World of Frozen at Disneyland Paris: "Magic is never rooted in just one element"

On the occasion of an exclusive preview of World of Frozen and its attraction at Disneyland Paris, our team met with Emma Yeates, Scenic Production Manager at Walt Disney Imagineering Paris. From the project's inception and creative challenges to technical hurdles and visitor experience, here's an inside look at this one-of-a-kind development.

An inauguration celebrated with great fanfare! World of Frozen, the new immersive zone dedicated to the universe of Frozen, officially opens its doors on March 29 at Disneyland Paris. Designed as a genuine expansion of the park, this new destination transports visitors straight into Arendelle, complete with its lake, Nordic-style facades, and flagship ride. An ambitious project that promises a truly immersive experience into the worlds of Anna and Elsa, right on paper and, soon, in reality.

To tell us more about it, Emma Yeates, Production Supervisor at Walt Disney Imagineering Paris (Executive Creative Director for the anglophone purists), shares her insights with Sortiraparis. She discusses the design of the entire area, the architectural and storytelling choices, as well as the challenges involved in creating an entirely new zone. Inspired by Scandinavia, with a keen eye for detail and a seamless connection to the original story, she gives us a behind-the-scenes look at the birth of World of Frozen.

Without further ado, read our full interview below:

Sortiraparis: As Senior Show Design & Production Manager and Show Manager for World of Frozen, what exactly is your role on such a large-scale project, from development to installation in the Park?

Emma Yeates: "I oversee all the show disciplines. I don’t handle the structural work—that's not my expertise—but I work closely with excellent colleagues who do. My role spans from the design phase all the way to the production launch. It all starts with a concept or idea, then we progressively bring team members onboard. We involve technical teams—lighting, sound, graphics—and define the essential elements. Then, we consider whether there will be special effects, and brainstorm specific effects scene by scene. In design, we move through phases with ‘gates’: schematics, feasibility, 30%, 60%, 90%. Depending on the scope, we can start production at 60% or 90%, some parts being already well-defined. From there, we transition from design to production, then installation, delivery to the park, with a one-year guarantee."

Sortiraparis: When you're entrusted with World of Frozen, what are the first steps? Do you start with a blank sheet, a technical plan… or perhaps a song from Frozen looping endlessly? Could you walk us through the zone’s development stages?

Emma Yeates: "We begin by watching all the films: the first, the second, as well as all the shorts, especially those featuring Olaf. We watch everything to fully immerse ourselves in the atmosphere. Then, we rely on a foundational storytelling, already agreed upon between the park’s leadership and our creative director. Usually, we receive an initial presentation that sets the framework: whether it’s a new attraction or land, and the story we want to tell. From there, development kicks off."

Sortiraparis: You’ve worked on Phantom Manor, Cars Road Trip, Avengers Campus… What new insights did World of Frozen bring you?

Emma Yeates: "Every project is unique, and this one feels especially special since I’ve never held the same position on any of them. For Phantom Manor, I was a painter responsible for figure finishing—characters and scenic decorations. On Cars Road Trip, I was an accessory designer. For Avengers Campus, I was lead prop-maker and then manager. And on Frozen, I served as senior manager. Comparing the attractions, the constraints vary significantly. Unlike Phantom Manor, Cars, or Avengers, here we’re dealing with a boat ride featuring a flume—a water attraction with turns and drops—which is already a real challenge. Water adds complexity; until you’re in the boat, it’s hard to assess visibility and how visitors perceive it, making it a tougher exercise. I also learned that you can never be fully prepared—there’s always an unforeseen obstacle. The key is to plan multiple options: a Plan B, C, even D. Flexibility and quick adaptation are crucial because things rarely go exactly as planned."

Sortiraparis: Creating snow and ice right in Marne-la-Vallée is quite unusual… What was the most unexpected challenge on this project?

Emma Yeates: "The mountain itself posed a major challenge, mainly in terms of access and safety. We had to develop a custom scaffolding system for its construction. Our sculptors then contributed their expertise to shape the whole structure. The Ice Palace was built simultaneously and installed afterwards. The trick was integrating both visually. We returned with paint to refine effects and ensure consistency from all angles and lighting conditions. Painting in bright sunlight isn’t enough—you need the effects to work equally well on overcast days or at dusk. Achieving the translucent ice effects at the front of Arendelle Castle was particularly technical: creating a see-through appearance while supporting the structure underneath, and ensuring everything looked good day and night with appropriate lighting."

Sortiraparis: Arendelle is a glowing, shimmering world. How do you recreate this fairy-tale ambiance within a theme park setting?

