????然而，迪斯尼動(dòng)畫的確引入了皮克斯一項(xiàng)關(guān)鍵特征：他們讓導(dǎo)演（而不是工作室高管或動(dòng)畫主管）負(fù)責(zé)整個(gè)故事。不同于許多動(dòng)畫工作室，皮克斯讓導(dǎo)演決定敘事的弧線。技術(shù)被用來服務(wù)于故事敘述，而不是充當(dāng)電影的出發(fā)點(diǎn)。“迪斯尼動(dòng)畫過去是一家由行政高管驅(qū)動(dòng)的工作室，”拉塞特說?！艾F(xiàn)在，它是一家由電影制片人驅(qū)動(dòng)的工作室?！边@是一個(gè)重大轉(zhuǎn)變，迪斯尼動(dòng)畫耗費(fèi)了相當(dāng)一段時(shí)間才完成了這個(gè)轉(zhuǎn)變。它首先在電影《公主與青蛙》(The Princess and the Frog)使用這種制作權(quán)力框架，這部電影雖然深受評論界好評，但票房卻非常令人失望。2010年和2012年相繼推出的《魔發(fā)奇緣》(Tangled)和《無敵破壞王》(Wreck-it-Ralph)終于讓迪斯尼動(dòng)畫嘗到了甜頭，這兩部電影的票房收入和評論反響均超出了預(yù)期。娛樂分析師懷伯說：“迪士尼動(dòng)畫最近三年來接連制作出真正的好電影?！?/p>

????隨后，迪士尼動(dòng)畫工作室推出根據(jù)安徒生童話《冰雪女王》(The Snow Queen)改編而成的《冰雪奇緣》。其實(shí)，早在上世紀(jì)40年代，迪士尼公司就萌生了這個(gè)想法。當(dāng)初拉塞特（他最初就是在迪斯尼動(dòng)畫工作）回到迪士尼動(dòng)畫工作室的時(shí)候，他依然記得一系列描繪冰凍世界的畫作，并從儲(chǔ)藏室中把它們重新挖掘出來?！拔覐膩頉]有忘記那些畫，”他說?！澳切┊嬅婵胺Q美輪美奐，簡直令人難以置信。”拉塞特隨后向電影《泰山》(Tarzan)的導(dǎo)演，也就是在那段黑暗歲月里離開迪斯尼的克里斯?巴克展示了這些畫作，說服他重返迪斯尼。后來，他又引入了《無敵破壞王》的編劇珍妮弗?李，后者也是第一位執(zhí)導(dǎo)迪斯尼動(dòng)畫片的女性。《冰雪奇緣》的故事超越了時(shí)間概念（一個(gè)經(jīng)典的迪士尼故事理應(yīng)如此），同時(shí)又具備現(xiàn)代感——兩姐妹都是意志堅(jiān)強(qiáng)，具有現(xiàn)代敏感性的角色，而不是被動(dòng)地等候男士垂青的女性。

????《冰雪奇緣》的影響力遠(yuǎn)遠(yuǎn)超出電影院，從而使其成為伊格爾執(zhí)掌迪斯尼動(dòng)畫期間賴以成名的協(xié)同效應(yīng)的一個(gè)重要例證。這部電影的主角安娜和艾莎，以及雪人奧拉夫已經(jīng)成為最暢銷的玩具，在迪斯尼主題公園開發(fā)《冰雪奇緣》景觀將是另一個(gè)合乎邏輯的步驟。出自羅伯特?洛佩茲和克里斯汀?安德森-洛佩茲之手的電影音樂也非常適合在百老匯演出。就以我們家為例。拜我的女兒所賜，這部電影的歌曲，比如《隨它去》(Let It Go)和《你想堆雪人嗎？》(Do You Want To Build A Snowman?)，已經(jīng)成為我們?nèi)粘Ｉ畹谋尘皹贰?/p>

