{"id":96067,"date":"2020-10-23T18:00:16","date_gmt":"2020-10-23T15:00:16","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/olaf-is-back-film\/"},"modified":"2020-10-23T18:00:16","modified_gmt":"2020-10-23T15:00:16","slug":"olaf-is-back-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/olaf-is-back-film\/","title":{"rendered":"#Olaf is Back \u2013 \/Film"},"content":{"rendered":"

“#Olaf is Back \u2013 \/Film<\/strong>”<\/p>\n

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Posted on Friday, October 23rd, 2020 by Jacob Hall<\/p>\n<\/p><\/div>\n<\/p><\/div>\n

\"Once<\/p>\n

What happ<\/a>ened to Olaf the talking snowman in the window of time between his creation and his first meeting with Anna during Frozen<\/em><\/strong>? The new Disney short Once Upon a Snowman<\/em><\/strong> answers that question. It turns out that Josh Gad\u2019s warm hug-loving character had a bit of an adventure, full of hijinks and existence-defining moments. And according to directors Trent Correy<\/strong> and Dan Abraham<\/strong>, it was all inspired by Back to the Future Part II<\/em><\/strong>.<\/p>\n

Once Upon a Snowman<\/em> is streaming now on Disney+, so before or after you watch it, you can read our interview with the filmmakers, who shared their inspiration for the short, how they made Olaf work as a central character, and whether there\u2019s a bit of Looney Tunes<\/em> in their Disney character.<\/p>\n

When did you realize there was a story to be told here about Olaf\u2019s first day? Was it born from you two, or was it brought to you?<\/b><\/p>\n

Trent Correy:<\/strong> This story goes back to 2012. Frozen<\/i> was my first film to work on at Disney, and I was actually a crowds animator animating background characters, because it was my very first show. The animators were working on \u201cLet It Go\u201d at the time, and one of our animators, Chad Sellers, has that great shot of Elsa making Olaf. And then she just walks away, builds her ice castle, and keeps singing. I was sitting there thinking, \u201cThere\u2019s a story here.\u201d I\u2019m a fan of Pinocchio<\/i> and Bambi<\/i>. I want to see characters come to life and see the world for the first time. We don\u2019t see Olaf again until twenty minutes later in the film, when he meets Anna, Kristoff, and Sven. So I knew it was a story right away, and I kind of started writing down ideas and actually pitched it early on. But it wasn\u2019t until Disney+ came along that it really offered a platform for this short to be made. And Jennifer Lee, who had remembered that pitch from back in 2013, said, \u201cWhy don\u2019t we make this little Olaf short?\u201d And that\u2019s when I got paired up with Mr. Dan Abraham.<\/p>\n

So Dan, when you entered this, how was it pitched and presented to you?<\/b><\/p>\n

Dan Abraham:<\/strong> Just that Trent here had come up with this short back in the day. When I heard the premise of it, I was like, \u201cI want to see that short. I think that\u2019s a good sign that I want to know what that story is, and I\u2019d love to be partnered up with him and figure this thing out.\u201d Because the idea of seeing Olaf\u2019s first steps and seeing him not only come to life and try to figure out who he is and where he is, and \u201cOh my gosh, I\u2019m a snowman\u201d \u2013\u00a0all of that just felt like so much fun that I wanted to be a part of it.<\/p>\n

How do you split your duties as directors? Sometimes you see directing teams where one is the story person and one is the animation person. How did you divide the labor here?<\/b><\/p>\n

Trent Correy:<\/strong> Well, it kind of happened naturally. I came from the animation department, and I just supervised Olaf on Frozen 2<\/i>, and Dan comes from the story department and he had just finished the Olaf song in Frozen 2<\/i>. So the marriage just worked out, and there were things that I got to learn about the story process that I wasn\u2019t privy to before, like watching Dan and our other three story artists board, and then Dan got to watch the production pipeline.<\/p>\n

Dan Abraham:<\/strong> That was so cool. For Trent to give notes on story and for me to give notes on animation, it was like, \u201cYou\u2019ve got your chocolate in my peanut butter.\u201d It worked so well. A lot of times, one of us would say, \u201cI\u2019m not sure what the terminology here is, but there\u2019s something \u2013\u201c and we [understood each other]. It was a really great learning process for both of us, and we both fully embraced it and had a ball.<\/p>\n

There\u2019s a long tradition of seeing a famous tale from an alternate angle.\u00a0Did you take any inspiration from those kinds of stories? Was there a mental checklist of plays, movies<\/a>, or TV episodes that inspired this?<\/b><\/p>\n

Dan Abraham:<\/strong> For me, it\u2019s Back to the Future Part II<\/i>, when he goes back to 1955 again. I love that part of the movie and think it\u2019s so much fun, and it\u2019s got a flavor of that in Once Upon a Snowman<\/i>, for sure. We\u2019re seeing things from a new perspective, and there are near-misses. There\u2019s a lot of influence and moments from the first movie that are in our short.<\/p>\n

Trent Correy:<\/strong> I love Back to the Future<\/i> as well, but also, Pixar has done \u2013\u00a0I love Dug\u2019s Special Mission. That\u2019s a short I watched that\u2019s a great little behind the scenes from Up<\/i>. I remember as we were developing Once Upon a Snowman<\/i>, Avengers: Infinity War<\/i> came out, and there\u2019s that great behind the scenes of Chris Pratt dancing from Guardians of the Galaxy<\/i> with his music on from a different angle. We had already developed this short, and I sat there thinking, \u201cThis could work.\u201d<\/p>\n

