'Frozen 2' composers say music was 'very important' to the story

Executive music producer Tom MacDougall and composer Christophe Beck spoke to the "Inside Frozen 2" podcast.
39:15 | 12/11/19

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Transcript for 'Frozen 2' composers say music was 'very important' to the story
While I just south found last night that was something. For those very special music is key the answer kind of it now. There's just subtle smile. If we like to think that anyway he it it's funny we don't. We look at them all as one you know and not even part of two or anything like that and it's just trying to find its own voice and of course our job is to find the voice of the music in it and people I think a lot of times that they give Disney they think it music. And they think that somehow we might be prescriptive in that we sit tenant figure out how to get as much music into these moves as possible. It's really not the case we just look at it is music is a tool that can be used to help tell this story and how do we want to use that tool in a might be sparingly. Like it because it's hoping it had like one song in an underscore opinions going to be like for us into. Ahead seven songs and full underscore so that when we just chose to use the tool that music is gonna have a very important role in telling this story in and we used it. And I and and used it lautner say you know. Takes a lot for me to get. Not a goose bumps paerson. But twice and had that kind of like from my back in sorry back here and I'm right. I. Right. Is that the intent as that the article. Yeah I think growers trying to move people with music you know it there's an emotional. Thing that happens and people hear music and indeed even think about movies. You know movies are there to try to recreate some reality. Where there be a location you know you can record a scene. That's supposed to it puts in New York in Los Angeles you're trying to create the reality but. If you think about it music is the one sort of cheat in the whole process in that. Like right now there's no music playing. Supporting what we're thinking about her talking about where is in a movie. There's this music comes along and in helps you understand with the characters are doing so. And atonement meant to be and yeah great literature. Like an emotional glue that is meant to tie the whole story together and make it more cohesive whole. And something conscious remind me to what is one of the great pleasures of working in animation as a composer. Is that the the world of the movie is created from whole plot they didn't exist before. This incredible team of artists. Got together to create it. And as a result there's more room for music to have a role in creating that world than in a live action and activists. Allows me to stretch my muscles. If they mix metaphors. A little bit more than in line action film and makes me feel much more and part of the story telling. And I would say so here we are listening and people just listening we are at a piano Chris is that if you we're just outside deaths and the and you suddenly started this is how we work on a tag he sits a little higher that was a joke and but but tell us how to work together and let rules you specifically play. Well you know my job is to fulfill the vision of the filmmakers. From a story telling and emotional perspective. And so I. I come up with musical ideas and I make. Rough demos are sketches of my ideas and then sit down with Tom and he directors and the producer and the editor. And we listen to my work and we discussed sent. And there's often. Some changes and slot tinged an intimate once in awhile maybe bigger change. But it's a very interactive and collaborative processes. And tonne is is. The one kind of in charge of putting all that together and you know occasionally. Pipes in with I will have to say very very strong and great suggestion of his own yes. And it's a real team effort can get as an example of something came in with references to. I absolutely. One of the things I wanted to do with Rosen to. Wasn't sure that we had really strong musical scenes. So that I would have make kind of musical storytelling Bible from which they draw. As high as I'm worked on the film and because this is such. Com. A powerful story centered on Elsa and her journey and does the her desire to find out more about you know who she is and where she came from and and we're powers came from I knew that. We need a new scheme for else some else's pain. And they need to be at the same time emotional and at times her like she's. In many ways I kind of superhero. So I'm just gonna. Play a little bit of acting right now. So. In the air may not notice from the many years of piano training yeah you're talking about earlier. That it kind of starts out minor and then has a little bit of a turn toward the major key so there. Reminding years. And I think that's machine route to capturing the optimism grew in her character to make sure that that music doesn't ever get enough to get out. And so it's that intentional act and the transformation. That meant to be seen in the film is within music. And that's kind of set you knew little ahead of time that that's the story. Loosely of what she was going to Sam writes and then you just said okay this feels right and and then. Exactly as the film is made I'm sure that can be manipulated something else happened that's like she didn't get as bright or whatever. Her shirt and and you know part of the the exciting part of my job is figuring out confusing. The timing of when that shift optimism occurred isn't even if that happens at a key moment when making do you view hopefully some of those cause problems. Yes and that's a must mean you and it's kind of puppeteer and that are right it kind of leading people click here. Yeah. I mean within web thing with the score is you don't really. Always want the art it's paying attention to it I want them to feel. So. But to chris' point one of the things right animation is slick and live action there's there's a term that's used. Annan called grazing. And