La Reine des Neiges II [Walt Disney - 2019]

L'Oncle Walt a écrit:

[...]

On connaît enfin les 7 titres de la bande-originale de La Reine des Neiges II (qui sortira le 15 Novembre prochain)!

1. “All Is Found," performed by Evan Rachel Wood
2. “Some Things Never Change," performed by Kristen Bell, Idina Menzel, Josh Gad and Jonathan Groff
3. “Into the Unknown," performed by Idina Menzel (feat. AURORA)
4. “When I Am Older," performed by Josh Gad
5. “Reindeer(s) Are Better Than People (Cont.)," performed by Jonathan Groff
6. “Lost in the Woods," performed by Jonathan Groff
7. “Show Yourself," performed by Idina Menzel and Evan Rachel Wood
8. “The Next Right Thing," performed by Kristen Bell
9. “Into the Unknown," performed by Panic! At the Disco (end credits)
10. “All Is Found," performed by Kacey Musgraves (end credits)
11. “Lost in the Woods," performed by Weezer (end credits)

Tant de nouveautés aujourd'hui! J'adore tout ce qu'on peut entendre et voir dans ces extraits (en revanche, pas super fan de la nouvelle affiche, surtout à cause des visages) !
En voyant la liste des titres, j'ai un peu peur pour la version française. Je me demande comment certains titres seront traduits, et si Dany Boon et Donald Reignoux vont rester pour le chant dans ce film également, et si oui si ce sera à la hauteur si jamais les chansons sont complexes (vu le talent des chanteurs de la VO, habitués des grosses performances vocales). Pensée à Charlotte Hervieux et à toutes les Elsa à travers le monde qui vont devoir tenir les notes de leurs Into the Unknown  Très bon choix d'avoir pris AURORA, chanteuse norvégienne, pour faire "les voix surnaturelles" car elle a un timbre vraiment particulier et un univers qui évoque souvent la nature et le spirituel.

D'ailleurs, en parlant de version française, pour revenir sur le cas d'Anais Delva, elle fait vraiment de la peine, on sent que le choix a été fait à contre cœur (si c'est vraiment elle qui l'a prise). Mais peu de chance que ce soit à cause d'un collègue acteur, les voix n'étant que rarement enregistrées ensemble. Il est fort plus probable que le soucis vienne de tensions avec la direction artistique, de la direction des chansons ou encore de l'ingénieur du son qui sont là durant les prises, et s'il y a tensions avec l'un d'eux sur le plateau il devient bien complexe de jouer et faire passer les bonnes émotions, bref de travailler correctement (et c'est encore pire pour un rôle important et complexe). Enfin bon c'est ainsi désormais (sauf si Disney France se lance dans un redoublage partiel dont il a le secret, et là ce ne serait vraiment pas sympa pour Charlotte Hervieux).

Paquet de concepts-arts!



Jennifer Lee s'exprime sur la production de La Reine des Neiges II qui sera le premier film de la nouvelle ère Disney sous son "règne" et qui lui a donné les clés pour comprendre comment guider les studios et vers où elle souhaite emmener tous les prochains films.

Citation :

The making of “Frozen 2” (November 22) came at a tumultuous time for Disney Animation, as the film’s writer-director Jennifer Lee succeeded John Lasseter as chief creative officer. You could say that she went from being Anna to Elsa in her rise to the top. “But you don’t know if that’s a good thing or not — you haven’t seen the rest of the movie,” Lee told IndieWire, laughing, after introducing about 30 minutes of footage.

What we do know is the sequel to the Oscar-winning “Frozen” mega-blockbuster continues the adventures of siblings Anna (Kristen Bell) and Elsa (Idina Menzel) by unlocking the mystery of Elsa’s magical icy power and why their parents died in a shipwreck at sea. It’s all connected to an enchanted forest and the elemental forces of Air, Fire, Water, and Earth, animated in a dazzling display of effects and character work, joined together as never before at the studio.

Lee’s vision for the film came together during a research trip to Norway, Finland, and Iceland, where she and her team had a eureka moment about fairy tales and mythology tied to the sisters. “Anna is your perfect fairy tale character,” she said. “She’s an ordinary hero, not magical. She’s optimistic. Whereas Elsa is the perfect mythic character. Mythic characters are magical. They carry the weight of the world on their shoulders. In fact, the mythic characters often meet a tragic fate and we realized we had two stories going together, mythic story and fairy tale story. In the mythic aspect of it, the fear of that tragic fate is something that Anna’s been worrying about and must protect her sister from.”

