AFI Catalog of Feature Films
Detailed View of Movie
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
Title: Saving Mr. Banks

Production Company: Ruby Films  
  Essential Media and Entertainment  
  BBC Films  
  Hopscotch Features  
Production Text:
A Ruby Films/Essential Media and Entertainment production
in association with BBC Films and Hopscotch Features
a John Lee Hancock film
Developed with the Assistance of Screen Australia
Developed with the Assistance of BBC Films
Distribution Company: Walt Disney Studios Motion Pictures  

Release Date: 13 Dec 2013
Premiere Information: Los Angeles premiere: 7 Nov 2013 at AFI Fest; Los Angeles and New York openings: 13 Dec 2013
Production Date: began 19 Sep 2012 in Los Angeles, CA
Duration (in mins): 120
PCA NO: 48317
MPAA Rating: PG-13
Country: United States
Language: English

Physical Properties: Sd: Dolby® Digital in selected theatres; Datasat Digital Sound in selected theatres
  col:
  Prints: Prints by Deluxe
  Widescreen/ratio: Shot in Panavision®

Producer: Alison Owen (Prod)
  Ian Collie (Prod)
  Philip Steuer (Prod)
  Paul Trijbits (Exec prod)
  Christine Langan (Exec prod)
  Andrew Mason (Exec prod)
  Troy Lum (Exec prod)
  K. C. Hodenfield (Co-prod)
Director: John Lee Hancock (Dir)
  Philip Steuer (Unit prod mgr)
  K. C. Hodenfield (1st asst dir)
  Jeff Okabayashi (2d asst dir)
  Clark Credle (2d 2d asst dir)
  Paula Case (Addl 2d asst dir)
  Anna Vogt (DGA trainee)
  Stuart Renfrew (1st asst dir, United Kingdom unit)
Writer: Kelly Marcel (Wrt)
  Sue Smith (Wrt)
Photography: John Schwartzman (Dir of photog)
  Ian Fox (Cam op)
  Robert Presley (Cam op)
  Dan Ming (Cam 1st asst)
  Tucker Korte (Cam 1st asst)
  Thomas D. Lairson, Jr. (Cam 2d asst)
  Melanie Banders (Cam 2d asst)
  Yuka Kadono (Loader)
  Paul McIlvaine (Chief lighting tech)
  Paul R. Birk (Asst chief lighting tech)
  Samantha Bahramain (Set lighting tech)
  Matt Bardocz (Set lighting tech)
  Roberto Castillo, Jr. (Set lighting tech)
  Daniel Dorowsky (Set lighting tech)
  Michael Dorowsky (Set lighting tech)
  Craig Gleason (Set lighting tech)
  Andrew Meyers (Set lighting tech)
  Steve Rollins (Set lighting tech)
  Eric Sandlin (Set lighting tech)
  Frank Dorowsky (Rigging gaffer)
  Brian Dennis (Best boy rigging elec)
  Les T. Tomita (Key grip)
  Dana Baker (Best boy grip)
  Alan "Moose" Schultz (Dolly grip)
  Jack Glenn (Dolly grip)
  Audie Aragon (Grip)
  Jerry Bertonlami (Grip)
  Edward Gutierrez (Grip)
  Daisuke Miyake (Grip)
  Glen Purdy (Grip)
  Mike Shaw (Grip)
  Derlin Brynford-Jones (Technocrane op)
  Jason Conmay (Technocrane tech)
  Rick Harris (Key rigging grip)
  Donald A. Spadoni (Rigging grip best boy)
  Francois Duhamel (Still photog)
  Ben Smithard (Dir of photog, United Kingdom unit)
  Tom Gates (Gaffer, United Kingdom unit)
  Ronan Murphy (Key grip, United Kingdom unit)
Art Direction: Michael Corenblith (Prod des)
  Lauren Polizzi (Art dir)
  Samantha Avila (Asst art dir)
  Martin T. Charles (Graphic des)
  Mike Piccirillo (Art dept coord)
  Mark Bristol (Storyboard artist)
  Joel Venti (Storyboard artist)
  Lisa Fiorito (Art dept res)
  Kristen Maloney (Art dept prod asst)
