"'The Princess and the Frog' is a return to the timeless world of hand-drawn animation at Disney. It's an ageless fairy tale, but with a fresh twist that combines everything we look for in great stories: comedy, adventure, music--and most of all, the kind of heart that always sets Disney animation apart."

John Lasseter, Executive Producer and Chief Creative Officer, Walt Disney Animation Studios

Walt Disney Animation Studios serves up a joyous gumbo of adventurous storytelling, captivating characters, offbeat comedy and memorable music in the all-new feature "The Princess and the Frog," an animated comedy set in the great city of New Orleans. From the creators of "The Little Mermaid" and "Aladdin" comes a modern twist on a classic tale, featuring a beautiful girl named Tiana, a frog prince who desperately wants to be human again, and a fateful kiss that leads them both on a hilarious adventure through the mystical bayous of Louisiana. "The Princess and the Frog" marks the return to hand-drawn animation from the revered team of John Musker and Ron Clements, with music by Oscar-winning composer Randy Newman.
Everyone knows the story in which a princess finds true love by kissing a frog that magically turns into her handsome prince. In this telling of the story, the girl still kisses a frog, but the result is quite different, and only one of dozens of surprises in this mix of wacky humor, thrills, melody and emotion.  Love eventually finds a way--between a prince and a princess… between frogs, perhaps… or maybe between a firefly and the object of his affection.  But it's clear that the most important details lie well beneath the skin.  The film features Disney's newest princess and it's the Studio's first fairy tale to be set in America. 
"The Princess and the Frog" is executive produced by Academy Award-winning filmmaker (and Pixar Animation pioneer) John Lasseter (director of "Toy Story," "A Bug's Life," "Toy Story 2," and "Cars"). Disney veteran Peter Del Vecho serves as the film's producer.
"The Princess and the Frog" is from an original story by Ron Clements & John Musker and Greg Erb & Jason Oremland; the directors teamed up with writer Rob Edwards to create the screenplay. Don Hall is story supervisor. 
Oscar-winning composer Randy Newman ("Cars," "Monsters, Inc.," "Toy Story") created an all-new score for the feature in a range of styles, including jazz, blues, gospel and zydeco; and featuring seven new songs.
Says John Lasseter says, "If there was a single lesson we could take from Walt himself to take Walt Disney Animation Studios into the future, it is to leverage the richness of its past: its beloved storytelling forms, its successful characters, its musical opulence--all of these are an essential part of our newest hand-drawn project."
"The Princess and the Frog" is the sixth collaboration by the veteran team of Ron Clements and John Musker, whose roster of film achievements reads like an animation hall of fame, from their first teaming in 1986 on "The Great Mouse Detective," to "The Little Mermaid," "Aladdin," "Hercules" and "Treasure Planet." As usual, the animated duo was drawn to the project because of its compelling story and comic promise--potential that had eluded other development attempts.
"John Lasseter loved the idea," Musker recalls, "and the idea of New Orleans as a setting, with all the cultural, historical, visual and magical ideas that great city offered us. We decided that the Jazz Age added an element of both nostalgia and musicality, and we really wanted to play up the fairy tale archetypes."
Part of the magic of the story was a return to hand-drawn animation, once very nearly considered an abandoned art form. But the directors saw that the medium was as vibrant and appealing as ever, and ventured into re-creating the Disney Animation art form with reverence, purpose and a renewed sensibility.
"At every turn," Clements says, "we realized that we could reach out and touch the legacy of the animated Disney fairy tale, and yet move in surprising and interesting new ways, rather than slavishly imitating or reproducing what had been done before."
"The Princess and the Frog" is the 49th animated feature film from Disney, a tradition established nearly 75 years ago with the release of Walt Disney's "Snow White and the Seven Dwarfs," and including some of the most renowned and beloved films in history, among them "Cinderella," "Peter Pan," "One Hundred and One Dalmatians," "Beauty and the Beast" (the only animated feature ever nominated for the Best Picture Academy Award®) and "The Lion King."
Producer Peter Del Vecho has taken great personal pleasure in being part of the rekindling of a great art form. "There's something really rewarding about watching the animator put down pencil to paper, and then when you're watching the film, you forget all about the individual pencil lines and those characters are really coming off the screen. You kind of take them home with you in your mind--each of the characters is rich and has a life of their own."

