that this movie will do what he did with his life,
and that it will give people hope.
You know, and I think that that's what a lot of Disney movies do...
give them that hope to move on.
[Lee] Chris and I have been directing partners since 2012.
We've gone through so much together as directors but also friends,
all of us really.
We have been there through losses, small triumphs,
and I think you become a family in your own way.
[Reed] If you're not listening to the music now or watching,
you guys should get up here soon
because Christopher Buck is about to embarrass himself.
♪ Eyes green like ocean waves ♪
♪ See me through those long days ♪
♪ Leave your light on, baby ♪
[band] ♪ Leave your light on, baby ♪
♪ Leave your light on, baby ♪
[band] ♪ Leave your light on, baby ♪
♪ You know my loving's free If you just ♪
[band] ♪ Leave your light on ♪
♪ I said my loving's free If you just ♪
[band] ♪ Leave your light on ♪
♪ I said my loving's free ♪
♪ You gotta keep your light on for me Yeah ♪
[cheering, applause]
[woman] Chris Buck!
[cheering continues]
["Leave Your Light On" by Ryder Buck playing]