Running time 102 minutes Country United States Language English Budget $150 million Box office $1.276 billion Frozen is a 2013 American produced by and released. The 53rd, it is inspired by 's fairy tale '. It tells the story of a fearless princess who sets off on a journey alongside a rugged, his loyal, and a naive to find her estranged sister, whose icy powers have inadvertently trapped their kingdom in eternal winter. Frozen underwent several before being in 2011, with a screenplay written by, who also co-directed with. The film features the voices of,. Was hired to compose the film's orchestral score, while and wrote the songs.

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Frozen premiered at the in, on November 19, 2013, had a on November 22 and went into on November 27. It was met with positive reviews and praise for its visuals, screenplay, themes, music, and voice acting; some film critics consider Frozen to be the best Disney animated feature film since the.

The film also achieved significant commercial success, earning $1.276 billion in worldwide box office revenue, including $400 million in the United States and Canada and $247 million in Japan. It ranks as the, the, the, and the. It was also the highest-earning film with a female director in terms of US earnings, until surpassed by '. With over 18 million home media sales in 2014, it became the. By January 2015, Frozen had become the all-time best-selling in the United States. Frozen won two for and ('), the, the, five (including ), two for and ('Let It Go'), and two for and ('Let It Go').

An animated short sequel, premiered on March 13, 2015, an animated titled, premiered on November 22, 2017, and a feature-length sequel is set for release on November 22, 2019. Contents. Plot Princess of Arendelle possesses that allows her to control and create ice and snow, often using it to play with her younger sister,. After Elsa accidentally injures Anna with her magic, their parents, the King and Queen, take both siblings to a colony of trolls led by Grand Pabbie.

He heals Anna, but alters her memories to remove traces of Elsa's magic, warning Elsa that she must learn to control her powers. The King and Queen isolate both sisters within the castle.

Elsa shuts Anna out, causing a rift between them. Unable to learn to control her power, Elsa can only suppress her power, causing her to become more insecure. When the sisters are teenagers, their parents die at sea during a storm. When Elsa turns 21, she is to be crowned queen of Arendelle. She is terrified that the kingdom's citizens might find out about her powers and fear her. The castle gates open to the public and visiting dignitaries for the first time in years.

Among them is the scheming Duke of Weselton and the dashing of the Southern Isles, the latter of whom Anna falls in love with. Elsa's happens without a hitch, but she still remains distant from Anna. When Hans proposes to Anna, Elsa objects, accidentally unleashing her powers before the court; the Duke brands her a monster. Elsa flees to the North Mountain, where she builds a palace of ice in which to live a life. In the process, however, her suppressed magic engulfs Arendelle in an eternal winter.

Anna ventures out to find Elsa and end the winter, leaving Hans in command. She gets lost, collecting supplies at Wandering Oaken's shop.

She meets an named and his, convincing them to take her to the mountains. An attack by wolves leads to Kristoff's sleigh being destroyed. On foot, they meet, a cheerful brought to life unknowingly by Elsa, who offers to lead them to her. When Anna's horse returns to Arendelle, Hans sets out to find Anna and Elsa, accompanied by the Duke's minions, who have secret orders to kill Elsa. Reaching the ice palace, Anna meets Elsa, but when she reveals what has become of Arendelle, Elsa becomes upset, saying that she cannot undo it, and accidentally freezes Anna's heart. She then makes a giant snow monster named Marshmallow, who chases Anna, Kristoff, and Olaf away. Anna's hair begins turning white, so Kristoff takes her to meet the trolls, his adoptive family.

Grand Pabbie reveals that Anna will freeze solid unless 'an act of true love' reverses the spell. Kristoff races Anna back home so Hans can give her true love's kiss. Hans and his men reach Elsa's palace, defeating Marshmallow and capturing Elsa.

Anna is delivered to Hans but, rather than kissing her, Hans instead reveals that he has actually been plotting to seize the throne of Arendelle by eliminating both sisters. Hans locks Anna in a room to die, and then manipulates the dignitaries into believing that Elsa killed her. He orders the queen's execution, only to discover she has escaped her detention cell. Olaf frees Anna, and they venture into the outside to meet Kristoff, whom Olaf reveals is in love with her. Hans confronts Elsa outside, claiming that she killed Anna, causing Elsa to break down. Anna spots Hans about to kill Elsa; she leaps in the way and freezes solid, stopping Hans.