Enchanted forests are places of great transformation, but first Elsa wields her icy power to skate across a raging storm during “Frozen 2’s” liberating musical version of “Let It Go” titled “Into the Unknown” (also composed by Oscar-winning songwriters Kristen Anderson-Lopez and Robert Lopez). It’s where she follows a haunting voice in her head and confronts the first obstacle to understanding the origin of her magic and how she must harness it against the more powerful forces of nature.

Yet while navigating enchanted forests and dark seas on “Frozen 2,” Lee began forging a new vision at Disney very different from Lasseter’s phenomenally successful, if autocratic, reign. She’s embraced greater inclusion, diversity, and collaboration. “We all balance for each other,” Lee said. “When I couldn’t be there in development on ‘Frozen 2,’  there were people juggling, which seemed impossible at times, but doing it, being there to help us the minute we needed it.”

The experience reinforced for Lee the importance of “teamwork and collaboration at the studio,” said Lee. “For me, I’m tired finishing a movie. I’m excited to take a break from the writing process and be helping others — give notes instead of take notes. But what’s been great was we put a plan together for what we wanted to do at the studio together and we’re executing that.”

That means opening up the process of how features are developed and greenlit and expanding the Story Trust with new creative voices. First, Lee’s greatest asset is her writing skill. “I very much believe in a lot of iterations and scripting earlier,” said Lee. “We are also boarding a lot sooner and not putting stuff on the slate until we feel ready, and that’s always the goal, but getting more time to mess around in the wonderful playground before committing. But we’re not compromising and, again, it has to be the best quality and it is never any easier. You can start sooner but still push just as hard.”

And, in the fall, Lee will introduce a group of new directors at Disney. Some have been mentored from within, while others have been recruited elsewhere. After all, that’s how Lee entered Disney when she was brought in by her old writing pal from Columbia University, Phil Johnston, to help out on “Wreck-It Ralph.” That eight-week gig blossomed into Lee’s phenomenal Happily Ever After at Disney. “It’s a wonderful group of filmmakers,” she added, “and some more diverse voices, and that’s exciting [for storytelling] and making our rooms have different perspectives, which is important.”

At D23, Lee introduced “Raya and the Last Dragon” (November 25, 2020), a Southeast Asian fantasy/adventure, directed by former animators Paul Briggs and Dean Wellins (“Big Hero 6,” “Frozen”), produced by Osnat Shurer (“Moana”), and scripted by Adele Lim (“Crazy Rich Asians”). It’s about lone warrior Raya (Cassie Steele) from the kingdom of Kumandra (five lands surrounded by a dragon-shaped sea), who teams up with a band of misfits to find the legendary dragon to save their kingdom from dark oppression. They discover Sisu (Awkwafina, from “Crazy Rich Asians”), a dragon trapped in a human body, and battle to bring light and unity back to their world.

“I’m excited for ‘Raya’,” said Lee, who enjoyed escaping the complexity of the story room to be able “to come in with outside perspective and help.” She’s bringing in Chris Buck, her directing partner on “Frozen” and “Frozen 2,” to be a part of the “Raya” Story Trust, which is evolving. “Obviously you have different projects and different writers,” she said, “and it’s great to get their voices in the room, but we try to keep the table at about 25, because there comes a point where the room becomes too big,”

Following up the “Frozen” phenomenon was daunting for Lee, who is still completing a few lighting shots on “Frozen 2.” Exploring the differences between Anna as the fun-loving extrovert and Elsa as the shy, tormented artist was important, and so was deepening the spiritual force of Elsa’s superpower. But the story still had to organically connect to “Frozen” in the way that “The Empire Strikes Back” connects to “Star Wars.”

“For us, what we discovered, as we were shaping this as one giant journey, was that there were so many things we would start and they would just lace themselves backwards mechanically,” Lee said. “There was the feeling that this story was always there. It was just waiting for us to uncover it. And ‘Frozen 2’ happens to be a mystery. It’s fun doing something different. And we sit at the end of the journey now and you look back at all the circuitous routes you took to get there. Whether the world responds to it or not, we did what we set out to do and that feels good.”

Interview complémentaire de Chris Buck, Jennifer Lee et Peter Del Vecho.

Citation :

There were plenty of business reasons why you could make Frozen 2. What was the moment you knew you should make one?