it sounds disparaging words it's not necessarily just like sometimes just what the music just to be this blanket to support something and not necessarily be poking through to be hurt what's that example and doesn't hear of that. Well that's just it we don't have that and frozen to Al Unser and yet don't have blink. Yet beat well for us the music. First of our movies are shorter you know their ninety's some odd minutes a week we need to get a lot accomplished in the shorter amount of time so moved that might have some grazing took a three hour movie out I can't be bombarded constantly with themes and in music poking through. But in frozen and the music takes on have a much different more important role in end Chris is one of the masses of kind of finding so civil. That's something that sounds simple. And terms of you know composition is like us that looks beautiful but. It's also being constructed to be able to do lots of different things like it's that it could be played very slowly and quietly. And and it could be you know when went on is leading the charge against the stone giants you know than it needs to certain work in that respect as well pencil here come. Act now in fact you you can hear a transformation. Exactly Italy time to strike didn't win in the same. You know very short 22. Step it. Where it'll start out very pretty and very beautiful during an emotional moment and then in that moment Thomas referring to. When the soldiers. Started heating their shields with their swords and kind of rousing let's go get them gesture and into the French horns takeover an ounce on the brass plate that much more powerful. But they're picking up the Melanie where it was left stop by beautiful high strings and Clinton and it's so it's connected almost one. Emotional piece that has this amazing transition right now. Right and city to add I certainly felt that I am can be good series there's some things and requires backseat notice that red at the beginning yes and and that Claire's name. Come two's kind twos and that tell me with the origin and when it came from them why you brought them back. Yes and there was a piece of music that was found on a research trip during the first frozen or CDs that long ago and we really fell love with that piece of music and we cut and into the movie you know part of our found that who's the person that. I don't want that ears or something. That sheriff's I don't actually remember at bum and I hate to say the wrong person but. So they went on mr. but this music I can't you know for animation. You know unlike a lot actually with what were you could go outside on down the street and film a scene and in packets are to be that the peace and when the first pieces of your movies are movies. Herb developed through story boards and then there. Rough animation like the process is very long so we're always testing ideas in ways that we consider like free cell that will take music that just in the world say. Like that peace and we'll put it in the movie just as a place holder and 22. Help us just. Wait until we get the actual thing. So that his music was in there and then it was one of those went it just never left his hand and so we we hired the composer fro day. He was the one that record their original piece with this group this this group of women who are performing in front time Norway. And it just felt like the right group of people to at that level of authenticity that while I was looking for. Dogs in Los Angeles has amazing musicians and singers but. Oftentimes refine we're looking for that one little thing that won't make it stand and make it feel a bit different. And if you have a location like frozen as a specific location but we have a region of the world that this movie is it is coming from. And Indian elements we can find from that place that'll help us tell that store and chased down. So as nice he had that then obviously there's a new knowing it's that comes in and that's the a little yes lots else yes. That's that's not gonna say he doesn't have very high yes but is that from you all is that from the story are we how does that collaboration lack. Yes of that character really don't we call it that there heard the voice. Is the literal voice that's calling Elsa and is sound and hopefully for Elsa that connect. Hold the secrets to all the questions you asked why she here ridership these powers on these sorts of things so. When we started to talk about that idea then we wanted to music lies that idea because we didn't want to step. This being this voices coming down it felt more interest in to have it locally represented. So Anwar songwriters Christine about Lopez Gwynn were there writing the songs particularly into the unknown who crafted a way to have that voice. Sort of set up the song and then be integrated into the song and and propel us into this story. So then we were looking for voices to capture that thing you know the first agrees this this vocal. Styling co Q looming. And that Chris actually used to great effect in the in the score for the first movie. In this one isn't that this one is is that actual. Character and a voice. And when I was looking through a lot of content target a lot of people loses one artists are ours really fascinated apartments are Rohr who happened to Mena region. And she has this. Joyful but playful and in very unique. Sensibility. And the locals. Performance style that felt like it could be our voice and then we sent her the material she sent some demos back and then he said yes yes our voice. Because it's not aiming snotty little but it's kinda flake this rate that yeah. Ward and fueling doing right that style but it's that this is a take and that silence him. Yeah again for us we never want to get too literal peak right then we could get it wrong but it felt to us like a voice you might hear coming through the mountains and. It's an Ed I'd been reading a book that your backgrounds and it strikes me how many things you welcome pennant involved in Carolina I guess that's what happens they have business violent and that everything since Toy Story as