  Will Field (Art dir, United Kingdom unit)
Film Editor: Mark Livolsi (Film ed)
  William Joseph Kruzykowski (Assoc ed)
  David Matusek (1st asst ed, LA)
  David Rogow (Asst ed, NY)
Set Decoration: Susan Benjamin (Set dec)
  Joel Prihoda (Leadman)
  Scott Maginnis (Prop master)
  Erick Garibay (Asst prop master)
  Tommy Gutman (Prop asst)
  Lawson Brown (On-set dresser)
  Lorrie Campbell (Senior lead set des)
  Stephen Christensen (Lead set des)
  Sally Thornton (Set des)
  Emma Verdugo (Set dec coord)
  Deborah Jones (Drapery foreman)
  Terry Scott (Const coord)
  Randy Syracuse (Gen const foreman)
  Chris Campbell (Const buyer)
  Antonio Salazar (Labor foreman)
  Chris Perez (Labor foreman)
  Jason Sales (Head plasterer)
  Jerry Casillas (Propmaker foreman)
  Ron Montgomery (Propmaker foreman)
  Michael Villarino (Propmaker foreman)
  Tony Castagnola (Head greens foreman)
  Ralph Mock (Paint supv)
  Laurence Laurent (Paint foreman)
  Bridget Cardenas (Standby painter)
  Karl McGovern (Prop master, United Kingdom unit)
Costumes: Daniel Orlandi (Cost des)
  Andrea Knaub (Cost supv)
  Nanrose Buchman (Key costumer)
  Hans G. Struhar (Key set costumer)
  Cheri "Scout" Reed (Principal set costumer)
  Wyatt Bartlett (Costumer - Mr. Hanks)
  Eyan Candini (Costumer)
  Sonny Merritt (Costumer)
  Cacey Riggan (Costumer)
  Sarah Yellin (Costumer)
  Deborah Travis (Set costumer)
  John Voght (Set costumer)
  Mary Lou Lim (Extras costumer)
  Tyra Youland (Ager/Dyer)
  Richard Gartrell (Cost dept asst)
  Allison Wyldeck (Cost supv, United Kingdom unit)
Music: Thomas Newman (Mus)
  Matt Sullivan (Mus supv)
  Richard M. Sherman (Mus consultant)
  Thomas Newman (Orch cond)
  Bill Bernstein (Supv mus ed)
  Sally Boldt (Temp mus ed)
  Michael Zainer (Asst mus ed)
  J. A. C. Redford (Orch)
  Tommy Vicari (Score rec & mixed)
  Armin Steiner (Orch rec)
  Larry Mah (Digital audio op)
  Reprise Music Services (Mus preparation)
  George Doering (Audio coord)
  Ernest Lee (Digital coord)
  The Village W. LA, CA (Score rec and mixed at)
  The Newman Scoring Stage 20th Century Fox Studios, LA, CA (Orch red at)
  Shin Miyazawa (Asst eng)
  Tim Lauber (Asst eng)
  George Doering (Instrumental soloist)
  Steve Tavaglione (Instrumental soloist)
  Dan Greco (Instrumental soloist)
  Rick Cox (Instrumental soloist)
  Sid Page (Instrumental soloist)
  Joseph Magee (Pre-rec and on-cam mus mixer)
  Capitol Studios Hollywood, CA (Rec at)
  Booker White Walt Disney Music Library (On cam mus prep)
  Randy Kerber (Rehearsal and pre-rec piano)
  Jason Schwartzman (Rehearsal and pre-rec piano)
Sound: John Pritchett (Sd mixer)
  David Roberts (Boom op)
  Kay Colvin (Sd utility)
  Michael Herron (Video assist op)
  David E. Fluhr (Re-rec mixer)
  Gregory King (Re-rec mixer)
  Jon Johnson (Supv sd ed)
  Vanessa Lapato (Dial supv sd ed)
  Miguel Rivera (Dial ed)
  Yann Delpuech (Sd eff and des ed)
  Brad Sokol (1st asst sd ed)
  John Sievert (Foley artist)
  Stefan Fraticelli (Foley artist)
  Kevin Schultz (Foley mixer)
  Ron Mellegers (Foley mixer)
  Trent Richmond (Foley mixer)
  JRS Productions (Foley rec at)
  Doc Kane (ADR mixer)
  Jeff Gersh (ADR mixer)
  Jeanette Browning (ADR rec)