Jennifer Lee: "Want to" is better, because should you do a sequel is always a dangerous question, especially because expectations come with that. But the want I think, [was it] for us. It started with we'd done a short, almost a year later after finishing the film, and realized we missed the characters. Like we got emotional when we saw them animated. That was a clue but we still weren't there. But then [Paul] had done that trip and started hearing a lot about people relating to Elsa, wanting to understand her powers more, what happens to them now--

Paul Del Vecho: So many questions people had or things that they were interested in.

Chris Buck: It got our brains going too.

Lee: Yeah, we've been asking them too. So it was a little over a year after. I remember it was the holiday party of 2014. That's the moment. I remember it very vividly. We had just talked about it before going to the holiday party. "I want to go back," we both said.

Buck: And we had started to get excited about certain ideas. We had already talked about pretty much where we saw the characters could be at the end. And our ending is very much what we had originally talked about, which is great.

How much did the journey to that ending change?

Buck: A lot! [Laughs] It's earning that. We had the same thing with the first movie, and it's actually a great thing if you know your ending, because then you know your true north and it's just earning it. There's nothing more frustrating than not knowing where you're ending a movie and your characters just wander. It's tough enough when you do know your ending, but at least we had that. We had that pretty much from the beginning.

You've talked about these questions the movie will ask -- why Anna doesn't have powers, why Elsa does, where she got them from -- how many of those had you been thinking about before the first movie? How many answers did you already have in your pocket?

Lee: As a writer, I had never gone past the concept of Elsa wrestling with being different. Because the first film was so much about a character who is suffocating under fear -- her own fear and other people's fear of her -- I never thought past that moment when she's accepted. What does that feel like for her? And then the concept that there is more for her out there. Great, now you're accepted, but you have these powers for a reason. I hadn't been able to get there, because I was so caught up in her struggle with being different.

For Anna, it was so much about someone who had nothing to lose, so therefore she was ridiculously, dangerously fearless. But now she has everything, and what does that mean when you have everything to lose? Those two things I'd never thought of until we started talking. And then I started journaling and then we started going back and forth on these. Those two things were when we knew we had a lot more to tell and a lot of things to ask. But I hadn't asked them. I mean, the why, you could say, "When the stars aligned..." But at the heart of the first film, that wasn't what mattered. It was about a woman's struggle and with being different.

You very definitively said, "Elsa does not have a love interest in this movie." In the first movie, that was something that people found so refreshing. Was it something that was on the table or that you had to mull over for this one, whether you would introduce a boyfriend or a girlfriend or what have you?

Lee: For this film, we spent a lot of time journaling and we said we took these pretty intense personality tests [for each character]. We found this is a woman who wasn't ready for a relationship at all. She's carrying a lot of pressure and the weight of her kingdom on her shoulders and struggling with this call for her powers. That's where she was, so for us, it really hadn't come up in terms of what fit with where the story was going. And we knew the end we wanted for her. So it just didn't fit with where she was in her life. I don't know if it'll fit in the future. We haven't asked that question, and I'm not stretching past Frozen 2 about what happens to these characters in their lives! [Laughs] But it's just not where she was now.

"Let It Go" was the biggest song in the world. As you were approaching the music for this one, were there ways you wanted to stay true to what you had done musically in the first? Were there ways you intentionally wanted to venture out into new sounds?

Buck: Doing a musical sequel is a challenge unto itself. You don't necessarily have all the beginning songs -- which introduce characters' "I wants" and all that -- but we pitched it to Bobby [Lopez] and Kristen [Anderson-Lopez] and talked about the idea of Frozen 1 and Frozen 2 being a complete thought and almost one movie. You look at Frozen 2, then, as Act 2 of a Broadway musical. To them, that was really exciting and they could wrap their heads around that. And a lot of times in Act 2 of any musical, things get a little deeper, a little more emotional, maybe a little darker. That was all very exciting to us and it sort of was our guideline at that point.

It's not a bad problem to have, but you've set the bar very high for the music. How do you know when a song is right as a Frozen song?

Del Vecho: You can't answer that at the beginning. What we had to do is go back to the same way we made the first film. Start with the characters, the story we're trying to tell, let the story evolve and tell you what the songs need to be. That takes time, so you can't rush that process. And they've come up with seven very different -- from each other-- songs for this movie.

Buck: And like the first one, there were a lot of songs that didn't make the cut because the story evolved. The same thing on this one: the story evolved and there were songs that we did love, that we loved in the moment, we loved them for the month or two that they were in, and then suddenly it was like, "Oh, the story we're telling just doesn't support that anymore." So you have to make that painful decision of like, "We've got to take that out." But something stronger always comes in place of that.