that I got tourist -- the first move were while and that's that's a long history here at Disney and and I honestly there's so much I'm sure that has evolved in the way that you place. And move music. What. Does present to bring that nothing has you know nobody seemed a Fuller. Well certainly in terms of I I I imagine when people come to present to they have some expectation of what the indices of suits in the first movie and then their thinking what it will be. And I'd like to think that they're gonna be really surprised with some of the choices we Aden. If you think of the first movie even just. In terms of that this set piece moments politicos. Do you want to build a snowman. In summer all the songs that people might think that we're gonna try to recapture that past glory and some way. But for us. We don't make sequels based on the success of the first one you know like when frozen became a hit we didn't start now we gotta get aggravated sequel like. It really does come from a place of what what. Other story don't want to tell. Is there have started carry gas idiot yeah cut next because that's where we feel that. A great sequel comes from not just some random adventure because again we're trying to capitalize on something. So we looked at this in terms of a musical. Because if you look at the the history of musicals and comedies sequels to musicals there are certain there almost not news. So it wasn't like. We did research in that area and sit in trying to figure out the things but for to us it just felt like well we want to justify the existence of this movie. So in justifying the existence we want to take the characters chief deeper places on adventures that maybe people aren't expecting so. With this movie. Christophe gets a song he didn't rent get a sound the first one and it's self fund yeah it's really fun. Ottawa. Gets a song. But it's spiritual place not yet not fun and not a phrase I think people would expect us to go but again in that. That interest of justifying the existence what we wanted to take on as a complex characters well and will LC is spent on it uses is well. And how to how do we show that and that solemn moment felt like when the opportunities to to showcase that. Think silent and that you here we are right I didn't sit with Kristen and Bobby and similarly and got to hear a lot of songs defiant even seen the film. So that I can dependence you can tell the story even with the seven songs quite a bit in you can merely follow how the story may go because there's such temples right within. Within the film. Well first of all when you brought and I believe you brought the Lopez's in the eye and why the guy from book of Mormon is that I got from frozen. Well it was funny it is. Many years ago back in my towards story days. So I was new and young in and just wanted to find my place and to help out and I remember going to lunch with one of our story artists. And he was saying like you know who. Who or art or contemporaries you know we had this history. Of working with all these great artists in this this ours is sort of simulate could go one for us now movement towards I don't know I don't have that answer. But I'll I'll find it. So I went to new York and taken a budget shows and one of the shows was avenue Q who. And as I was sitting there something just Don and I think you know this feels like the answer to the question that it's asking who's up where people. Because they're avenue Q. It's it's a Broadway musical grounded in all the rules and and success of what makes though shows work. But it pushed the boundaries just enough yeah. That it felt like a wage thing. There are places still left for us to ago. Obscene not quick to the level of avenue Q but just even conceptually like where else can we push this genre to sell. Fast forward to read we were rebooting. We need to prove movie. But lake again in the Q why did you when he yes we did approve it that this sweetest most tenders get a little stuffed animal existence. But very the idea was to figure out a way where else can prove we knew we're not gonna go really far with proof but there are there are places to push it to ten may kitten. You know connect with with audiences now. And I just thought back to that avenue Q chayet that well if there's a way you can just embraced comedy you know like even the comity of what that could use you pretty subtle is there way to kind of really grab it and try to make it. More substantial. So it met with with Bobby and Christen. They thankfully for me were like huge Disney fans they understand what we are there not just these people trying to tell these you know. The stories that could be repeated one of our movies but they they had that thing again they had the training so that was our introduction to them. And then shortly after the it was such a success in terms of a working relationship that that's what I brought them frozen. And that's and I know that you had to Chris work with them commutes a lot what does that relationship like between. You and well I'll. Personal body and I go way back we went to college together we sang in the same a cappella singing group out while I'm proud slash embarrassed to. Good luck to both the name. I'm also proud Sasha embarrassed to say that it was called this is links. I'm ideally university. And we actually didn't overlap per saying by the town we. Had been in contact. I'm through some mutual friends well before. Believe we cross pass and frozen. You know the the cross pollination between the songs and the score is or is it really important part of the thank you. And doesn't necessarily involve me sitting down with Bobby and Kristen. And working it all out due to the nature. The do we musicals are made the songs have to be made well before. He has the story is being written. I think that's one of the strengths of the way. Disney puts together a musical specifically frozen frozen to isn't the songwriters are. Really part of the writing team from the very beginning their tracking the net and and they make sure that the songs. Are extremely well integrated into the storytelling. In