Chris Buck & Jen­nifer Lee

Animation Magazine - - Awards Preview -

One of our movie’s big­gest mes­sages is the power of true love and the dif­fer­ent kinds of love that ex­ist. It’s an el­e­gant and sim­ple mes­sage and also hard to ex­e­cute. You have to do it in such way that it feels nat­u­ral and or­ganic and ac­cept­able from ev­ery­one’s per­spec­tive in the movie. Jen­nifer Lee: When we told Ed Cat­mull about the end­ing of the movie, he said we re­ally had to earn it. He said change ev­ery­thing if you have to, but you re­ally have to earn it. If you do, it will be great, but if you don’t, it will suck. We knew we had to cre­ate a much big­ger movie to re­ally earn our end­ing. On a piv­otal scene: Jen­nifer Lee: There’s a scene in the movie where Elsa builds her palace out of ice and sings her show­stop­per “Let It Go.” It was a very chal­leng­ing scene be­cause visu­ally, it could all look like plas­tic. At least 50 ef­fects artists and light­ing artists worked to­gether to cre­ate that long shot. It took 30 hours to ren­der one frame—that’s 4,000 com­put­ers ren­der­ing one frame at a time! The cre­ative drainage or break­age of that shot was phe­nom­e­nal, es­pe­cially to see that in this highly emo­tional mo­ment. It rep­re­sented ev­ery­thing that we did for the movie…that scene re­ally rep­re­sented the jour­ney of ev­ery mem­ber of our team, ev­ery depart­ment. Fa­vorite an­i­mated char­ac­ters or movies: Chris Buck: The first movie that I ever saw was Pinoc­chio, and soft in my heart. Jen­nifer Lee: I’m go­ing to ex­clude Frozen and Wreck-It Ralph be­cause they’re my ba­bies. The movie that re­ally had a big im­pact on me when I was a kid was Cin­derella. I got the book first and then saw the movie when it was rere­leased in the­aters. I had a tough childhood and it re­ally helped me to see how Cin­derella coped with things in her life when they were hard. She knew things could be bet­ter. I held on to her all my life. On the state of fea­ture an­i­ma­tion: Chris Buck: There’s a lot go­ing on so that’s very ex­cit­ing. As soon as we fin­ish our movie, we can look out of our hole and see what’s hap­pen­ing out there. The in­dus­try is healthy be­cause there are a lot of an­i­mated movies be­ing made by dif­fer­ent stu­dios. The au­di­ence loves an­i­mated movies. The top movies at the box of­fice each year are an­i­mated movies. It presents us with the chal­lenge to cre­ate movies that tell sto­ries that the au­di­ence hasn’t seen be­fore, that con­tinue to sur­prise and en­ter­tain them. I re­mem­ber when I got into the in­dus­try, there were very few an­i­mated movies. I be­gan my ca­reer on The Fox and the Hound. Back then, you had a Dis­ney movie ev­ery few years, and the other side of an­i­ma­tion was what we had on Satur­day morn­ings on TV. For me, ev­ery­thing has changed for the bet­ter tremen­dously. Jen­nifer Lee: An­i­ma­tion is a medium through which you can cre­ate any­thing, and tech­nol­ogy is con­stantly evolv­ing and giv­ing us new ways to reimag­ine the medium in ways that what we’re giv­ing the au­di­ence is al­ways some­thing that’s slightly dif­fer­ent than be­fore. As long as peo­ple never lose sight of the fact that the story has got to be fab­u­lous, the sky’s the limit. We just have to keep push­ing the story, and luck­ily we have John Las­seter who will push, push, push for the best sto­ries we can come up with.

it still has a soft

Di­rec­tors, Frozen On key mo­ments of in­spi­ra­tion: Chris Buck:

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