"BRING YOUR PAINTBRUSH, WE'RE PAINTING THE TOWN"
From Fairy Tale to Silver Screen--Disney Style
Once upon a time, not so many years ago, the traditional hand-drawn Disney animation gave way to new technology, leaving behind the single art form most closely identified with Walt Disney himself--and all the exceptional qualities of the hand-made moving image that Academy Award-winning animator and historian John Canemaker wrote so lovingly of, "Its inherent warmth; the happy accidents of the human touch; the immediate intuitive link between brain, hand and drawing instrument; the special flexibility and style that is so different from the dimensionality, essential coolness and realistic imagery of CGI.".
In 2006, when John Lasseter and Ed Catmull took the reins of Walt Disney Animation Studios, they understood that traditional handcraft of Disney animation certainly had not lost its value as either art or entertainment. And although his greatest fame has come from pioneering in the field of computer animation, Lasseter's love was not exclusive to his own specific form. He grew up with and began his career in the traditional animation that Disney invented, nurtured and developed over decades into an art form all its own. New animated features were being considered, in whatever animation technique was deemed most suitable.
"We were invited to pitch ideas for new hand-drawn Disney features," John Musker recalls. "We were all particularly inspired by the Brothers Grimm tale of 'The Frog Prince.'"

"We're returning to sincere, classic Disney fairytale storytelling. It's a return to the musical. It's also the return to the warmth and grandeur of hand-drawn animation and hand-painted backgrounds. All of that together makes it feel like coming home."

Peter Del Vecho, Producer

Music was another element of the Disney legacy that the creative team wanted to reach back and touch, but take in a new direction, too. Clements and Musker pitched the film as a musical, but not in the traditional Broadway-style form that Disney had pioneered in 1937 and reinvented in the 1980s. They pitched the idea that the music would be a tapestry of zydeco, blues, gospel, jazz, and all of that distinctly "American" sound.
Finally, the team began to look at the artistic talent that would be required to make a new Disney animated feature. "It really is a great crossroads in the medium, and an opportunity for everyone here to do something that nobody else in the world is doing, and something that, to a certain extent, no one else can do," Peter Del Vecho says. "Everyone on this project deeply cares about it."
Film audiences will once again share an opportunity to see whether true love can really triumph, and strive for an ending where everyone lives happily ever after.

THE STORY: A New Twist on an Old Tale
On the bend of the Big River, New Orleans sparkles with opulence, adventure, romance, music and magic. Here in the "once upon a time" of the Jazz Age1920s, among the wrought iron balconies and beckoning alleyways of the French Quarter and environs, a most unusual tale unfolds.
Tiana is an attractive, independent, hardworking young woman. She has no time for romance and the dalliance of dreams, she has a love of cooking, and plans to be a successful restaurateur, fulfilling the love of food that is her father's legacy. But in spite of her hard work and diligence, obstacles keep Tiana's goals out of reach.
Down on the Mississippi riverfront, a handsome and gregarious jazz fanatic has arrived in the Crescent City, the royal outcast Prince Naveen from far-off Maldonia. Spoiled, irresponsible, and indolent, Naveen has made his way through life on his good looks and undeniable charm. His wealth and station attract the evil Dr. Facilier, a practitioner of dark magic, whose effort to steal Naveen's royal privilege results in the handsome prince's mysterious transformation into a frog.
Naveen's attempt to use the old fairy tale standby of a kiss to return him to human form only results in Tiana being transformed, too, and the amphibious twosome find themselves cast adrift in the Louisiana bayou, pursued by frog hunters and seeking the good magic of a mysterious 197-year-old priestess named Mama Odie.
Helping them along in their precarious, awkward, but truly laughable journey are a lovesick Cajun firefly named Ray and a Jazz-playing alligator named Louis, and although their way is fraught with peril, the contrary pair bring out each other's better selves, overcome their differences and their obstacles, and discover that dreams do come true--but never in the way one might expect.
In the end, love wins out, and the differences that seemed so very important before seem to fade away into the bayou.