situated you couldn't imagine the story being pushed forward any other way except by a song. Home by the time I start to do my work all the songs finished. And it's really just question of me figuring out. We're the best spot sorry to incorporate the melodies. From. The songs and I was immediately from the very first screening and I saw frozen to and I heard a lullaby. That Tom on analysis mom things to them I was immediately struck and taken with it. Sometimes it's hard. I'm it to take. A song and turn into an instrumental theme depends on the way. The melody integrates with lyrics in the ways song especially with. A lot of work oh with worry your songs that are more like Peter pattern and he got a lot of repeated notes doesn't really translate well. Two instrumental treatment but this melody I could tell right away it was going to be. Beautiful tune play on strings are on a solo old bull or whatever. And in fact. That particular tune not lullaby comes back many many different times in many ways and clinic that have to watch again and didn't notice but when is it again Wendy's Wendy you're up for example when they go down down into the bowels Chet who. And they find that not the and then Osama creates today kind of sculpture through you know by channeling this this mysterious northern power. And day. It key revelation. About their parents. That entire sequence is played with an instrumental version of the long line also sequence earlier in the film. In the forest. Oh win. Oh. It comes right after. Precious right before it does the force people saying that pain and yeah I'm which remember that moment right before that moment is when. I believe it's. It's it's also getting on the scar or vice Versa I can't remember it now. But that scarf triggers an important revelation that their mother was north Alter who was part of this this. One actually don't agree we're chance your Christian from the first movie. The end of the first movie that. Done and then implement and. Long bond that's Chris asked you do it and that's. I think one of their gifts that Chris pads is finding a way to to write to take mature that he didn't write. An inter believe it into his score around themes that he's written. To make you feel cohesive. And it's one of those things it and it truly is a gift and a lot of times if you have people that write the songs and Cuba the right to score they they oftentimes stay in their own camps. And we need to know whether reason and just the way it worked out or that that. Could that score composer didn't have an odd angle as to how did in interplay those mid melodies to their score. But pound for a movie like frozen or or prison to its its mandatory have to be that way you. You have to feel it again. You have to feel it and Chris again masterfully. Crap sit through because again my guess him before he just wanted to peek through sometimes adjusting to bring. Give people that little bit of information that look at a comfort of that little bit of emotion and if you can do with material that their party heard that's for this and that success lies. Until it's also interesting Judith approach it from two different angles sometimes we hear sung early in the film and I can call back to it. But I think other times it's more powerful. To plant some seeds. Indies score. For a song comes later in the film perfect example of that is. So he got referring to earlier in the next right thing. Which unless things late in the film there a couple of key moments. When honest having conversations with people I think in one of those moments it literally. Say. And what is there next to what is there left to do only the next right thing. And I just very very simply usually on a solo instrument tease that melodies that by the time that song comes up. At the end of the film you've already heard that Melanie you don't necessarily know this or realize this is an audience member. But there's a familiarity to it so when she gets to that key part of the Simon sings that melody. It's party. Implanting a reality ninja. Can you played out of business to have bitten evening here. I'm just not much and didn't. Again a very beautiful tune that. Spent itself extremely well today chip tree. But again to his credit even to be able to remember a player like that shows his commitment to get accused citizen of the conversely what how that sorts of like this in the Atlantic. Let's not do that. Said so I noticed obviously there are so many new characters and did those sometimes lends to saying okay and we need to track and his greatly scale our. The not I have to remember yeah you do they have their own sounds. I'll definitely gale doesn't that was something that. Hadn't occurred to me on my own I was you know some. Maybe it third of the way through developing the score. When. Chris bought one of the directors turned to means that you know deal appears enough and is moving it we should have some kind of musical motif for gal. And you know by that point already written a couple of the scenes that involved he'll had to go back and rework. This idea in fact it was one of the existing pieces already written that I stole from. And then used. Throughout the rest and a of the film as a kind of motif for Gayle what does get sunlight can you remind me that. Yes something rarely seeing there. When I am them that helped me and then that yes and any time any time. You know that that wind picks up and and it's magical you know he hears some version of that and it kind of culminates at the very end of the film. During the epilogue when. There's a message that Beckett carried on the wind all the way to the the north. Eaten them. The island up in the north of Holland yeah and Tom. Battle sequences carried through the kind of expanded version. The Gail. It's also one of the gets hooked by Disney musical result dozen people think of musicals that the good songs you know sort of Broadway theater songs what's on to the next and and damage of it again for Chris. Part of his gift is something like that for gale like in most movies it would be sound effects would figure