Devastated, Elsa hugs and mourns over her sister, who out, her heroism constituting 'an act of true love'. Realizing that love is the key to controlling her magic, Elsa ends the winter and gives Olaf his own snow flurry to survive the warmer climate. Both Hans and the Duke are arrested and exiled from the kingdom. Anna gives Kristoff a new sleigh, and the two kiss. Both sisters are reunited and Elsa promises never to lock the castle gates again. Voice cast.

Concept art from 's shelved film adaptation of first began exploring a possible live action/animation biography film of author and poet sometime in late 1937 before the December premiere of its film, the first feature-length hand-drawn animated film ever made.: 10 In March 1940, suggested a co-production to film producer, where would shoot the live-action sequences of Andersen's life and Disney's studio would animate Andersen's fairy tales.: 10 The animated sequences would be based on some of Andersen's best known works, such as,. However, the studio encountered difficulty with The Snow Queen, as it could not find a way to adapt and relate the Snow Queen character to modern audiences. Even as far back as the 1930s and 1940s, it was clear that the source material contained great cinematic possibilities, but the Snow Queen character proved to be too problematic.

After, the studio began to focus on, which caused development on the Disney–Goldwyn project to grind to a halt in 1942.: 10 Goldwyn went on to produce his own live-action film version in 1952, entitled, with as Andersen, directing, writing, and penning the songs. All of Andersen's fairy tales were, instead, told in song and ballet in live-action, like the rest of the film.

It went on to receive six nominations. Back at Disney, The Snow Queen, along with other Andersen fairy tales (including The Little Mermaid), were shelved. Later efforts. 'Hans Christian Andersen's original version of The Snow Queen is a pretty dark tale and it doesn't translate easily into a film. For us the breakthrough came when we tried to give really human qualities to the Snow Queen.

When we decided to make the Snow Queen Elsa and our protagonist Anna sisters, that gave a way to relate to the characters in a way that conveyed what each was going through and that would relate for today's audiences. This film has a lot of complicated characters and complicated relationships in it. There are times when Elsa does villainous things but because you understand where it comes from, from this desire to defend herself, you can always relate to her.

'Inspired by' means exactly that. There is snow and there is ice and there is a Queen, but other than that, we depart from it quite a bit. We do try to bring scope and the scale that you would expect but do it in a way that we can understand the characters and relate to them.' – Producer, on the difficulties adapting The Snow Queen In the late 1990s, Walt Disney Feature Animation started developing a new adaptation of The Snow Queen after the tremendous success of their recent films during the era (1989–1999), but the project was scrapped completely in late 2002, when reportedly quit the project and went on to work on another project which became (2010). Even before then, pitched his version of the story to Disney's executives, but was turned down., Dick Zondag and Dave Goetz reportedly all tried their hand at it, but failed.

After a number of unsuccessful attempts from 2000 to 2002, Disney shelved the project again.: 10–11 During one of those attempts, then-chairman and chief executive officer of, offered his support to the project and suggested doing it with Oscar-winning director at after the then-expected renewal of Pixar's contract with Disney. But negotiations between Pixar and Disney collapsed in January 2004 and that contract was never renewed. Instead, Eisner's successor negotiated Disney's purchase of Pixar in January 2006 for $7.4 billion, and Lasseter was promoted to of both Pixar and Disney Animation. The next attempt started in 2008, when Lasseter was able to convince (who co-directed the 1999 film for the studio) to return to Walt Disney Animation Studios from (where he had recently co-directed the Oscar-nominated 2007 film ); that September, Buck pitched several ideas to Lasseter, one of which was The Snow Queen.: 6,11 Buck later revealed that his initial inspiration for The Snow Queen was not the Andersen fairy tale itself, but that he wanted 'to do something different on the definition of true love.' 'Disney had already done the 'kissed by a prince' thing, so I thought it was time for something new,' he recalled. It turned out Lasseter had been interested in The Snow Queen for a long time; back when Pixar was working with Disney on in the 1990s, he saw and was 'blown away' by some of the pre-production art from Disney's prior attempts.: 6 Development began under the title Anna and the Snow Queen, which was planned to be traditionally animated. According to, he first became involved with the film at that early stage, when the plot was still relatively close to the original Andersen fairy tale and was going to play Elsa.

