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Watch Saving Mr. Banks Online John Lee Hancock's new film, "Saving Mr. Banks," about Walt Disney's efforts to persuade testy British author P.L. Travers to make her "Mary Poppins" novels into a screen musical, is one of an increasingly rare breed: a studio picture shot in Los Angeles.Speaking at the Envelope Screening Series, Hancock and Tom Hanks, who plays Disney in the film, discussed the advantages of shooting locally, including on the Disney lot and at Disneyland.
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"It was a real treat to shoot here," said Hancock, who lives in L.A. "I think it carries over to the crew: The crews are fantastic here. People sleeping in their own bed and then showing up to work the next day, there's something that builds a different kind of community than when you're on location, I felt."He added, "When you talk about shooting at Disneyland or on the Disney lot, it's such an advantage and you pinch yourself over and over, because especially on the Disney lot, this is the exact place where a lot of these things occurred. ...
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We tried to really be almost quasi-religious about how exact they appear, like old animation, etc., the backdrops, all that."Hanks agreed. Filming at Disneyland in particular was "fabulous," he said. "When you're there and it's not open yet, and the public is not there, it's a tiny place. ... You can walk from the submarines to Autopia to the line for the Matterhorn in seven seconds. ... It's astounding. And then when the park fills up during the course of the day, it seems like it's as big as Texas."Hanks added, "For us to be there ... and everyone's dressed up like it's 1961 and whatnot, it was like an E-ticket attraction."
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The film begins simply when P.L. Travers (Emma Thompson) has finally in agreement to fly from UK to la so as meet with film maker (Tom Hanks). Their meeting is that the end result of Disney's 20-year pursuit of the rights to "Mary Poppins," and therefore the author has finally relented as a result of, frankly, she desires the money. She is invited to act as authority on the film, meeting with scriptwriter Don DaGradi (Bradley Whitford) and songwriters Richard and parliamentarian Sherman (Jason Schwartzman and B.J. Novak) as they discuss along with her specifically what changes they're going to be allowed to form to her story. She's adamant that female parent Poppins not be was one in all Disney's "silly cartoons."
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Scenes of their designing sessions, during which Travers refuses to budge, creating often ridiculous demands (at one purpose demand that the colour red be off from the flick completely), alternate with flashbacks to the author's childhood in Australia growing up with a adoring, however deeply depressed, father (played with charm by Colin Farrell). Writers Kelly Marcel and Sue Smith worship the reason (based on one hypothesis place forth in Valerie Lawson's life story of Travers, "Mary Poppins, She Wrote") that the author's reluctance to dispense with her creation was the results of an absence of closure in her relationship along with her father, UN agency was therefore sacred to her writing. This clear-cut interpretation is characteristic the film's ought to iron out the nuances of the story it sets intent on tell. although we all know however things should inevitably end up, forsaking artistic management of her work being a the****utic method for Travers looks so much too tidy. As is that the approach the film makes guaranteed to finish with the film's premiere, handily avoiding the very fact that Travers was vocal in her annoyance with the finished product.
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