????接受《財(cái)富》雜志(Fortune)采訪時(shí)，伊格爾首次確認(rèn)迪斯尼公司正在就開發(fā)一部百老匯音樂劇進(jìn)行磋商，但并沒有設(shè)定具體的期限?！拔覀儾豢燎笏俣?，”他說?！拔覀円氖蔷媲缶钠焚|(zhì)?！?/p>

????伊格爾說，這部電影對員工士氣的帶動(dòng)作用很難量化，但非常重要。迪士尼動(dòng)畫再也不是老氣橫秋、屈居皮克斯之下的二等公民。珍妮弗?李說：“讓我倍感幸運(yùn)的是，我來到了一個(gè)把故事擺在創(chuàng)作過程首位的環(huán)境之中?！北M管一部電影的影響還無法撼動(dòng)迪斯尼公司龐大的營收根基（尤其是ESPN體育頻道成為它的利潤大戶以來），但動(dòng)畫片畢竟是，并且將永遠(yuǎn)是這家娛樂業(yè)巨頭的情感核心。伊格爾說，“如果從長遠(yuǎn)的角度來考慮迪斯尼公司的本質(zhì)，以及這一品牌的成功和活力等問題，那么這就是一個(gè)極其重要的事件?！笔俏易约旱脑颍€是因?yàn)樘煸絹碓脚土?？（?cái)富中文網(wǎng)）

????譯者：葉寒????

????They did, however, import one key Pixar attribute: They put the director, rather than the studio chief or the animation head, in charge of the story. Unlike many studios, Pixar lets the director determine the arc of the narrative. Technology is used in service of the storytelling rather than as its starting point. "It was an executive-driven studio," says Lasseter. "Now it's a filmmaker-driven studio." It was a major shift -- and one that took a while to catch on; first used with The Princess and the Frog, a well-reviewed film with disappointing sales, it began to catch hold with Tangled (2010) and Wreck-it-Ralph (2012), each of which outperformed financial and critical expectations. "Disney Animation has done three years in a row of really great stuff," says analyst Wible.

????Then came Frozen, based loosely on Hans Christian Andersen's The Snow Queen, an idea that had kicked around Disney since the 1940s. Lasseter, whose first job was at Disney Animation, remembered a series of paintings of a frozen world and dug them out of storage when he came back. "I never forgot those paintings," he says. "They were so incredibly beautiful." Lasseter showed them to Chris Buck, the director of Tarzan, who had left Disney in the dark years, and helped convince him to come back. Later, he brought in Jennifer Lee, a screenwriter on Wreck-it-Ralph who is also the first woman to direct an animated Disney feature. Frozen's story is both timeless, as a classic Disney tale should be, and modern (both sisters are strong protagonists with a modern sensibility rather than passive females awaiting a man).

????Frozen's impact goes far beyond the movie theater, making it a key example of the synergy Iger has become known for during his Disney tenure. Anna and Elsa, the lead characters in the movie, have already become top-selling toys, as has Olaf the snowman, and a Frozen attraction at Disney's theme parks would be another logical step. Its music, written by Robert Lopez and Kristen Anderson-Lopez, is a natural for Broadway. In my house, for example, the movie's songs, such as "Let It Go," and "Do You Want To Build A Snowman?" have become the soundtrack to our lives, thanks to my daughters.

????In his interview with Fortune, Iger confirmed for the first time that Disney is in discussions to develop a show, though there is no set time frame. "We're not demanding speed," he says. "We're demanding excellence."

????What this means for morale, says Iger, is harder to quantify, but also important. Disney Animation is no longer the frumpy second fiddle to Pixar. "I was very lucky that I came into an environment where the number one creative process is the story," Lee says. "It was like a startup because of this creative freedom and this energy." Although the impact of one film won't rock Disney's gargantuan bottom line -- especially since ESPN contributes so much of the profit -- animation is, and will always be, the emotional core of the business. Says Iger: "If you think long term about what Disney is and the success and the vitality of the brand, this is a very, very important event." Is it me, or is it getting warm in here????