By early 2010, the project entered once again, when the studio again failed to find a way to make the story and the Snow Queen character work. Revitalization On December 22, 2011, following the success of Tangled, Disney announced a new title for the film, Frozen, and a release date of November 27, 2013.

A month later, it was confirmed that the film would be a computer-animated feature in, instead of the originally intended hand-drawn animation. Kristen Anderson-Lopez and Robert Lopez joined the project and started writing songs for Frozen in January 2012.: 44:00 On March 5, 2012, it was announced that Buck would be directing, with Lasseter and producing. After Disney decided to advance The Snow Queen into development again, one of the main challenges Buck and Del Vecho faced was the character of the Snow Queen, who was then a villain in their drafts.

The studio has a tradition of screening animated films in development every twelve weeks, then holding lengthy 'notes sessions' in which its directors and screenwriters from different projects provide extensive ' on each other's work. Buck and Del Vecho presented their storyboards to Lasseter, and the entire production team adjourned to a conference to hear his thoughts on the project. Michael Giaimo later acknowledged Lasseter as the 'game changer' of the film: 'I remember John saying that the latest version of The Snow Queen story that Chris Buck and his team had come up with was fun, very light-hearted. But the characters didn't resonate. They aren't multi-faceted. Which is why John felt that audiences wouldn't really be able to connect with them.'

The production team then addressed the film's problems, drafting several variations on The Snow Queen story until the characters and story felt relevant. At that stage, the first major breakthrough was the decision to rewrite the film's, Anna (who was based on the Gerda character from The Snow Queen), as the younger sibling of Elsa, thereby effectively establishing a family dynamic between the characters. This was unusual in that relationships between sisters are rarely used as a major plot element in American animated films, with the notable exception of Disney's (2002).: 13 To fully explore the unique dynamics of such relationships, Disney Animation convened a 'Sister Summit,' at which women from all over the studio who grew up with sisters were asked to discuss their relationships with their sisters.: 14 Writing In March 2012, one of the writers of, was brought in as screenwriter. Before Lee was brought on board, the efforts of the previous screen and songwriters had 'imploded',: 9:07 which allowed the songwriters 'to put a lot of their DNA' into the new script.: 30:32 The production team 'essentially started over.

Had 17 months,' which resulted in a very 'intense schedule' and implied 'a lot of choices had to be made fast'. According to Lee, several core concepts were already in place, such as the film's 'frozen heart': 'That was a concept and the phrase. An act of true love will thaw a frozen heart.' They already knew the ending involved true love in the sense of the between siblings, not, in that 'Anna was going to save Elsa. We didn’t know how or why.' Lee said, president of Disney Animation, told her early on about the film's ending: '. You have to earn that ending.

If you do, it will be great. If you don't, it will suck'. However, the final version differed sharply from the earlier ones.

In the original, Elsa had been evil from the start, kidnapping Anna from her own wedding to intentionally freeze her heart and later descending upon the town with an army of snowmen.: 8:42 'The whole second act was about Anna trying to get to Hans and to kiss him and then Elsa trying to stop her'. Buck revealed that the original plot attempted to make Anna sympathetic by focusing on her frustration as the 'spare' in relation to the 'heir'. The of the revised plot focused on musical comedy with less action and adventure. A breakthrough was the composition of the song 'Let It Go' by Lopez and Anderson-Lopez, which forced a reimagining of Elsa as a more complex, vulnerable, and sympathetic character.

In 's words, the songwriters saw Elsa not as a villain but as 'a scared girl struggling to control and come to terms with her gift'. 'Bobby and Kristen.started talking about what would it feel like to be Elsa', Lee said. 'And this concept of letting out who she is, that she's kept to herself for so long, and she's alone and free, but then the sadness of the fact that the last moment is she's alone'.