When the movie was first confirmed at D23 a few years ago, I believe you referred to it as Frozen 2 but weren't sure if that would be the official title.

Del Vecho: We actually said that it wouldn't be that.

I didn't want to be so presumptuous to call you out, but yes. So how far did you get toying with other titles or alt titles before you decided on Frozen 2?

Lee: We played with a lot of titles and as the story evolved, we would test titles. The biggest thing that made us come back to Frozen 2 is when we were seeing that Frozen 1 and Frozen 2 felt like a complete thing, that it was like a chapter. Also, knowing there was Frozen Fever, there was a team doing the Olaf special for television and feeling like the blurring of the canon a little bit.

Buck: Even the name of the ride down there at Epcot. Frozen was used in several different ways.

Lee: Even the short, anything that was done peripherally wasn't canon to us. We didn't have to worry about that. Our job was to put these two films together seamlessly as one. So it just felt like, that's it. I also love that you could have the two look like an Anna and Elsa. They're sisters standing next to each other.

Del Vecho: In some respects, the world named the movie, because they referred to it, "When is Frozen 2 coming? When is Frozen 2 coming?" We wanted to let them know this isn't another ancillary project. This is the next movie.

Intéressant leur réflexion sur le titre du film (même si je continue à ne pas l'aimer) et sur le fait qu'ils se fichent des cartoons.

La voix d'Idina Menzel m'insupporte toujours autant. Ce détail mis à part, la chanson me semble avoir moins de potentiel "hit" que Let it go. Mais bien évidemment que la folie autour du film lui fera surement atteindre des sommets...

Je ne suis pas fan de into the unkown :/

Into The Unknown sera Dans un Autre Monde.

Aie ... La traduction est pas la meilleure mais c’est surtout les notes hautes qui vont pas du tout ... Et comme je le craignais elle n’a pas du tout le même timbre de voix qu’Anais Delva ... Dans le parlé c’est similaire mais Charlotte n’a pas du tout la même voiw quand elle chante. Elle fait beaucoup plus jeune et ça creuse encore l’écart entre l’âge d’Idina Menzel et la VF ...

Edit : quand je dis que les notes hautes vont pas c’est pas forcément Charlotte Hervieux le problème mais le mot « monde » qui passe pas je trouve.

Intéressantes ces interviews, je suis assez étonné qu'ils ne considèrent pas les courts-métrages "canons" alors qu'ils ont travaillés dessus. En espérant qu'il n'y ait du coup pas trop d'incohérences avec...

Je n'en reviens pas qu'ils aient gardé ce "jardin secret" x)

Je ne pensais pas entendre cette chanson en français aussi vite. Le peu qu'on peut entendre est assez rassurant je trouve. Au niveau de la traduction, ça semble plutôt bien trouvé. Même si je regrette de ne pas entendre Anaïs Delva, Charlotte Hervieux semble avoir fait du très bon travail, que ce soit au niveau de la continuité avec la voix précédente qui est assez similaire ou la performance vocale qui promet d'être impressionnante. Rassuré par cet extrait et bien curieux de l'entendre durant le film.

Je trouve que la voix de Charlotte Hervieux colle bien au personnage d'Elsa et ne s'éloigne pas trop de celle de Delva. J'ai même une petite préférence pour Charlotte Hervieux.
Niveau traduction c'est très bien trouvé et fait.
J'ai hâte de découvrir l'intégralité de la chanson.

J'ai encore quelques petits doutes quant au jeu parlé, mais pour ce qui est du chant, Disney a très bien négocié le virage suite au départ d'Anaïs Delva je trouve !

J'ai déserté ce topic depuis plusieurs semaines, car il y a beaucoup trop de spoilers à goût, mais je me devais de réagir à l'extrait "Into The Unknown".

J'adore déjà ! En quelques secondes, Idina Menzel a su encore une fois me donner des frissons et même la larme à l’œil.
Josh Gad a déclaré dans une interview que pour lui, les chansons de ce nouvel opus surpassaient celles du premier. C'est très intriguant !!

Je suis hypée comme jamais, donc je n'ai pas intérêt à tomber sur un spoiler sinon je maudis la personne sur 10 générations
C'est déjà compliqué au quotidien avec le merchandising qui commence à apparaître, les extraits et photos... J'ai l'impression qu'on a déjà vu toutes les tenues par exemple, c'est vraiment relou...