  Brian Dinkins (Mix tech)
  The Walt Disney Studios Burbank, CA (ADR & sd re-rec at)
  King Soundworks Van Nuys, CA (Sd ed & des by)
  Ros Gentle (Loop troop)
  India Dupre (Loop troop)
  Melissa Bickerton (Loop troop)
  Moira Quirk (Loop troop)
  Tess Masters (Loop troop)
  Thomas Bromhead (Loop troop)
  Robin Atkin Downes (Loop troop)
  Matthew Wolf (Loop troop)
  Nick Jameson (Loop troop)
  Warwick Hutton (Loop troop)
  Jadan Sands (Loop troop)
  Cullen McCarthy (Loop troop)
  Nick Carson (Loop troop)
  Terri Douglas (Loop troop)
  Ava Acres (Loop troop)
  Katie Silverman (Loop troop)
  Anne Lockhart (Loop troop)
  Sandy Holt (Loop troop)
  Jackie Gonneau (Loop troop)
  Jennifer Crystal Foley (Loop troop)
  David Cowgill (Loop troop)
  Paul Pape (Loop troop)
  Eddie Frierson (Loop troop)
  Justin Shenkarow (Loop troop)
  Joshua Stern (Loop troop)
  Rudi Buckle (Sd mixer, United Kingdom unit)
  Robert Toft (Video assist op, United Kingdom unit)
Special Effects: Lauren Miyake (Visual eff prod)
  J. D. Schwalm (Spec eff coord)
  Jeremiah Cooke (Spec eff tech)
  Michael Derry (Spec eff tech)
  Shine (Title seq des and prod by)
  Scarlet Letters (End title crawl by)
  Luma Pictures (Visual eff by)
  Vincent Cirelli (Visual eff supv, Luma Pictures)
  Simon Mowbray (Visual eff supv, Luma Pictures)
  Steven Swanson (VFX prod, Luma Pictures)
  Michael Perdew (Digital prod mgr, Luma Pictures)
  Catherine Hughes (Lead digital coord, Luma Pictures)
  Justin Johnson (Digital eff supv, Luma Pictures)
  Alexandre Cancado (2D supv, Luma Pictures)
  Pavel Pranevsky (CG supv, Luma Pictures)
  Glenn Morris (Roto & paint supv, Luma Pictures)
  James Waterson (Lighter/Compositor, Luma Pictures)
  Joey Sila (Lighter/Compositor, Luma Pictures)
  Alex Khan (Lighter/Compositor, Luma Pictures)
  Joe Censoplano (Lighter/Compositor, Luma Pictures)
  Jennifer Gutierrez (Lighter/Compositor, Luma Pictures)
  Sonia Yu (Lighter/Compositor, Luma Pictures)
  Jesse Nicodemus (FX artist, Luma Pictures)
  Lenny Gordon (Tracking/Matchmove, Luma Pictures)
  Safari Sosebee (Model/Texture artist, Luma Pictures)
  Cory Cosper (Model/Texture artist, Luma Pictures)
  CoSA VFX (Visual eff by)
Dance: Mary Ann Kellogg (Choreog)
Make Up: Julie Hewitt (Co-dept head make-up)
  Deborah La Mia Denaver (Co-dept head make-up)
  Kate Biscoe (Key make-up artist)
  Jenni Brown Greenberg (Make-up artist)
  Fiona Cush (Make-up artist)
  Emily Katz (Make-up artist)
  Cat McCullough (Make-up dept asst)
  Frances Mathias (Hair des/Hair dept head)
  Catherine Childers (Key hair stylist)
  Pauletta Irwin (Hair stylist)
  Kerry Mendenhall (Hair stylist)
  Gloria Ponce (Hair stylist)
  Maria Sandoval (Hair stylist)
  Karen Zanki (Hair stylist)
Production Misc: Ronna Kress (Casting)
  Andrew Keeter (Prod supv)
  Becky Boyle (Scr supv)
  Andrew Ullman (Loc mgr)
  Michael J. Soleau (Asst loc mgr)
  Lori Balton (Loc scout)
  Amy Robinson (Environmental steward)
  Kenny Dodson (Post prod asst, LA)
  Morgan Heller (Post prod asst, NY)
  Terri Douglas (ADR voice casting)
  Lauren Swearingen (Prod coord)
  Josh Smith (Asst prod coord)
  Ben Grayson (Asst to Mr. Hancock)
  Emily Perry (Asst to Ms. Owen, UK)