Del Vecho explained that 'Let It Go' changed Elsa into a person 'ruled by fear and Anna was ruled by her own love of other people and her own drive', which caused Lee to 'rewrite the first act and then that rippled through the entire movie. So that was when we really found the movie and who these characters were'. Another breakthrough was developing the that Prince Hans, having not even been in the first drafts, would be revealed as the true villain only near the end. Del Vecho said, 'if we were going to make the ending so surprising, you had to believe at one point that Hans was the answer.

when he's not the answer, it's Kristoff. If you can get the audience to leap ahead and think they have figured it out, you can surprise them by turning it the other way'. Lee acknowledged that Hans was written as ' and 'twisted'. 'It was difficult to lay the foundation for Anna's belated turn to Kristoff without also making Hans' betrayal of Anna too predictable, in that the audience had to 'feel. Her feeling something but not quite understanding it. Because the minute it is understood, it deflated.' In earlier drafts, Anna openly flirted with Kristoff at their first meeting, but that was changed after chairman pointed out that it would confuse and annoy viewers, since Anna was already engaged to Hans.

Lee had to work through how to write Anna's personality; some of her colleagues felt Anna should be more dysfunctional. Lee disagreed, but it took her almost a year to convincingly articulate 'this is what Anna's journey is. No more than that. No less than that.' In the end, Lee successfully argued for a simple, 'where she goes from having a naive view of life and love – because she's lonely – to the most sophisticated and mature view of love, where she's capable of the ultimate love, which is sacrifice'. Lee also had to let go of ideas that she liked, such as a scene portraying Anna and Elsa's relationship as teenagers, because they needed to maintain the separation between Anna and Elsa.

To construct Anna and Elsa's relationship, Lee found inspiration from her own relationship with her older sister. Lee called her older sister 'my Elsa' in an in the, and walked the red carpet with her at the 86th Academy Awards. Lee explained, 'having to. Lose each other and then rediscover each other as adults, that was a big part of my life'. The team also turned Olaf from Elsa's obnoxious into Anna's comically innocent one. Lee's initial response to the original 'mean' version of Olaf had been, 'Kill the f-ing snowman', and she found Olaf by far 'the hardest character to deal with'. The problem of how Anna would save Elsa at the climax was solved by John Ripa.

At the story meeting where Ripa pitched his take on the story, Lasseter said, 'I've never seen anything like that before', followed by a standing ovation.: 31 Along the way, the team abandoned a lot of the detail of earlier drafts, such as a troll with a to explain the behind Elsa's magical powers, and a for whom Lee was hoping to cast comedian These were excised because they amounted to a 'much more complex story than really we felt like we could fit in this 90-minute film'. As Del Vecho put it, 'the more we tried to explain things at the beginning, the more complicated it got'. Given Lee's extensive involvement in the development process, she was promoted to co-director by studio heads Lasseter and Catmull in August 2012, which was announced that November, making Lee the first woman to direct a full-length animated film from Walt Disney Animation Studios. 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'. By November 2012, the team thought they had finally 'cracked' the film's story,: 155 but according to Del Vecho, in late February 2013 it was realized that it still 'wasn't working', which necessitated more rewriting from February through June 2013. He explained, 'we rewrote songs, we took out characters and changed everything, and suddenly the movie gelled.

But that was close. In hindsight, piece of cake, but during, it was a big struggle.' Looking back, Anderson-Lopez joked she and Lopez thought they could have ended up working as 'birthday party clowns' if the final product 'pulled. Down' their careers: 19:07 and recalled that 'we were really writing up until the last minute'. In June (five months before the announced release date), the songwriters finally got the film working when they composed the song ', which, in Lopez's words, 'became the linchpin of the whole movie'.: 19:24 That month, Disney conducted of the part-completed film with two audiences (one of families and the other of adults) in, at which Lasseter and Catmull were present. Lee recalled that it was the moment when they realized they 'had something, because the reaction was huge'. Catmull told her afterwards, 'you did it'.