READ MORE ABOUT WHO'S WHO IN "THE PRINCESS AND THE FROG": The Cast of Characters

ANIMATION ALL-STARS:  The Greatest Talents in Disney Animation Reunite
Directors Ron Clements and John Musker teamed up yet again for "The Princess and the Frog. In putting together a team of artistic talent to bring "The Princess and the Frog" to the screen, the producer and directors wondered if animators who were now doing well in digital animation would want to return?  Read more

"DREAMS DO COME TRUE IN NEW ORLEANS…" Disney Designers Do a Little Hard Work to Make a Big Easy
On a crescent-shaped bend in the Mississippi River 120 miles from the Gulf of Mexico is a moody city full of history and mystery, of music and magic. Within the geography and history of the region were all of the elements and setting the required, and the real places themselves inspired further additions and refinements to the storytelling. Read more

MOVING FORWARD WHILE LOOKING BACK Classic Disney Design Informs "The Princess and the Frog"
Creating a world that has credibility while maintaining an aura of fantasy is a difficult balance in the best circumstances. Although the settings of "The Princess and the Frog" are regionally adjacent, they presented a challenge in making a single complete and credible setting within the needs of various types of locales and visual styles. The filmmakers looked to the past in order not to imitate, but to examine how the Disney masters of the past had designed their films. Read more

MUSIC: Oscar-winning Composer Randy Newman Adds Authenticity and Experience
It was unanimous among filmmakers--Randy Newman was their first choice, their ideal composer for "The Princess and the Frog," right from the beginning.Read more

READ MORE FASCINATING FACTS ABOUT THE MOVIE AND ITS CHARACTERS


READ MORE FASCINATING FACTS FROM BEHIND THE SCENES

ABOUT THE FILMMAKERS
JOHN MUSKER (Director) continues to be a major force in the art of animation and one of Disney's greatest resources. From "The Little Mermaid" and "Aladdin" to the epic comedy "Hercules," his irreverent wit, strong visual style and unconventional approach to storytelling helped to create some of the most successful films in motion picture history.
Born in Chicago, Illinois, Musker first began drawing while in grammar school and knew by the age of 8 that he wanted to become an animator. Inspired by such Disney classics as "Sleeping Beauty" and "Pinocchio," as well as Bob Thomas' primer "The Art of Animation," he developed a thorough understanding of the animation process. His fascination with comics, cartoons and Mad Magazine further stimulated his desire to draw.
At Loyola Academy, a Jesuit high school in Wilmette, Illinois, Musker became a cartoonist for the school paper. His special brand of caricature, which included outrageous sketches of teachers and school celebrities, quickly caught on. This preoccupation with caricature and cartooning continued throughout his college years at Northwestern University, where he majored in English and drew cartoons for The Daily Northwestern.
Following graduation from college in 1974, Musker put together a portfolio and set out for California to pursue a career as an animator. Initially rejected by Disney, he enrolled at the California Institute of the Arts the following year to master his craft. 
After completing his first year, which included a summer internship at the Disney Studio, he was offered a full-time job as an animator. This time Musker turned it down, opting instead to complete the second year of his training.
In 1977, Musker started work at Disney, where his two training tests were enthusiastically received and he began as an assistant animator on "The Small One." He also animated on "The Fox and the Hound" and did story work on "The Black Cauldron."
Musker and Clements joined creative forces in 1983 to write "The Great Mouse Detective" and went on to co-direct the film along with Burny Mattinson and Dave Michener. This successful collaboration led to a reteaming on "The Little Mermaid," the award-winning film that helped to revitalize feature animation at Disney and generate new excitement for the genre as a whole. Since then, Musker and Clements have co-written and co-directed two of the funniest and most memorable animated features ever, "Aladdin" and "Hercules." Their next project was the Disney animated feature "Treasure Planet," a swashbuckling intergalactic adventure based on the classic novel "Treasure Island" by Robert Louis Stevenson.
Of his successful partnership with Ron Clements, Musker says, "We're both relatively agreeable Midwestern types, and we each have slightly different strengths and approaches. Ron is more structure-oriented and makes sure that the overall story doesn't disintegrate during the course of too many rewrites. I tend to be more concerned with specific details and gags. We constantly go over each other's scenes and drafts and add new ideas and suggestions in the process."
Musker and his wife, Gale, whom he met at Disney, have three children (including twins). They live in La Cañada, California.