Je prie pour qu'il y ait une AP début novembre, comme pour le 1er film

J'évite de trop me spoiler pour ne pas me gâcher la découverte du film, mais plus je vois des images, plus je suis époustouflée et impatiente de le voir au cinéma !

J'avais adoré le premier opus, mais celui-là semble un cran au-dessus ! J'apprécie particulièrement l'idée du voyage en dehors d'Arendelle, et l'ajout d'éléments directement empruntés à la mythologie nordique. À chaque nouvelle bande-annonce ou trailer que je vois, je perçois une atmosphère toute particulière qui se dégage de ce film, qui me donne des frissons ! Le ton plus mature, plus sombre de ce film est bienvenu.

Au départ, j'ai été très déçue d'apprendre qu'Anaïs Delva ne doublerait pas Elsa : j'aime beaucoup son interprétation du personnage. Mais je suis plutôt rassurée en entendant cet extrait de la chanson Dans un nouveau monde : Charlotte Hervieux donne elle aussi une jolie voix à Elsa, qui me semble assez proche du timbre d'Anaïs Delva.

Il y a encore quelque temps, la sortie du film me semblait très loin, et puis je me rends compte qu'il reste moins de deux mois... Tellement hâte maintenant !

Passé la déception évidente de la première écoute, je me rends compte finalement que peu importe la chanteuse qui aurait eu la tâche d'interpréter un tel morceau, j'aurai râlé sur la version française.
J'ignore si c'est le manque de personnalité dans les voix, la direction des comédiens plus lissée ou la traduction plus boiteuse ("Gloire" se réfère à quoi exactement pour le personnage? "Monde" est bien plus difficile à faire tenir sur la durée, la troisième fois qu'on l'entend le montre bien, le cri semble forcé, exagéré, même par rapport au contexte de la séquence) mais là où Idina Menzel m'a filé les frissons dès les premiers mots, pas un poil hérissé en français. La faute ne revient pas à Charlotte Hervieux qui donne clairement tout ce qu'elle a mais juste à un ensemble de choses, ça plus le fait que le décalage entre la voix parlée et la voix chantée est assez perturbant (là où Anaïs Delva avait su moduler sa voix pour que la transition soit vraiment naturelle, après, on verra bien si ça passe mieux dans le film) et que j'ai plus l'impression d'entendre une chanson en off qu'un vrai personnage en train de chanter (là aussi, à voir si ce n'est qu'un avis faussé le mois prochain).

En fait, ça me rappelle juste que La Reine des Neiges et ses suites ne sont à voir qu'en VO si on veut en apprécier les subtilités et les moments forts, tant dans les interprétations que dans les textes.

il n'y a que moi qui entend un autre mande ? et pas monde ?

Oulala ça passe moins bien en français.
Je trouve ça moins fluide que la Vo.

Non non (nan nan...lol), il n'y a pas que toi jojo-web!

Triste que ça ne soit pas Anaïs Delva qui chante mais Charlotte Hervieux se débrouille bien même très bien.

jojo-web a écrit:

il n'y a que moi qui entend un autre mande ? et pas monde ?

Elle commence bien avec le son « onde » mais plus la voix monte plus ça se transforme en « ande ». Il y avait déjà quelques passages comme ça dans Libérée, Délivrée. Je pense que c’est justement a cause du son « onde » qui n’est pas des plus ouverts ...

Personnellement, la prononciation de "monde" ne m'a pas choqué. Mais il faut dire qu'au Québec les voyelles nasales (on, en, un) sont prononcées de manière beaucoup plus ouvertes, donc je dois être habitué.

Pour pratiquer un peu le chant, je peux vous dire que c'est tout à fait normal que le son "on" se transforme en "an". C'est tout simplement dû à la montée de la note. Plus la bouche est ouverte, plus la voix peut monter dans les aigus. Selon la forme de la bouche, le son n'est pas du tout le même. C'est donc une technique vocale de transformer les sons (c'est d'autant plus fréquent en français).

La bande originale française sera disponible dès le 15 Novembre en CD, LP et Digital. La version originale sortira quelques jours plus tard, le 17 novembre !

Nouvelles photos. La première se déroule durant Some Things Never Change et la seconde nous donne une idée des figures d'Olaf durant la scènes des charades

À l'issue du Frozen Fan Fest, nous avons maintenant les paroles de Some Things Never Change :

Spoiler:

une grosse partie ou tout le marchandising ?

https://www.youtube.com/watch?v=H-Cks6xwvmE