Casting Actress was cast as the voice of Anna on March 5, 2012. Lee admitted that Bell's casting selection was influenced after the filmmakers listened to a series of vocal tracks Bell had recorded when she was young, where the actress performed several songs from, including '. Bell completed her recording sessions while she was pregnant, and subsequently re-recorded some of her character's lines after her pregnancy, as her voice had deepened. Bell was called in to re-record dialogue for the film 'probably 20 times,' which is normal for lead roles in Disney animated films whose scripts are still evolving. As for her approach to the role of Anna, Bell enthused that she had 'dreamed of being in a Disney animated film' since she was four years old, saying, 'I always loved Disney animation, but there was something about the females that was unattainable to me. Their posture was too good and they were too well-spoken, and I feel like I really made this girl much more relatable and weirder and scrappier and more excitable and awkward. I'm really proud of that.'

Frozen is 'a bit of a feminist movie for Disney. I'm really proud of that. It has everything, but it's essentially about sisterhood. I think that these two women are competitive with one another, but always trying to protect each other – sisters are just so complicated.

It's such a great relationship to have in movies, especially for young kids.' –, on her impression of Frozen, a veteran, was cast as Elsa. Menzel had formerly auditioned for Tangled, but did not get the part. However, Tangled 's casting director, Jamie Sparer Roberts, preserved a recording of Menzel's performance on her iPhone, and on the basis of that, asked her to audition along with Bell for Frozen. Before they were officially cast, Menzel and Bell deeply impressed the directors and producers at an early; after reading the entire script out loud, they sang ' together as a duet, since no music had been composed yet. Bell had suggested that idea when she visited Menzel at her California home to prepare together for the table read. The songwriters were also present for the table read; Anderson-Lopez said 'Lasseter was in heaven' upon hearing Menzel and Bell sing in harmony, and from that moment forward, he insisted, 'Kristen Bell and Idina Menzel have to be in the movie!'

: 32:07 Lee said, 'They sung sic it like sisters and what you mean to me, and there wasn't a dry eye in the house after they sang.' Between December 2012 and June 2013, the casting of additional roles was announced, including as Kristoff, as the Duke of Weselton, as Prince Hans, and Josh Gad as Olaf. Animation Similar to Tangled, Frozen employed a unique artistic style by blending together features of both (CGI) and traditional hand-drawn animation. From the beginning, Buck knew Giaimo was the best candidate to develop the style he had in mind – which would draw from the best Disney hand-drawn classics of the 1950s, the Disney, and design – and persuaded him to come back to Disney to serve as the art director for Frozen.: 33 Buck, Lasseter, and Giaimo were all old friends who had first met at the,: 33 and Giaimo had previously served as the art director for Disney's (1995), which Buck had worked on as a supervising animator. To create the look of Frozen, Giaimo began pre-production research by reading extensively about the entire region of and visiting the Danish-themed city of near Los Angeles, but eventually zeroed in on Norway in particular because '80 percent' of the visuals that appealed to him were from Norway. Disney eventually sponsored three research field trips. Animators and special effects specialists were dispatched to, to experience walking, running, and falling in deep snow in a variety of types of attire, including long skirts (which both female and male personnel tried on); while lighting and arts teams visited an in, Quebec to study how light and on snow and ice.

Finally, Giaimo and several artists traveled to Norway to draw inspiration from its mountains, fjords, architecture, and culture. 'We had a very short time schedule for this film, so our main focus was really to get the story right but we knew that John Lasseter is keen on truth in the material and creating a believable world, and again that doesn't mean it's a realistic world – but a believable one. It was important to see the scope and scale of Norway, and important for our animators to know what it's like,' Del Vecho said. 'There is a real feeling of scope and scale to this,' he finished. During 2012, while Giaimo and the animators and artists conducted preparatory research and developed the film's overall look, the production team was still struggling to develop a compelling script, as explained above.

That problem was not adequately solved until November 2012,: 155 and the script would later require even more significant revisions after that point. As a result, the single 'most daunting' challenge facing the animation team was a short schedule of less than 12 months to turn Lee's still-evolving into an actual film.: 155 Other films like Pixar's had been successfully completed on even shorter schedules, but a short schedule necessarily meant 'late nights, overtime, and stress.' : 155 Lee estimated the total size of the entire team on Frozen to be around 600 to 650 people, 'including around 70 lighting people, 70-plus animators,' and 15 to 20 storyboard artists. Del Vecho explained how the film's animation team was organized: 'On this movie we do have character leads, supervising animators on specific characters. The animators themselves may work on multiple characters but it's always under one lead. I think it was different on Tangled, for example, but we chose to do it this way as we wanted one person to fully understand and develop their own character and then be able to impart that to the crew. Hyrum Osmond, the supervising animator on Olaf, is quiet but he has a funny, wacky personality so we knew he'd bring a lot of comedy to it; Anna's animator, Becky Bresee, it's her first time leading a character and we wanted her to lead Anna.'