  Allison Korrey (Asst to Ms. Owen, US)
  Chris Kuhl (Asst to Mr. Steuer)
  Ray Gordon, II (Asst to Ms. Thompson)
  Sookie Raphael (Asst to Mr. Hanks)
  Claudine Farrell (Asst to Mr. Farrell)
  Adam Nusinow (Office prod asst)
  Joe Conniff (Office prod asst)
  Kevin Slee (Office prod asst)
  C. J. Izzo (Office prod asst)
  Brian Sutherin (Set prod asst)
  Alina Gatti (Set prod asst)
  Frances Stafford (Set prod asst)
  Nick Kokich (Set prod asst)
  Josh Mumford (Set prod asst)
  Chase Pletts (Set prod asst)
  Kit Conners (Set prod asst)
  Eddie Panozzo (Const accountant)
  Bonnie Mackie (Studio teacher)
  Claudette Grand (Addl studio teacher)
  Thomas Udell (Prod accountant)
  Michelle A. De Mayo (1st asst accountant)
  Erin Morris (2d asst accountant)
  Emily Kropp (2d asst accountant)
  Lori Ikeda (Payroll accountant)
  Nadia Bombino (Post prod accountant)
  Lindsey Ellis (Accounting clerk)
  Ernie Malik (Unit pub)
  Geno Hart (Transportation coord)
  Michael Connor (Transportation capt)
  Glenn E. Mathias (Transportation capt)
  Adam Pinkstaff (Transportation co-capt)
  Martin Osborne (Picture car capt)
  Hannah d'Angerio (Casting asst)
  Emma Sands-Milsom (Casting asst)
  Nikki Barrett Barrett Casting (Young Ginty casting)
  Natalie Wall (Casting assoc, AUS)
  Bill Dance (Extras casting)
  Terence Harris (Extras casting assoc)
  Florence Chung (Extras casting coord)
  Jessica Drake (Mr. Hanks' dialect coach)
  Judi Dickerson (Mr. Farrell's dialect coach)
  Sled Reynolds (Animal coord)
  Tamara Andrews (Animal trainer)
  Chef Robért Catering (Catering)
  D. Keegan Zall (Chef)
  Tony Whitmore (Set medic)
  David O'Dell (Const medic)
  Mike McKelvey (Const medic)
  Body Energizers (Massage & reflexology)
  Mark Cooper (Line prod, United Kingdom unit)
  Serena Nutting (Prod coord, United Kingdom unit)
  Jonah Coombes (Loc mgr, United Kingdom unit)
  Liz West (Scr supv, United Kingdom unit)
  Lucky Patricius (Medic, United Kingdom unit)
  Faye Ward (For Ruby Films)
  Hannah Farrell (For Ruby Films)
  Michael Winter (For Ruby Films)
  Sophie Vickers (For Ruby Films)
Stand In: Charlie Brewer (Stunt coord)
  Mike Majesky (Stunt driver)
  Kelly Malone (P. L. Travers stand-in)
  Jon Donahue (Walt Disney stand-in)
  Desiree Szabo (Ginty stand-in)
  Ryan Babbs (Travers Goff stand-in)
  Robert Martinez (Ralph stand-in)
  Jean Pierre Pereat (Don DaGradi stand-in)
  Taryn Francis (Biddy stand-in)
Animation: Walt Disney Animation Studios (Tinker Bell anim created at)
  Dave Bossert (Prod/Creative, Walt Disney Animation Studios)
  Liane Abel Dietz (Prod mgr, Walt Disney Animation Studios)
  Cameron Ramsay (Spec projects coord, Walt Disney Animation Studios)
  Ashleigh Bateman (Prod dept secy, Walt Disney Animation Studios)
  Mark Henn (Anim, Walt Disney Animation Studios)
  Lureline Kohler (Clean up anim, Walt Disney Animation Studios)
  Brandon Bloch (General TD, Walt Disney Animation Studios)
Color Personnel: Company 3 (Digital intermediate provided by)
  Stefan Sonnenfeld (CO3 exec prod/Col, Company 3)
  Joe Guzman (DI prod, Company 3)
  Rudy Lopez (Digital conform, Company 3)
  Mike Chiado (DI technologist, Company 3)