In the Frozen<\/i> films, Olaf is used in small doses in ways that are really effective. But here, he\u2019s front and center. What were the pitfalls \u2013\u00a0and also, maybe the positives \u2013\u00a0of making Olaf a lead? What were things you had to watch out for to make sure he was suitable to take center stage?<\/b><\/p>\n

Trent Correy:<\/strong> I think you\u2019re right. I think the easy thing would be to make him talk all the time. Sometimes his quiet moments or his pantomime moments are just as special. So I\u2019ll hand it to Dan and Josh Gad who kind of know the character that way too. But I think involving Oaken as a character to play off. In the original pitch, Oaken wasn\u2019t as big of a character, and involving him in there gives you a bit of a break and time to enjoy the moment in the story.<\/p>\n

Dan Abraham:<\/strong> I think if the story was all madcap silliness and Olaf being wacky, I think that it wouldn\u2019t be as intriguing, it wouldn\u2019t be as fun to watch. But we\u2019ve got this side where Olaf is trying to figure out his identity, and he\u2019s on a mission. He\u2019s extremely optimistic about it, and he\u2019s positive like Olaf is, but the way that Josh Gad brings in that heart, like you were saying, and the humor and pathos, all that stuff, it makes for a character that\u2019s well-rounded enough. Even though, for the most part, he\u2019s the funny character, but he\u2019s very well-rounded, and he\u2019s not only watchable, but likable.<\/p>\n

This short runs a tight seven minutes, and I love that. I love when any movie of any length knows when to get in, tell its story, and get out. But what did you have to kill? What did you love that\u2019s not in this short, that had to be sacrificed to make sure you could have this pacing?<\/b><\/p>\n

Trent Correy:<\/strong> I think the length of it, because it\u2019s Disney+ and streaming, we\u2019re kind of just able to create a length that\u2019s right for the story. I\u2019m like you: I have \u2013 not a short attention span, but I like watching shorts that don\u2019t overstay their welcome. I think we have this great board artist named Seth Boyden, who probably storyboarded what could be a five minute chase sequence of hilarious gags that we\u2019ve never seen before with Olaf. The hardest part was probably trying to choose which ones we liked best.<\/p>\n

Dan Abraham:<\/strong> That\u2019s what I was going to say, too. He gave us so much gold, and to have to only choose the ones where you leave the audience wanting more, it was such an amazing job of having the action build and build and build. But other than that, there really wasn\u2019t a lot that we left on the cutting room floor. The story guided us as to how long it wanted to be. I wouldn\u2019t change anything, honestly.<\/p>\n

My favorite gag in the short is when Olaf\u2019s head attaches to his legs and starts running on its own. I\u2019m curious where you draw your inspiration. I know you\u2019re Disney guys, but I feel like there\u2019s a little bit of Looney Tunes in Olaf. Where do you draw from for those kind of sight gags?<\/b><\/p>\n

Trent Correy:<\/strong> I can start by saying that I grew up on the Looney Tunes shorts and Disney, so I love both. The nature of the character of Olaf, you give him to a story artist and say, \u201cDo a crazy chase sequence,\u201d and then you give him to an animator and say, \u201cGo to town and break him apart.\u201d What started off as sketches of, \u201cOh, it\u2019d be funny if he had these flamingo legs\u201d just ended up being a joy to watch animate. So, all those things you mentioned.<\/p>\n

Dan Abraham:<\/strong> Man, I grew up on Saturday morning cartoons and going to the movie theater to see Disney features. That\u2019s what lit me up my whole life, so I take such inspiration from the Looney Tunes and the Hanna Barbera and all that, but then in Lady in the Tramp<\/i> when Trusty gets hit by that dogcatcher wagon\u2026all that stuff. I\u2019m getting chills right now. I just live for that. It\u2019s just genius bits of silliness and poignancy. I love it.<\/p>\n

This is a short made for people who know Frozen<\/i> inside and out. Is that freeing to know that you can make the movie and know that people who are going to watch it are Frozen<\/i> fans, or is it difficult to have that hurdle? Is that the greatest barrier, or the greatest open door?<\/b><\/p>\n

Trent Correy:<\/strong> Well, I will say the greatest door opening is starting with \u201cLet It Go.\u201d Who doesn\u2019t know that song? That was always part of the original pitch: start with Elsa singing \u201cLet It Go,\u201d and get right into the story. I\u2019ll let Dan jump on this because he kind of led the way on the story side of this part, but because it\u2019s about Olaf trying to discover who he is and his identity, I think it\u2019s a very relatable and common story. Really, that other stuff was just kind of icing. I hope that anyone who hasn\u2019t seen the original movie will still be able to follow Olaf\u2019s search for his identity.<\/p>\n

Dan Abraham:<\/strong> Yeah, I think it\u2019s a standalone thing, but it was a lot of fun to know that the vast majority of the people that watch this are \u2013\u00a0my God, people have watched and re-watched Frozen<\/i> so many times that they\u2019re going to be looking for all those little moments. So to know that we were giving them that fun and that wink to the original, it\u2019s a lot of fun.<\/p>\n

Trent Correy:<\/strong> Plus, Dan and I are fans. So we\u2019re like, in the story room, \u201cOh, what if Olaf started the wolf chase? What if the wagon that crashes and blows up crushes his carrot?\u201d It\u2019s kind of fun to develop those ideas.<\/p>\n

That\u2019s a huge benefit. The people who are paying for Disney+ every month have seen Frozen<\/em>. They\u2019re going to know what you guys are shooting for here.<\/b><\/p>\n

Trent Correy:<\/strong> (laughs)<\/p>\n

Dan Abraham:<\/strong> Yeah, exactly.<\/p>\n

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