Acting coach Warner Loughlin was brought in to help the film's animators understand the characters they were creating. In order to get the general feeling of each scene, some animators did their own acting. 'I actually film myself acting the scene out, which I find very helpful,' said animation supervisor Rebecca Wilson Bresee. This helped her discover elements that made the scene feel real and believable. Elsa's supervising animator was Wayne Unten, who asked for that role because he was fascinated by the complexity of the character. Unten carefully developed Elsa's facial expressions in order to bring out her fear as contrasted against Anna's fearlessness.

He also studied videos from Menzel's recording sessions and animated Elsa's breathing to match Menzel's breathing. Head of Animation, said, 'The goal for the film was to animate the most believable CG characters you've ever seen.' Regarding the look and nature of the film's, Giaimo was greatly influenced by work in. 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.' Work in was another major influence for Giaimo.

It was also Giaimo's idea that Frozen should be filmed in the widescreen process, which was approved by Lasseter. This marked Frozen the first film to be completely shot in CinemaScope since 2000's.

Giaimo also wanted to ensure that Norway's fjords, architecture and 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. 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. Another important issue Giaimo insisted on addressing was costumes, in that he 'knew from the start' it would be a 'costume film.' : 77 To realize that vision, he brought in character designer Jean Gillmore to act as a dedicated '. While traditional animation simply integrates costume design with character design and treats clothing as merely part of the characters, computer-generated animation regards costume as almost a separate entity with its own properties and behaviors – and Frozen required a level of as-yet untried detail, down to minutiae like fabrics, buttons, trim, and stitching.: 76 Gillmore explained that her 'general approach was to meld the (give or take), with the shapes and garment relationships and details of in early Norway, circa 19th century.'

This meant using primarily wool fabric with accents of velvet, linen, and silk.: 75 During production, Giaimo and Gillmore 'ran around' supplying various departments with real-world samples to use as references; they were able to draw upon both the studio's own in-house library of fabric samples and the resources of ' costume division in. The film's 'look development artists' (the Disney job title for: 58–59) created the digitally painted simulation of the appearance of surfaces, while other departments dealt with movement, rigging and weight, thickness and lighting of textile animation. 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.' Technology development.

An advertisement for the film on a at. Frozen was released theatrically in the United States on November 27, 2013, and it was accompanied by the new animated short film, The film's premiere was at the in Hollywood, California, on November 19, 2013, and had a five-day there, starting from November 22, before going into wide release. Prior to the film's release, Lopez and Anderson-Lopez's ' and 'In Summer' were previewed at the 2013; Idina Menzel performed the former live on stage. A teaser trailer was released on June 18, 2013, followed by the release of the official trailer on September 26, 2013. Frozen was also heavily at several Disney theme parks including, pavilion, and show; Disneyland and Epcot both offered sessions involving the film's two main characters, Anna and Elsa. On November 6, 2013, began releasing a line of toys and other merchandise relating to the film in and other retailers.

On January 31, 2014, a version of Frozen was released in 2,057 theaters in the United States. It featured on-screen lyrics, and viewers were invited to and sing along with the songs from the film. After its wide release in Japan on March 14, 2014, a similar sing-along version of Frozen was released in the country in select theaters on April 26. In Japanese-dubbed versions, Japanese lyrics of the songs appeared on screen for audiences to sing along with the characters. A sing-along version of the film was released in United Kingdom on November 28, 2014.

Home media Frozen was released for on February 25, 2014, on, the,. It was subsequently released by on and DVD on March 18, 2014. Bonus features for the Blu-ray release include 'The Making of Frozen', a three-minute musical production about how the film was made, '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, and; while the DVD release includes the Get a Horse!