  James Cody Baker (Col asst, Company 3)
  Giovanni Di Giorgio (Col asst, Company 3)
  Devin Sterling (Head of prod, Company 3)
  Jackie Lee (Account exec, Company 3)

Music Text:
Song Text: "Chim Chim Cher-ee," written by Richard Sherman and Robert Sherman, performed by Randy Kerber; "One Mint Julep," written by Rudy Toombs, performed by Ray Charles, courtesy of The Ray Charles Foundation, under license from the Ray Charles Marketing Group; "Big Noise From Winnetka," written by Ray Bauduc, Bob Haggart, Bob Crosby and Gil Rodin, performed by The Swing Masters, courtesy of Dare Records; "Lassie Main Title," written by Les Baxter, courtesy of Classic Media, LLC; "Wonderful World of Color," written by Richard Sherman and Robert Sherman, performed by The Wellingtons, courtesy of Walt Disney Records; "Heigh-Ho," written by Frank Churchill and Larry Morey, performed by The Dave Brubeck Quartet, courtesy of Derry Music Company; "Chim Chim Cher-ee," written by Richard Sherman and Robert Sherman, performed by Jason Schwartzman and B.J. Novak; "This Is Not Goodbye," written by Marc Ferrari and Daniel May, performed by Daniel May, courtesy of FirstCom Music; "Supercalifragilisticexpialidocius," written by Richard Sherman and Robert Sherman, performed by Jason Schwartzman and B.J. Novak; "A Kiss Under The Stars," written by Marc Ferrari and Daniel May, performed by Daniel May, courtesy of FirstCom Music; "A Spoonful of Sugar," written by Richard Sherman and Robert Sherman, performed by Jason Schwartzman and B.J. Novak; "Feed The Birds," written by Richard Sherman and Robert Sherman, performed by Jason Schwartzman; "A Man Has Dreams," written by Richard Sherman and Robert Sherman, performed by Jason Schwartzman and Tom Hanks; "Fidelity Fiduciary Bank," written by Richard Sherman and Robert Sherman, performed by Jason Schwartzman, B.J. Novak and Bradley Whitford; "Estudiantina," arranged and performed by Mark Mothersbaugh, courtesy of Mutato Muzika; "Blaydon Races," arranged by Charles Ernest Catcheside-Warrington; "Men of Harlech," arranged by Marshall Bowen; "A Dream Is a Wish Your Heart Makes," written by Al Hoffman, Jerry Livingston and Mack David; "Zip-A-Dee-Doo-Dah," written by Allie Wrubel and Ray Gilbert; "Mary Poppins Medley: A Spoonful of Sugar/Jolly Holiday/Feed The Birds," written by Richard Sherman and Robert Sherman, performed by Arthur Fiedler and The Boston Pops Orchestra, courtesy of The Decca Music Group, under license from Universal Music Enterprises; "A Spoonful Of Sugar," written by Richard Sherman and Robert Sherman, performed by Julie Andrews, courtesy of Walt Disney Records; "Jolly Holiday," written by Richard Sherman and Robert Sherman, performed by Dick Van Dyke and Julie Andrews, courtesy of Walt Disney Records; "Step In Time," written by Richard Sherman and Robert Sherman, performed by Dick Van Dyke, courtesy of Walt Disney Records; "Let's Go Fly A Kite," written by Richard Sherman and Robert Sherman, performed by David Tomlinson, Dick Van Dyke and The Londoners, courtesy of Walt Disney Records; "Mary Poppins Overture," written by Richard Sherman and Robert Sherman, performed by "Orchestra," courtesy of Walt Disney Records.
