World of Frozen at Disneyland Paris: "Magic Never Relies on 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 give us insight, Emma Yeates, Production Manager for Stage Design at Walt Disney Imagineering Paris (or Senior Creative Director of Show Design for the purists), shares her perspective. She reflects with Sortiraparis on the entire planning process, including architectural and storytelling choices, as well as the challenges involved in creating an entirely new themed area. With Scandinavian inspiration, meticulous attention to detail, and a desire for coherence with the original story, she offers a behind-the-scenes look at the creation of World of Frozen.

Without further ado, read our full interview below:

Sortiraparis: As the Senior Show Design & Production Manager and Show Manager for World of Frozen, could you explain precisely what your role involves in such a large-scale project, from the development phase through to installation in the park?

Emma Yeates: "I oversee all the show disciplines. I don’t handle the structural work — I wouldn’t be able to — but I have excellent colleagues for that. My role spans from designing stages to launching the production. We start with a concept or an idea, then gradually bring the team members on board. We involve technical teams — lighting, sound, graphics — and determine the essential elements. Next, we decide whether there will be special effects, imagine specific effects, and then detail each scene step by step. In design, we proceed in phases, with "gates": schematic, feasibility, 30%, 60%, 90%. Depending on the component, we can start production at 60% or 90%, since some details are already quite defined. From design to production, then to installation and delivery to the park, with a one-year guarantee."

Sortiraparis: When you're entrusted with World of Frozen, what’s the first step? Do you start with a blank page, a technical plan… or maybe a Frozen song on repeat? Could you walk us through the steps of developing this zone?

Emma Yeates: "We begin by watching all the films — the first, the second, plus all the short films, especially those featuring Olaf. We watch everything to immerse ourselves in the atmosphere. Then, we rely on a basic storytelling framework, already defined beforehand through discussions between park management and our art director. Usually, we have an initial presentation that sets the stage: whether it’s an attraction, a land, and what story we want to tell. From there, we start developing."

Sortiraparis: You've worked on Phantom Manor, Cars Road Trip, Avengers Campus… What new lessons did World of Frozen teach you?

Emma Yeates: "Every project is unique, and for me, this one is even more special because I’ve never held the same position twice. I was a painter specializing in figure finishing (characters and scenic decorations) on Phantom Manor. On Cars Road Trip, I was an accessory artist. On Avengers Campus, lead props designer and then manager. And for Frozen, I’m the senior manager. Comparing attractions, the constraints are very different. For example, with Phantom Manor, Cars Road Trip, or Avengers Campus, we weren’t dealing with a boat ride with a flume (a water attraction with twists and drops), and water itself presents real challenges. Until you’re on the boat, it’s hard to evaluate exactly what the visitor will see or experience, which complicates things. I’ve also learned that you’re never fully prepared. There’s always an unexpected element. Success depends on anticipating multiple options — Plan B, Plan C, even Plan D. You have to be quick and adaptable because things never unfold exactly as planned."

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

Emma Yeates: "The mountain itself was already a challenge in terms of access and safety. We had to develop a unique scaffolding system to build it. Then, our sculptors brought their expertise to shape everything. The ice palace was produced in parallel before being installed on the mountain. The key was to visually integrate both. We revisited it with paint to enhance the effects and ensure a coherent look from all angles and lighting conditions. Painting in direct sunlight isn’t enough: the appearance has to work just as well on grey days or at dusk. The ice effects at the front of Arendelle Castle were particularly technical: creating a translucent effect while supporting a structure, and ensuring everything functions day and night with lighting."

Sortiraparis: Arendelle is a brilliantly lit, sparkling universe. How do you recreate this fairy-tale ambiance in a theme park?

