Moana 2, Frozen 3: Interview with French Disney Artist Nolwenn Roberts

French Animator Nolwenn Roberts’ Journey from Illumination to Disney and Beyond

Nolwenn Roberts, a French animator, has quickly made a significant impact in the animation world. She began her career at Illumination Entertainment, contributing to films such as Despicable Me 3 and Sing 2. During this time, she also created her own short films, one of which—The Dream of Sam (2018)—drew Disney’s attention. This led to an invitation for her to join their team as a storyboard artist in 2019. Based in Los Angeles since 2021, Roberts applied her skills to the highly anticipated Moana 2, bringing key scenes to life. Her work blends emotional depth with visual flair, underscoring the vital, often-unseen role of storyboarding. This includes envisioning shots, dictating a film’s pace, and optimally staging a narrative. This interview, conducted via video call following Moana 2’s release on Disney+, delves into Roberts’ unique career path, her experience joining the Disney family, and the collaborative nature of her profession. She discussed her creative methods, the challenges she encountered on Moana 2, and offered insights into her future endeavors, including her current work on Frozen 3, slated for release in 2027. An Unforeseen Path to Animation

Nolwenn Roberts’ A Fairytale Journey from Illumination to Disney and Beyond

Roberts has worked exclusively for Disney since moving to Los Angeles in 2021. Prior to this, she was part of another major animation studio, Illumination, known for films like The Minions, Despicable Me, and The Lorax. Recalling her journey, Roberts explained that she attended animation school in Paris with aspirations of becoming an animator, and at that point, had little prior knowledge of storyboarding. In 2012, she joined Illumination as a storyboard artist. “It turned out to be a perfect fit,” she noted, detailing her work on The Minions, Despicable Me 3, and Sing 2. During this period, she also developed personal projects, most notably her short film, The Dream of Sam. This film not only helped her secure a U.S. visa but also caught the eye of a Disney studio director, who extended an invitation to join the team in 2019. Maxime Chao highlighted the significant role of The Dream of Sam. Roberts affirmed that in animation, showcasing personal work beyond studio projects is crucial. She described short films as “a calling card but also a creative playground,” enabling her to share a more personal side of her artistry, which ultimately captured Disney’s attention. A Fairytale Journey

Nolwenn Roberts’ Journey from Dream to Reality at Disney and Moana 2

Reflecting on her transition from Illumination to Disney, two of the industry’s largest animation studios, Chao asked Roberts if her journey felt like a “fairytale.” Roberts shared that as a child, like many, she watched Disney movies and considered working for the studio an unattainable dream. “It was a dream, but one that seemed out of reach,” she stated, adding that she never imagined working on a feature film for what felt like “a legend, an unreachable peak.” However, she concluded, “sometimes, paths reveal themselves as you go along.” Experience on Moana 2 When asked about her experience working on Moana 2, Roberts revealed her involvement in several sequences, particularly highlighting one she found compelling: “It’s the moment when Moana’s struggling with doubts and tension with her crew. She ends up apologizing, only to find out they’d secretly fixed her boat while she wasn’t looking.” She described it as “an emotional scene all about trust and camaraderie,” and felt it mirrored real life and the collaborative nature of animation. “In animated movies, no one makes them alone—the storyboard, animation, lighting, effects—it all depends on others,” she explained, adding that this sequence served as a “symbol for our job.”

A Day in Disney’s Storyboarding Process with Nolwenn Roberts

The Storyboarding Process at Disney Maxime Chao then inquired about Disney’s creative process for storyboarding and the level of artistic freedom granted in staging. Roberts explained that while each film is unique, the general process begins when a storyboard artist or director assigns a sequence, which might come from a full script or a brief paragraph. Teams collectively review the material. Directors then provide specific guidance on desired emotions, pace, and the scene’s narrative role. Artists then develop an initial, rough version using quick sketches. This version is presented for feedback, where directors may approve it, suggest changes, or propose new directions. This iterative feedback loop continues until the sequence is approved. Roberts emphasized that storyboards are not immutable, noting that “sometimes whole scenes are redone or cut, even near the end of production.” A Day in the Life and Essential Tools

Disney Artist Nolwenn Roberts on Maintaining Artistic Style in Storyboarding Process

Regarding her day-to-day work, Chao asked if Roberts adheres to strict guidelines or enjoys creative leeway. Roberts stated that her daily routine varies with the project stage. At the outset of a new project, she dedicates significant time to brainstorming and testing ideas, both on paper and digitally, conducting quick visual research and rough sketching. As production progresses, she primarily works on a Wacom Cintiq, where she draws and animates her boards directly. Days typically begin with a team meeting for progress updates, feedback, and idea sharing. Most of the time is dedicated to drawing, testing, and revising, often with check-ins from the director. When asked about her preferred tech tools, Roberts cited the Wacom Cintiq as her main storyboarding device, praising its utility. She also uses her iPad for initial exploration. Disney provides robust internal software, enabling her to work from various locations. Occasionally, she opts for a traditional notebook, calling it “still the quickest tool around.” Maintaining Artistic Style

Maintaining Individual Style and Managing Time Pressures in Disney’s Storyboarding Process – Insights from Nolwenn Roberts on Moana 2 & Beyond

Chao inquired whether multiple storyboarders on Moana 2 needed to conform to a single graphic style or if individual artistic touches were permitted. Roberts confirmed that each storyboard artist maintains their unique style, which poses no issue since the drawings are internal guides, not public-facing. “What truly matters is the clarity of emotions and readability,” she stressed. To ensure character recognition, artists focus on key design elements such as silhouette, hairstyle, and accessories. She offered an example: “Even with simplified drawings, one must be able to tell Moana apart from Maui.” She added that in 3D animation, digital models ultimately define the visuals, making the “efficiency of the narrative” paramount over the drawing’s aesthetic beauty. Challenges and Continued Short Film Work Beyond artistic considerations, time presents another significant challenge. While Disney films typically span several years in creation, deadlines for specific sequences can be tight. This often necessitates extensive iteration, requiring artists to scrap, revise, and propose numerous ideas, knowing that not all will make the final cut.

Nolwenn Roberts on Frozen 3 & Exploring Personal Ideas with Disney’s Short Circuit

Chao also asked Roberts if she continues to work on short films like The Dream of Sam. Roberts confirmed that she does, explaining that shorts offer a platform to explore more personal and intimate ideas. Disney, with its Short Circuit collection, provides an excellent platform for experimentation. Roberts continues to develop short films alongside her studio commitments, appreciating the “total creative freedom without limitations” they offer. Future Endeavors Maxime Chao then inquired about Roberts’ current projects. Roberts revealed she is presently working on Frozen 3, slated for release in 2027. While details remain undisclosed, she described it as “an exciting project.” Maxime Chao thanked Roberts for the conversation. Roberts thanked him in return, calling it a “passionate” discussion.