Source Text:
Music Composer: Bob Haggart
  Ray Bauduc
  Les Baxter
  Frank Churchill
  Bob Crosby {Dancer, actor}
  Mack David
  Marc Ferrari
  Ray Gilbert
  Al Hoffman
  Jerry Livingston
  Daniel May
  Larry Morey
  Gil Rodin
  Richard Sherman
  Robert Sherman
  Rudolph Toombs
  Allie Wrubel

Cast:   Emma Thompson (P. L. Travers)  
    Tom Hanks (Walt Disney)  
    Colin Farrell (Travers Goff)  
    Paul Giamatti (Ralph)  
    Jason Schwartzman (Richard Sherman)  
    Bradley Whitford (Don DaGradi)  
    Annie Rose Buckley (Ginty)  
    Ruth Wilson (Margaret Goff)  
    B. J. Novak (Robert Sherman)  
    Rachel Griffiths (Aunt Ellie)  
    Kathy Baker (Tommie)  
    Lily Bigham (Biddy)  
    Melanie Paxson (Dolly)  
    Andy McPhee (Mr. Belhatchett)  
    Ronan Vibert (Diarmuid Russell)  
    Jerry Hauck (Premier emcee)  
    Laura Waddell (Woman with infant)  
    Fuschia Kate Sumner (Flight attendant)  
    David Ross Paterson (Doctor)  
    Michelle Arthur (Polly)  
    Michael Swinehart (Porter)  
    Bob Rusch (Doorman)  
    Paul Tassone (Refreshment tent man)  
    Luke Baines (Waiter)  
    Demetrius Grosse (Bartender)  
    Steven Cabral (Bank clerk)  
    Kimberly D'Armond (Katie Nanna)  
    Mia Serafino (Young woman)  
    Claire Bocking (Nanny Claire)  
    Dendrie Taylor (Lillian Disney)  
  Disneyland patrons: Willa Grace Hancock    
    John Henry Hancock    
    Liam Miller    
    Delaney Miller    
    Zoe Zarifes    
    Matthew Loomis    
    Kate McInerny    
    Maddie Reed    
    Haley Reed    
    Lila Weithas    
    Leigh Anne Tuohy    
  [and] Alex Gustin    
  Disneyland background: Tina Shioji    
    Nick Vento    
    Josh Lay    
    Brytini Walker    
    Dexter Everitt    
    Ryan Powell    
    Desmond Eason    
    Jamie Lozano    
    Abigail Tamayo    
    Irene Watson    
  [and] Natalie Duarte    

Summary: On 2 April 1961 in London, England, children's author P. L. Travers is roused from a memory of her beloved, eccentric father by the arrival of her literary agent, Diarmuid Russell. He has come to escort her to the airport, as she is travelling to Los Angeles, California, to meet producer Walt Disney. The filmmaker has been trying to option the film rights to Travers' Mary Poppins series for twenty years, but she suddenly declares the deal is off. Although Travers despises the Disney brand of happy endings, Russell warns his client that her books are no longer generating royalties, and she will soon lose her house. When he reminds her of Disney's promise to refrain from making an animated film, Travers grudgingly agrees to resume her two-week business trip on condition that she will not sign the contract until she is satisfied with the script. As Travers boards the airplane, she remembers herself as a child, leaving her comfortable home in Maryborough, Australia, for the remote Queensland outpost of Allora, where her father accepted a new job as bank manager. Upon arrival in Los Angeles, Travers is chauffeured to the Beverly Hills Hotel by a cheery man named Ralph, and is horrified to find her room overflowing with Disney merchandise. Later, at the Walt Disney Studios in Burbank, Travers meets Don DaGradi, who has been hired to adapt her work, as well as songwriting brothers Richard and Robert Sherman, but she bitterly declares her opposition to making a musical. She insists on meeting Disney, and is disconcerted by his informality, but learns that he was introduced to Mary Poppins by his own daughters. Having promised the girls that he would make a film version of their favorite book, Disney will stop at nothing to produce Mary Poppins and declares that it will be a "revolutionary" picture. Taking Travers' hands in his, Disney vows to uphold the book's integrity. However, Travers regards her characters as "family" and refuses to sign a contract. Insisting that all conversations be tape-recorded to verify verbal agreements, Travers reconvenes with DaGradi and the Sherman brothers to review the screenplay. However, she is unfamiliar with staging and scene descriptions, and is displeased by the song, "Chim Chim Cher-ee." She later disparages production designs, and insists that the Banks family should not be portrayed as wealthy. When Disney learns of Travers' incessant nitpicking, he attempts to appease her, but the author is still intent on withholding screen rights. Back at the Beverly Hills Hotel bar, Travers orders tea and again remembers her father, whose alcoholism threatened the family's security. Back at Disney Studios, the Sherman brothers compose "A Spoonful Of Sugar," but Travers finds the lyrics patronizing. She declares that Mary Poppins, unlike Disney, is "the enemy of whimsy and sentiment." She