out what is the sound of Gail they would even dream of musical I think it. But for us again we're looking for any opportunity. To help music allies the easy but the movie that needs it. And I definitely didn't miss that I knew there was something there and I'm sure there's a million things that didn't miss and that audiences on that firsts you know economy blown away but summing things. What do you hope they don't mess. Let's something they should look for listen Fuller. Well again I think one of the things would be to listen for how Chris inter plates those songs into the score because it's. It's so subtle that sometimes you'll think there are heard this before and in the answers yes we just heard it three minutes ago not five years ago and that's that's a real compliment to figure out a way to. He even made in the Q sacred to solo instrument excellent dental voice. That's it's almost kind of funny even for me and I knew the songs long before he did and when I was watch in the before last has like how he found a way that. Integrate those hogs and every last drop of this thing in an effective way. One of Tom's jobs to do is to make note of all the places where do that. To make sure that aggregate current appropriately at the end of the day and I noticed him during wanna the screenings my demo sitting next to me. Writing down every time a party and this is one. Even yeah and they they're like musical Easter eggs I think on special repeated beatings like he's so you know we we want. The audience on a first viewing to just be. Production into the story and not analyzing this color but may be on the fifty Ewing tent or because that's going to happen. I'm you know that is that is something I I wish that people get little kick Adamson high African yeah. And really I think what I noticed now becoming a parent and and I'm. I've always loved music but I'm more interested in that. I like just the instruments I tend to kind of shy away from wanting that the big black yes me getting older I guess I want quieter and sat on her. But but even the feeling you can get when you're standing at the theme park and just that parts plant yeah that's what you end up right and that's what you start. Feeling and and recognizing as the fountain yeah. And those of us who are parents know too that. When you have kids who are really into a film you know watching it a lot of time that's a lot a lot of opportunity to listen to all the different music that you knew you wouldn't have on the first look. It is a we have a philosophy. In. Not only making these movies but for me in the music in and that is his that's bill say it like how do you go after whoever. And you know whether examples is Lin Manuel Moran that's telling us patent that what a great idea that the guy from Hamilton to do wanna. The truth is we hardly in before Hamilton. And that the reason for that is he felt like the best creative choice for that movie. Hamilton even if Hamilton never happened we're still gonna stand by that choice that we thought he would be the one to me that movie resonate. And part of what that is he's. Our metric like most people trying to capture what's happening today how do we capitalize on what's popular right now which is not a bad strategy. But for us we the way we look at is if we do it right if we do this movie well make a great movie it'll last forever. So you think of you know. A movie that people are watching today from 1937. It's no white. And why is that you know partially because it was made with this this feeling of forever. So when you're working in a world of trying to make something that's quality that's gonna last forever. It's a different approach we're not trying to capture it's happening now we're just trying to capture the best quality. And the most interesting thing in that that in any tools we have again to tell the story of these characters that's a much different thing than most other movies and doing. And that's again part of why you're overstated the parking here decent because we've we've looked at through different lines right. It's planned that way Denny way so you to live where together for a long time now and and this. Is finished is I'm sure you'll we're together again I assume that but does it feel kind of like camp or something where you guys all came back together. And now camps over again and. I think that's pretty accurately. You know and we have few weeks ago I had the final. Play back of them. The big final audio mix of all the whole movie winner but some very talented audio mixer is. This is a dialogue in the sound effects and music and it's always the last thing to happen. At the end of every film. And I have to say for me it was a particularly emotional experience. Because it was such a great project really felt like the collaborators were. As as thoughtful and as respectful and as open and creatively as any project I've ever worked on. And so eyewitness didn't creation because it's style it's you write you put yourself out there. As he says I don't like that last bit it's you really have to as if someone is new in wanting to do this you would you see that's a huge part of. All affluent and yes I think I consider myself part of the story telling team and while. When I sit down at the piano or my computer and decide which notes gonna come next that is very much a part of me. It is all in service. You know. Director's vision filmmaker's vision of the story that he won it. And I think for any young composers out there who might be watching this. That is absolutely key to you know that. I mean and I let. Today devil for better or worse one of the hardest parts of being a score composer is it's it's in massive part of that. Craig expression of course you know pick your present it to its 20% of the success in the movie's gonna lie and how well that's done. The problem is it comes last yet so often times if there's something not working they're gonna pretend or rely on the score to help. Fix it and it and it may not be there it may not even be within anyone's capability but. It's Chris his job to figure it out to figure out