It's the same story, it's just the next chapter.
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So Frozen is act one Frozen II is act two. And so what we thought of at first is maybe this is act two of a larger arc to musical. These songs are very tailored for story beats.
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We were forging new territory and it was a little bit tricky because you would think, when you do a sequel, often you bring back musical themes, but we didn't want to retell old story beats. Robert Lopez: It's funny, we didn't even realize this until press time, but this is the first musical sequel Disney animation ever did. To circle back to sort of the beginning of approaching this project, what are some of the particular challenges of writing a sequel musical, a musical that is a SQL to a project you've already done? Robert Lopez: The culture has gotten a lot less sincere in 30 years.
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And something has been lost in the 30 years since then where I don't feel in a lot of male driven rock songs that empowerment to just go full on emotional. It was middle school, but we really wanted to honor the amazing thing that all of those musicians did, which was empower men to feel big feelings and express them. Kristen Anderson-Lopez: I think we did it. And when my 13 year old boyfriend, Sergio, broke up with me, I was listening to Bryan Adams and I'm in Chicago and all of those people, and we really wanted to honor. And here's the thing, I grew up totally loving those songs and living those songs. Kristen Anderson-Lopez: I think we just went down the 80s power ballad, rabbit hole. So not only is this a solo for Jonathan Groff, but it's actually 18 Jonathan Groffs to try and make up for the fact that we are ashamed and will be for the rest of our lives, that he didn't sing in Frozen One. And Bobby laid down like 18 different tracks and then Jonathan Groff did them 18 times. Kristen Anderson-Lopez: So that that allowed us to go to that stacked Queen meets Chicago kind of place, which was so much fun.
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And they said, "We're thinking maybe lots of reindeer singing harmonies." Sometimes they say, "Great, we're going to run with this for a little while and then we'll get back to you." And so they did with this and we had told them, "Let us know if you want us to add some harmonies to this song." There were no harmonies yet. Yeah, they got this idea that Sven would actually move his mouth and say those words, and I think that's the moment where we started to realize like, "Oh this is going to go off the rails in kind of a great way." What's so great is when we give a song to Disney, it's not necessarily in its finished form.
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That allowed the animators who basically-there was like one little note at the top of our lyric that said, "Feel free to take this to an eighties video kind of place." Kristen Anderson-Lopez: One of the things we had to do was give permission to go to this stylized place, which is where the reprise was really helpful cause it gave us this ramp that allowed us to go into fantasy for a second. That is the quintessential moment of, of the eighties and it just seemed to be perfect for Kristoff. We had never done this before, but where the distorted guitars kick in. Like a karaoke bar when you see those guys, and we thought maybe that would be this way to have fun, but also really feel the depth of his love for Anna. So then we found this other moment where he's been trying and trying and trying and he's just been left in the woods and we thought this was this great moment for him to feel his feelings in a real way and that there's nothing better than a man feeling his feelings in a real way at a bar.