Theatrical short, 'Let It Go' musical videos and the film's teaser trailer. On its first day of release on Blu-ray and DVD, Frozen sold 3.2 million units, becoming one of the biggest home video sellers in the last decade, as well as best-selling children's disc of all time.

The digital download release of the film also set a record as the fastest-selling digital release of all time. Frozen finished its first week at No. 1 in unit sales in the United States, selling more than three times as many units as other 19 titles in the charts combined, according to the sales chart. The film sold 3,969,270 Blu-ray units (the equivalent of $79,266,322) during its first week, which accounted for 50 percent of its opening home media sales. It topped the U.S. Home video sales charts for six non-consecutive weeks out of seven weeks of release, as of May 4, 2014. In the United Kingdom, Frozen debuted at No.

1 in Blu-ray and DVD sales on the Official Video Chart. According to, more than 500,000 copies of the film were sold in its two-day opening (March 31 – April 1, 2014). During its three first weeks of release in the United Kingdom, Frozen sold more than 1.45 million units, becoming the biggest-selling video title of 2014 so far in the country. Frozen has sold 2,025,000 Blu-ray Disc/DVD combo sets in Japan in 4 weeks, becoming the fastest-selling home video to sell 2 million copies, beating the previous record of 11 weeks.

Frozen also holds the records for highest number of home video units sold on the first official day of sales and in the first official week of sales in Japan. As of the end of 2014, the film earned $308,026,545 in total US home media sales. It is one of the best-selling home media releases, having moved over 18 million units as of March 2015. As of July 2018, Frozen is the biggest-selling Blu-ray in the United States of all-time with over 7.5 million units sold, narrowly beating.

Following an announcement on August 12, 2014, a sing-along of Frozen was released via DVD and digital download on November 18, 2014. Lawsuit against Phase 4 Films. Main article: Frozen was nominated for various awards and won a number of them, including several for Best Animated Feature. The song 'Let It Go' was particularly praised. The film was nominated for two at the and won for, becoming the first Walt Disney Animation Studios film to win in this category. It also won two for and ('Let It Go'), the at the (BAFTA), five (including ), and two for and ('Let It Go').

It received other similar nominations at the, and various critics' groups and circles. At the, the Frozen soundtrack won the for and was nominated for (with credits going to Christophe Beck as composer); the song 'Let It Go' won the award for, with credits going to Kristen Anderson-Lopez and Robert Lopez as songwriters and Idina Menzel as performer. Legacy Cultural impact.

Elsa and Anna doing a Meet and Greet at in 2013 During the spring and summer of 2014, several journalists observed that Frozen was unusually catchy in comparison to the vast majority of films, in that many children in both the U.S. And the UK were watching Frozen so many times that they now knew all the songs by heart and kept singing them again and again at every opportunity, to the distress of their hapless parents, teachers, and classmates. Among the celebrities who disclosed they were the parent of a Frozen-obsessed child are former UK prime minister, as well as actors,. When brought up this phenomenon with songwriters Lopez and Anderson-Lopez in an April 2014 interview on, they explained there was simply no way they could have known how popular their work on Frozen would become.

They were 'just trying to tell a story that resonated' and 'that didn't suck.' In May, columnist of Time magazine wrote about his young son Laszlo's frustration with the inescapable 'cultural assault' of Frozen at preschool and all social and extracurricular activities, and how he had arranged for a call with lead actress Bell after Laszlo began asking why the film was made. When Laszlo asked whether Bell knew when she made Frozen that it would take over kids' lives, she replied: 'I did not know that people would not let it go. No pun intended.'

In a December 2014 interview with The Hollywood Reporter, Lee acknowledged that she had transitioned from thanking people when they expressed their appreciation for Frozen to having to apologize when they said 'we're still listening to those songs' (with their children). Lee also said that she used the film and its strong female characters to inspire her own daughter, who had experienced bullying at school, and admitted that she herself as a child was bullied as well; thus, they had managed to be true to themselves like Anna and Elsa.