how to extract every last bit of juice from this thing to make it the greatest thing you can because he's the last stop on this tour. And there's what did you finish last Sunday that. And the film what did you finish last. Both the lasts finishing touch then. Well that's that's that's the scoring and dammit employees who are all scrap a yes specific part bill like the whole are not yet because it. The music we record all the music really want swooped okay over five days. What was it in August and artists and on this yet and that's a little bit second to September Tim Nelson here re our the end of October. So just two months ago we did the whole thing. And again it was like this better work out virtually there was gonna work this week we muck things up at. Watch them there was five months back and forth presenting my ideas and demo for him do so by the time we actually sit down with a nice piece orchestra. There aren't any surprises and it's really just fighting. And so would you say if if you learn to do or. They go into another project are saying and I keeping and everyone attached and keeps saying president Kerry does not. Your time thank. As soon. But but there is. The deep throws an effect write the thing that it has done we've seen globally from the first film. I anticipate you have that in this volunteer and I think the music is. Is it right that is it's not just that it's let go but there is due to snow man there's so many layers. What this meant. Everybody what is the one story that you took away from the first one that impacted our immediate a visual that you sell little girl doing equitably or whatever let's. Them. I'm users if. Let me think about I mean it. Why can't I guess it in. Personal terms probably more easily then. It's it's hard when you work on a film intimately to see it. The way you would if you didn't work on it so. There's always appoint an every project I work on usually early on where I stopped watching like a person a normal person watch an animal moving. And I start watching it as a puzzle to be solved. So for me personally frozen my first animated feature. And it was. You know it's I. I don't think it's a stretch to say that it's it's the dream of many many young composers to work on Disney animated feature and it's that the there so iconic. Do you music in them is also iconic. It's just it's just something as a composer. You hope to one day be a part of and did combination of that. Just hoping that expectation. And that dream with the reality of it being. You know as as satisfying artistically and as rewarding as it was this really winning when I came from the first one. But other than any particular beautiful shots that senator. There are moment. I think for me if it to the work done a lot of movies is usually the this simple thing like I'll be in an airport and see someone with. Frozen bag or someone dressed up in his else or something like that it's because it it helps you. Animals justifies at all Mike and if if it helped that. Little boy little girl express themselves like that's kind of you know what let's move what more could dress for like an opposite frozen. A lot of money in the in the one a lot of awards and old and that's great too but. We here in the world and there's no focus on and you get to see a kid that that was inspired by something you had anything to do with I think that's the real net. And packages to does well this is again getting away from your question but. That reminded me of are kind of turning point in my career where before frozen. You know I I have fans. But they intended to be middle aged don't track at a lectern there to television and their mom's been answered yet right and I listen like. Assigning its comic yeah. Or somewhere and they have a stack of CDs like this. But since then you know and I've spoken in public places like comic con or done any kind of public events. Any kind of public event. You know and seen families and they and they're bringing their CD's from design and implement you know their eight year old girl wanna take pictures with me and that is. You know no disrespect to the sub contract nearest. But it is nice to feel like as an artist you know line and counter reaching out to. Broader base of people frozen it's just a huge part. And then all this leave it here because I think it's always nice turn these people cooler obviously giant fans of both of yours and they want to hear more. If there's something that was left out. Thank you like here's a little fun and here's something I didn't get to bring to you. You know that's a very difficult question because. Moment to moment as on developing a school or in composing it. You know that's part of my daily life is things are cutting on the cutting room floor. And I think one of the most important ways that I can be a good collaborator and you know we touched on this earlier how important it is. Sort of leave your ego and door and just wholeheartedly accept your role as part of storytelling team. You know one of the the defense mechanisms if you want to call it that that I developed is just too. Cultivate. In real emotional detachment. From any work and up on the cutting floor cell you know. I just look at the finished product with immense pride and satisfaction. And I don't ever think about what was on the cutting flights I wish I could remember how. That is some meditative is that Sonny yeah how is it hadn't slept then god and fences and. Hey it's really an occupational and sesame. I I want the people we're equipped to feel comfortable in telling me tell you that that's an unhappy with something I don't want to be offensive or angry about it an element you can feel. I'm so impressed that that's that's fell half and expect. I have a slight and it was so good I think you think people very much for doing in this that you notice. I think yes. It. Inside Rosenstiel. A behind the scenes look at them. Offense and two from eighty feet and listen now for free on your favorite podcast dad and C presents new in theaters. Now and present on the.

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