Jennifer Lee has an infectious smile and is easily moved. As a child she was always drawing and dreamed of being part of the Walt Disney animation empire. She achieved it when in 2011 she was commissioned to co-write the script for Wreck-It Ralph. The success of the film led her to co-direct with Chris Buck the blockbuster Frozen, winner of the Oscar for best animated film and song. Six years later they would once again garner more applause with the long-awaited sequel Frozen 2, which surpassed its predecessor at the global box office.
In 2018, she replaced John Lasseter, who was accused of inappropriate conduct, and became creative director of Walt Disney Animation Studios. Last June, Lee went to Barcelona to present a preview of Wish: The Power of Wishes, a Spanish-inspired film that pays tribute to several of the most iconic titles from the House of Mouse, which celebrates its centenary in 2023. Lee is in charge of the script and executive production of the film, which premieres this November 24 under the direction of Chris Buck and Fawn Veerasunthorn.
How did the inspiration come from Spanish settings to build The Kingdom of Roses where the protagonist lives?
Spain is so inspiring… it is very culturally rich and diverse. Just as we did traveling to Norway for Frozen, the production design team fell in love with the Alhambra in Granada, the mosque in Córdoba or the Real Alcázar in Seville, which have served to create the magical world in which Asha lives.
He was commissioned to do the project five years ago. What has the process been like to make a film that would be a tribute to 100 years of Disney fantasy?
I remember it was interesting because Chris and I started talking and I mentioned it to Bob Iger (CEO). ‘Oh, well, it’s a very ambitious thing,’ he told us. At first he wasn’t going to participate, but then he signed up and it has been a lot of fun sharing ideas, celebrating the true essence of Disney with original material. And I think for Chris and I that was really important. Many other wonderful directors and storytellers collaborated with us early on while we were dreaming. We had so many fun ideas that we gave free rein to our imagination. But the idea of ??the Wishing Star was always there. At first we gave him a human appearance and saw that it didn’t work. So we changed the approach and the rest worked without a problem. It has been something very organic.
In both Frozen and Wish, music is very important. When writing the story, when do you know is the ideal time to introduce the songs?
Before starting to write you have to have everything well planned. I think that since I have worked with composers on several films I understand well in which scene it is time to sing. Because singing has to do with emotion. And even if it’s a silly emotion, the songs reveal character. They drive history in the way we construct our stories. So for me, when I’m writing, it’s important that I feel that emotion and then I talk to the composer. There is no established order when playing music. In Wish, the villain voiced by Chris Pine has his own wonderful song. All of that takes a long time and is a very fun dance.
Where does your love for animation come from?
Since I was a little girl I dreamed of being an animator, but the truth is that I’m not that good at drawing. My goal was always Disney. And, over time, as happens to all of us, we set challenges that we think we will not achieve and we let that dream go. So, when I received a phone call asking me if I could co-write the script for Wreck-It Ralph for eight weeks, I thought it couldn’t be happening to me. In the end those eight weeks turned into 12 years. And I would like to work at Disney forever.
Did you ever imagine the success that Frozen and later Frozen II would have?
I think I’m still processing it. He was such a wonderful and unexpected whirlwind. And I think what I did learn is that we always have to do stories the way we made them, which is to know what’s important, not what will happen. And that is what experience gives you. You have to get into the skin of the character, in the story. I like to learn from each person involved in the project. I know I write better now than I did a few years ago, but in some ways I also feel like I’ve just started. It’s not easy to process success. You are always hard on yourself when taking on the next challenge.
A few years ago one Disney movie was released a year, but now, with the platforms, more content has to be created. Do you feel the pressure of having to oversee everything?
Well, I think you adapt and learn. You have to be honest about what you think may or may not work. And for us, the most important thing is that we still make one movie a year. With Disney at the beginning it was like you could have many projects, but we have decided that we will do one series a year as well. You have to be careful because you want the quality to stay there and you have to find the right pace. We have created a studio in Vancouver that helps us with production and there is a lot of talent. Now we have a lot of new artists, great directors and a really diverse group of people. We work very well. We are excited about where we are. With this combination of veterans and new generations, the scripts come out better structured. I myself am seeing that change and that is what I am focusing on, making it easier for these artists to have the support and mentoring they need.
What are Disney’s new challenges?
I think many studies go through the same challenges. I want to commit to technological advances and, at the same time, to hand drawing, as we have done at Wish, where we have recovered techniques from the early days of Disney. For me, the most important thing is that we always move forward and that the next generation feels that we believe in them. In my particular case, I put myself at the service of the films and their directors. I want to help them put their vision on the screen. I don’t like to control or tell them how to do it, although I must be demanding if I see that the objectives are not achieved. I take my job very seriously. Too many times I have felt like the only woman in a room full of men, and that needs to change so I make sure there is room and opportunity for everyone.
What is your wish for Wish?
I hope it means a return of families to the cinemas. That’s why we made this film. The Star represents hope, imagination and possibility.
