Context:

Disney animated movies are filled with interesting behind-the-scenes stories and creative decisions that shaped their final versions. Elsa from Frozen was initially envisioned as a villain until the song 'Let It Go' inspired a rewrite of her character. Cruella de Vil's character was partly modeled after Tallulah Bankhead, and a nod to this inspiration appears in the 101 Dalmatians movie. The song 'We Don't Talk About Bruno' in Encanto was crafted to maintain the presence of all family members, crucial to the film's theme of familial magic. Walt Disney almost produced a sequel to Snow White called Snow White Returns, and there were plans for a prequel titled The Seven Dwarfs, canceled by John Lasseter in 2006 when he decided to halt direct-to-video productions.

Dive Deeper:

• Elsa was originally conceived as a villain for Frozen with an icy demeanor, but the song 'Let It Go' altered her portrayal, emphasizing vulnerability and empowerment, which led to her becoming a misunderstood heroine instead.

• Cruella de Vil's design and personality in 101 Dalmatians were influenced by Tallulah Bankhead's dramatic style and distinctive voice, with a scene in the film paying tribute to her through a movie playing in the background.

• Lin-Manuel Miranda crafted 'We Don't Talk About Bruno' in Encanto to integrate all family characters into the narrative, ensuring their roles remained intact, as the film's magic centered on a large family.

• Walt Disney nearly created a sequel to Snow White, Snow White Returns, focused on the Seven Dwarfs preparing for Snow White's visit, but it was never completed despite having storyboarded sequences using cut animations from the original movie.

• A prequel to Snow White, The Seven Dwarfs, was planned as a unique project compared to typical direct-to-video sequels, but was subsequently canceled by John Lasseter, who sought to improve the quality of Disney's home video content.

• The Black Cauldron faced numerous production challenges, including staff shortages due to key animators leaving, leading to delays and a disjointed final product that nearly ended Disney's animation department.

• Howard Ashman and Alan Menken's involvement with Disney began with The Little Mermaid, leading to a renaissance in Disney animation, and their initial treatment for Aladdin, though initially rejected, laid the groundwork for the film's iconic songs.