Emma Yeates: "The immersion begins right outside, with sparkling effects and ice details changing between day and night. As visitors queue, they gradually enter the story through lighting, music, and media effects that enhance specific scenes. But magic isn’t rooted in any single element; it’s a combination—projections, lighting, scenery, music, and special effects—all working together. Each detail is carefully designed to look good at different times of day and under various lighting conditions. The most memorable moment is when the gate opens onto Elsa. When the show-ride’s elements—door movement, character animation, sound, and boat motion—are perfectly synchronized, the emotional impact is profound. That collective precision between ride and show teams makes visitors feel as if the characters are truly interacting with them."

Sortiraparis: When visitors enter World of Frozen, what do you hope they feel first?

Emma Yeates: "I hope they’re overwhelmed with wonder, feeling what I did when I finally took a step back from the project. When you’re immersed in it day after day, it’s easy to forget how much has been achieved. I realized the true impact during the final construction tour for the press in November 2025, when we stopped to present the completed work. Seeing guests’ faces, their reactions, their sparkling eyes—that’s when you realize why you’ve dedicated so much effort. It’s the same for visitors. Our goal is for them to step inside and be truly amazed."

Sortiraparis: Without revealing too much, what will surprise visitors most about the Frozen attraction?

Emma Yeates: "What I think will surprise them most is the moment when the gates open to Elsa in her ice palace. Even with photos and videos out there, you can’t truly feel it until you’re sitting in the boat. At that precise moment, when she looks at you, you genuinely feel transported into the story. It’s that moment, I believe, that will leave a lasting impression on visitors."

Sortiraparis: Is there a particular detail, effect, or moment in the attraction that you are especially proud of?

Emma Yeates: "Honestly, I can’t pick just one. I experienced the entire process alongside my teams—day and night. The dedication, passion, and countless hours invested mean everything is interconnected. I remember every step when I see the final result. You can’t separate one element from the others— even the most powerful scene wouldn’t work without what comes before."

Sortiraparis: Is there a subtle detail or reference in the land you recommend visitors look out for?

Emma Yeates: "Oh, many! Some are more subtle or less obvious, crafted for attentive visitors. For instance, the original Snow Queen story can be hidden somewhere in the decor. There’s Elsa’s penguin plush—a nod to her universe. In the Meet & Greet area with Anna and Elsa, if you observe the background carefully, you’ll discover another hidden reference. And that’s just the beginning—many names and details are subtly scattered throughout the environment. It’s up to visitors to find them."

Sortiraparis: I noticed some promotional elements related to the Meet & Greet, including a Disney-style reinterpretation of a Fragonard painting, Le Hasard Heureux de l'Escarlopette. Why this particular artwork?

Emma Yeates: "Yes, it’s actually in the film—and it’s my favorite! There are a few similar pieces in the movie, but some were integrated into the Meet & Greet area. I was determined to include this one: I noticed it in the film and thought it would be perfect here because it’s so beautiful."

©Disney

Sortiraparis: For those who’ve visited other versions of World of Frozen around the world, will there be any surprises specific to Disneyland Paris?

Emma Yeates: "Yes, we feature a Royal Encounter that’s unique here. You can see the castle, but you can’t meet Anna and Elsa there. Conversely, other parks let you meet them without the castle. So, the experiences are never exactly the same. Occasionally, Olaf visits visitors too, adding a special touch. Also, there’s a lagoon-based show called Arendelle Celebration, which complements the overall land experience."

Sortiraparis: If you had to convince someone who’s not a huge fan of Frozen to visit the attraction, what would you tell them?

Emma Yeates: "You don’t need to love the film to be wowed by the environment. The mountain alone makes a striking first impression. Even if you don’t know Frozen, the grandeur of the scenery and the Nordic-inspired atmosphere are enough to astonish you. If you’re a fan of Norway, you’ll love visiting here… The architecture, the details—all contribute. That ‘wow’ effect isn’t just about fandom. The Audio-Animatronics, the immersive environment, the visual richness—these will captivate everyone. This universe is designed to appeal to all, whether you’re familiar with the story or discovering it for the first time."

Sortiraparis: If you could take the little girl you once were on a tour of World of Frozen, what would you want to say to her?

Emma Yeates: "I’m not sure I could choose just one thing. But I’d probably tell her that everything is possible. As a child, my dad used to take me to the park, and I never imagined I’d work there someday. When I started, I was a temporary scenic painter. I never thought I’d get involved in designing and building World of Frozen. So yes, I’d simply tell her: ‘Anything is possible.’"

Sortiraparis: One last message for our readers?

Emma Yeates: "To your readers, I hope they come to discover World of Frozen and love it as much as we loved creating it. We poured a lot of effort and passion into this project, and I hope that shows in the experience they have."