RON CLEMENTS (Director) has emerged as one of the top talents in the field of animation today, and his gentle humor, visual integrity and strong story sensibilities have helped to attract a wider audience than ever before to animated feature films. Along with his directing partner, John Musker, Clements has dedicated himself to expanding the Disney legacy and taking the art of animation in exciting new directions.
Born and raised in Sioux City, Iowa, Clements traces his interest in animation to his first viewing of "Pinocchio" at the age of 10. As a teenager, he began making super-8 animated films, including "Shades of Sherlock Holmes," a 15-minute featurette he animated single-handedly. "Shades" won critical acclaim and led to a part-time job as an artist at a television station, where he animated commercials for the local market. Several years later, "Shades" helped Clements get a job at Disney and also served as the inspiration for "The Great Mouse Detective," which he wrote and directed with Musker.
After graduating from high school, Clements came to California to try his luck at animation. Because there were no openings at Disney, he worked for several months at Hanna-Barbera while studying life drawing in the evening at Art Center. With persistence and determination, Clements was finally accepted into Disney's Talent Development Program, a training ground for young animators. His self-taught experience and ambition made up for his lack of formal training.
After successfully completing the training program, Clements served a two-year apprenticeship under Disney legend Frank Thomas. He quickly progressed through the ranks from inbetweener to assistant to animator-storyman. His credits include "Winnie the Pooh and Tigger, Too," "The Rescuers," "Pete's Dragon," "The Fox and the Hound" and "The Black Cauldron."
Clements made his writing-directing debut (with Musker) on the 1986 Disney animated feature "The Great Mouse Detective." Following that, he successfully pitched an animated version of the classic Hans Christian Andersen fairy tale "The Little Mermaid," which reteamed Clements and Musker as co-writers and co-directors and became one of the studio's greatest artistic and commercial achievements. Musker and Clements went on to write and direct two of the funniest and most memorable animated features ever--"Aladdin" and "Hercules." Clements and Musker's next project was "Treasure Planet," the swashbuckling intergalactic adventure based on the classic novel "Treasure Island" by Robert Louis Stevenson.

JOHN LASSETER (Executive Producer) is chief creative officer of Walt Disney and Pixar Animation Studios and principal creative advisor, Walt Disney Imagineering. He is a two-time Academy Award-winning director and oversees all films from Walt Disney and Pixar Animation Studios and associated projects. Lasseter directed the groundbreaking and critically acclaimed films "Toy Story," "A Bug's Life" and "Toy Story 2." Additionally, he executive produced "Monsters, Inc.," "Finding Nemo," "The Incredibles," and "Up." Lasseter returned to the director's chair in 2006 with the release of the DisneyPixar film, "Cars."
In 2004, Lasseter was honored by the Art Directors Guild with its prestigious Outstanding Contribution to Cinematic Imagery award and received an honorary degree from the American Film Institute. Lasseter received the 2008 Winsor McCay Award from ASIFA-Hollywood for career achievement and contribution to the art of animation.
Under Lasseter's supervision, Pixar's animated feature and short films have received a multitude of critical accolades and film industry honors. He received a Special Achievement Oscar in 1995 for his inspired leadership of the "Toy Story" team. His work on "Toy Story" also resulted in an Academy Award nomination for Best Original Screenplay, the first time an animated feature had been recognized in that category. "Finding Nemo," released spring 2003, became the highest-grossing animated feature of all time and won the Oscar for Best Animated Feature Film.
As creative director of Pixar, Lasseter enjoyed the critical acclaim and box-office success of "The Incredibles" in 2004. The film was recognized with a record-breaking 16 Annie Award nominations and several "Best Of" awards by The Wall Street Journal, American Film Institute, National Board of Review and many others.
Lasseter also has written, directed and animated a number of highly renowned short films and television commercials for Pixar, including "Luxo Jr." (1986 Academy Award nominee); "Red's Dream" (1987); "Tin Toy" (1988 Academy Award winner); and "Knickknack" (1989), which was produced as a 3D stereoscopic film. Pixar's "Tin Toy" became the first computer-animated film to win an Oscar when it received the 1988 Academy Award for Best Animated Short Film.
Prior to the formation of Pixar in 1986, Lasseter was a member of the Computer Division of Lucasfilm Ltd., where he designed and animated the computer-generated Stained Glass Knight character in the 1985 Steven Spielberg-produced film "Young Sherlock Holmes."
Lasseter attended the inaugural year of the Character Animation program at California Institute of the Arts and received his BFA in film there in 1979. While attending California Institute of the Arts, Lasseter produced two animated films, both winners of the Student Academy Award for Animation: "Lady and the Lamp" in 1979 and "Nitemare" in 1980. His very first award came at the age of 5 when he won $15.00 from the Model Grocery Market in Whittier, California, for a crayon drawing of the Headless Horseman.
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