Emma Yeates: "Immersion begins right outside, changing from day to night thanks to shimmering effects and ice effects. As guests queue, they’re gradually drawn into the story with lighting, music, and media effects that enhance specific scenes. But magic isn’t based on just one element. It’s the whole package: projections, lighting, decor, music, and special effects. Every detail is designed to work at different times of day and under various lighting conditions. The peak moment is when the door opens onto Elsa. During the show-ride integration, when the door, the character’s movement, the sound, and the boat’s motion were perfectly synchronized, the emotion was real. It’s this collective precision between ride and show teams that makes it feel like the characters truly interact with visitors."

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

Emma Yeates: "I hope they’re awe-struck, feeling what I did when I stepped back and looked at the entire project. We’re so immersed in it that we forget what we’ve achieved. It’s really during the final press preview in November 2025, when we step back to present the work, that the full impact hits me. Seeing people's faces, their reactions, their sparkling eyes — that’s when you realize why we do this. And I believe it will be the same for visitors. Our goal is for C they enter and are truly spellbound."

Sortiraparis: Without revealing secrets, what will surprise visitors most about The Queen of Arendelle attraction?

Emma Yeates: "The moment they'll be most captivated by is when the doors open onto Elsa in her ice palace. Even if there are photos or videos, they won’t compare to the feeling of being in the boat, experiencing that in person. When she looks at you, you genuinely feel transported into the story. That moment, I believe, will leave the strongest impression on visitors."

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

Emma Yeates: "Honestly, I can’t single out just one. I’ve experienced the entire process with my teams, day and night. The level of dedication, passion, and effort is all interconnected. Every step I see reflected in the final result. You can’t isolate one element — even the most striking scene wouldn’t work without everything that comes before."

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

Emma Yeates: "There are many! Some are more subtle or discreet, meant for attentive visitors. For example, the original Snow Queen story is 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 look carefully at the background decoration, you’ll find another hidden reference. And it’s not the only one: several names and references are subtly scattered throughout the environment. It’s up to visitors to spot them."

Sortiraparis: I noticed some promotional elements related to the Meet & Greet — a Disney portrayal of a Fragonard painting, Le Hasard Heureux de l'Escarlopette. Why that particular painting?

Emma Yeates: "Yes, it’s featured in the film, and it’s actually my favorite! There are several similar references in the film, but I wanted to include this one specifically in the Meet & Greet. I noticed it in the movie and thought it would be perfect here — it’s just so beautiful."

©Disney

Sortiraparis: For those who've experienced other versions of World of Frozen around the world, will there be anything uniquely Disneyland Paris?

Emma Yeates: "Yes, we have a Royal Encounter that isn’t available anywhere else. You’ll see the castle, but you cannot meet Anna and Elsa there. Conversely, you can meet Anna and Elsa elsewhere, but not with the castle in the background. You’ll never have the same experience twice. Sometimes Olaf stops by to visit visitors, which is always a special moment. There’s also the Arendelle Celebration show in the lagoon, which complements the land’s experience."

Sortiraparis: If you had to convince someone who isn’t particularly a fan of Frozen to visit the attraction, what would you tell them?

Emma Yeates: "You don’t need to love the movie to be awestruck by this environment. The mountain alone makes an impression when you arrive. Even if you’re unfamiliar with Frozen, you’ll be fascinated by the grandeur of the scenery and the Nordic-inspired atmosphere. And if you love Norway, for example, you’ll adore visiting here… the architecture, the details. The 'wow' effect isn’t about being a fan — the Audio-Animatronics, the immersive land, and the stunning visuals are enough to captivate everyone. This universe is designed to touch all visitors, whether they already love the story or are discovering it for the first time."

Sortiraparis: If you could take your younger self on a tour of World of Frozen, what would you want to tell her?

Emma Yeates: "I’m not sure exactly what I’d say, but probably 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 would never have guessed I’d participate in designing and building World of Frozen. So yes, I’d simply tell her: everything is possible."

Sortiraparis: Any final words for our readers?

Emma Yeates: "Just that we truly hope they’ll come and discover World of Frozen and that they’ll love it. We’ve poured so much passion and effort into this project, and we hope they’ll feel that in the experience."