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In a 2014 mid-year report of the 100 most-used baby names conducted by, Elsa was ranked 88; it was the first time the name had appeared on the site's chart. Sarah Barrett, managing director of the site, explained that while the film's popular heroine is called Anna, 'Elsa offers a more unique name and is also a strong female role model.' Many parents revealed that their choices of name were 'heavily influenced' by the siblings. Vice president of Anna Hill later commented that 'We're delighted that Elsa is a popular name for babies and it's lovely to hear that for many families, it is actually their siblings who have chosen it,' and that 'Elsa's fight to overcome her fears and the powerful strength of the family bond' were relatable to many families. On 2014 year-end lists issued by, Frozen was the most searched movie of 2014.

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On the, Frozen and its soundtrack album were also named Movie of the Year and Album of the Year respectively, i.e. The best-selling title in their respective areas. Frozen was also the second-most illegally downloaded film title of 2014 via file sharing protocol, with around 30 million downloads. After Disney announced in March 2015 that a feature-length sequel was in development, and the both published stories gently mocking the horror of parents everywhere at the news that another Frozen 'sensory and financial assault' was in the pipeline. Franchise. The directors, composers, producers, and several of the film's stars at the ' Frozen FANdemonium: A Musical Celebration' presentation at the 2015 to celebrate the film's songs In January 2014, Iger announced that Frozen would be adapted into a Broadway stage musical. In the space of a single business quarter, Iger went from speaking of Frozen 's 'franchise potential' (in February 2014): 8,13 to saying that it was 'probably' one of Disney's 'top five franchises' (in May 2014).

The film's massive popularity resulted in an unusually severe merchandise shortage in the United States and several other industrialized countries in April 2014, which caused resale prices for higher-quality limited-edition Frozen dolls and costumes to skyrocket past $1,000 on. By the time the merchandise shortage was finally resolved in early November 2014 (nearly a year after the film's release), Disney had sold over three million Frozen costumes in North America alone. Wait times for the meet-and-greets at Disney Parks soon regularly exceeded four hours and forced management in February 2014 to indefinitely extend what was originally intended as a temporary film promotion. Disney Parks later put on a temporary event ( Frozen Summer Fun) at, then announced on September 12, 2014, that the ride at 's Norway pavilion would be closed and replaced with a, which opened in early 2016. On May 27, 2016, a live officially opened at the in Disney California Adventure, replacing the venue's previous show,. By August 2014, the publisher had sold over 8 million Frozen-related books. Tour operators, including, added more Norway tours in response to rising demand during 2014.

Meanwhile, the producers of (made by Disney-owned ) independently conceived of and obtained authorization from both ABC and Disney for a Frozen-inspired in the show's, which was first revealed at the end of the show's third season in May 2014, which was broadcast in fall 2014. On September 2, 2014, ABC broadcast The Story of Frozen: Making a Disney Animated Classic, a one-hour 'making of' television special. At the end of the special, Lasseter announced that the production team would be reuniting to make, a which debuted in theaters with 's on March 13, 2015. On September 4, 2014, presented the world premiere of a touring based on the film at in,.

During the airing of The Making of Frozen: Return to Arendelle on ABC, it was announced that a holiday special titled was in-production, slated for release in winter 2017. It was later revealed by in June 2017 that the 21-minute special would instead receive a limited time theatrical release. It premiered in theaters with 's on November 22, 2017, and made its television debut on on December 14, 2017. Sequel On March 12, 2015, Disney officially announced that a feature-length sequel to Frozen was in development with Buck and Lee returning as directors, and Del Vecho returning as producer. In a May 2015 interview, Buck said, 'We have lots of things to figure out but at least we know where we are going.'

In March 2016, Bell stated that voice recording for the film was due to start later in the month, but in September of that same year, she retracted her earlier comments as mistaken and explained that she had been working instead on other Frozen projects such as the upcoming holiday special. In April 2017, Disney announced that would be released on November 27, 2019. In July 2018, and were revealed to be in talks to join Frozen 2, while it was confirmed that Bell, Menzel, and Gad will reprise their roles in the sequel.

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In early 2018, discussions from within Disney Studios were publicized which centered on Elsa's possible development as a lesbian in Frozen 2. In fall 2018, it was announced that the release date was moved to November 22, 2019.

See also. References.