‘Frozen’ Animator Lino DiSalvo Discusses Making the Indie Feature ‘Twisted,’ Sharing Behind-the-Scenes Work at Annecy

Lino DiSalvo, a veteran animator associated with Disney’s “Frozen,” is using the Annecy animation festival spotlight to talk about work on an upcoming feature titled “Twisted,” and about what changed when he moved from a major studio pipeline into independent production. The comments were reported in conjunction with his appearance at Annecy, where festival audiences and industry professionals typically focus on production methods, creative process, and the practical realities of animation schedules and budgets.

In the interview coverage, DiSalvo traced his path from Brooklyn, describing a household shaped by Italo-American roots and by his family’s Sicilian-origin background. He said his parents expected that he would one day take over the family pizzeria business, framing the decision to pursue animation as a direct break with that plan.

DiSalvo described the moment his career direction diverged from family expectations in terms that suggest both personal conflict and the scale of the move. “Who am I to tell my parents no or that I’m going to move to L.A. and be an animator,” he said, describing how his choice required him to assert a different life course than the one his family anticipated.

The reporting also positions DiSalvo’s “From Disney To Indie” arc as more than a résumé change, centering it on what he is doing now as he develops “Twisted.” While the article does not provide production specifics such as release timing, cast details, or distribution plans, it frames the project as the next stage of his career and as a reason for the behind-the-scenes discussion at Annecy.

In industry terms, shifts from large studio work to independent features can affect how animation teams build sequences, manage iterations, and coordinate across smaller staffs, and festival interviews often reflect those differences. In DiSalvo’s case, the coverage emphasizes the personal and professional transition, from the expectations of a neighborhood business inheritance to building a career in animation after relocating to Los Angeles.

The interview coverage further underscores how animation industry networks and festival venues operate as meeting points for audiences and professionals. Annecy is known for spotlighting craft, including storyboard-to-screen translation, character performance, and the tooling choices that shape how scenes get animated. The DiSalvo segment is presented as part of that wider festival context, with the “Frozen” connection serving as a reference point for viewers while he discusses his current independent feature work.

No additional confirmed details were included in the provided report about “Twisted,” such as plot, completion status, or a specific release window. That means viewers should treat the Annecy remarks as process and career context rather than a complete production announcement until further information is released by the filmmakers or the project’s official channels.

DiSalvo’s statements also highlight the broader human story behind production calendars, reminding festival-goers that career decisions often begin years before a finished feature reaches audiences. In that sense, the Annecy discussion functions as both an introduction to “Twisted” and a window into how one animator’s background and risk-taking connect to the discipline of getting a film made.