orders the men to find the "gravitas" of the narrative, then throws the script out the window. In her hotel room that evening, Travers telephones her agent to complain that she is "at war with herself." Remembering her father's refrain, "Life is an illusion," Travers believes that her childhood imagination created conflict between her parents, and provoked her father's alcoholism. Sometime later at the studio, the Sherman brothers perform their song, "Fidelity Fiduciary Bank." As she listens, Travers is haunted by a memory of her father, who embarrassed his family and bank executives by getting drunk before an Allora county fair awards ceremony. When the Shermans' lyrics mock the character "Mr. Banks," whom Travers modeled after her father, the author protests, declaring, "He was not a monster!" Suppressing tears, Travers walks away from the baffled men, muttering regret that she let her father down yet again and remembering how he suffered withdrawal from alcohol. The man's condition became so hopeless, Travers' mother attempted suicide, but tranquility was temporarily restored by the arrival of the magical yet practical Aunt Ellie, who became a model for "Mary Poppins." After her father finally succumbed to his illness and died, Travers blamed her Aunt Ellie for failing to remedy the family tragedy. Back in the present, Ralph notices Travers on the Disney Studio lot lawn, diverting her attention to fallen leaves. He comforts the writer, reflecting that his daughter is bound to a wheelchair and he fears for her future, but he has learned to "live for today." Travers, who notes that she has no family, creates a miniature bandstand with the leaves, portraying a scene from Mary Poppins, and Ralph wishes aloud that he could show his daughter the mystical places within Travers' imagination. Later, at the Beverly Hills Hotel, Travers receives a telephone call from Disney, who wonders aloud how to make his "favorite author" happy. He insists that she accompany him to Disneyland, "the happiest place on Earth," and despite Travers' protests, Ralph chauffeurs her to the theme park the following day. There, Disney forces her to ride the merry-go-round and announces that his writing team has come up with a new approach to "Mr. Banks." The next day at the studio, Travers is finally won over by a rendition of the song "Let's Go Fly A Kite," which portrays Mr. Banks mending his children's kite and gives the film an uplifting conclusion. However, Travers is outraged to learn that the picture will include animation. Feeling betrayed by Disney, she returns her contract unsigned, and goes back to London. Meanwhile, Disney learns that Travers' identity is fictitious; her birth name is "Helen Goff," and she is Australian by birth rather than a high-class Englishwoman. He takes the next flight to London and shows up at Travers' doorstep, announcing that she has misjudged him. Disney suggests that disappointments in life have led Travers to hold faith only in Mary Poppins, but Travers counters that the character is merely fiction. In response, Disney reveals his knowledge that Travers created a fictional personality for herself, to conceal childhood wounds. Disney admits he was abused by his own father, but declares that he is tired of feeling sad about the past. He implores Travers to share her story with the world and allow him to transform it into a tale of hope and joy. Disney divulges his knowledge that the author adopted her father's first name, "Travers," as her own pseudonym surname, and encourages the woman to forgive her former self, the young "Helen Goff." He wants to paint a fresh picture of the troubled, yet endearing elder Travers Goff, and redeem the man in Mary Poppins. Sometime later, Travers finally signs the contract, and the film is produced. Although Disney does not invite Travers to the premiere, she shows up anyway. Ralph chauffeurs her to the Chinese Theatre, insisting that the film would have been impossible without her brilliant imagination. Watching Mary Poppins on the big screen, Travers cries aloud, remembering her father's promise to never leave her. 

 
Genre: Drama
 
Subject Major: Authors
  Contracts
  Fathers and daughters
  Motion pictures
  Walt Disney Studios
 
Subject Minor: Alcoholics
  Alcoholism
  Australia
  Australians
  Bankers
  Battered children
  Burbank (CA)
  Businessmen
  Class distinction
  Composers
  Disneyland (CA)
  Impersonation and imposture
  London (England)
  Los Angeles (CA)
  Motion picture premieres
  Motion picture producers
  Motion picture screenwriters
  Motion picture studios
  Personality change
  Recordings
  Songwriters
  Tycoons

Note: End credits include the following statements: "The producers wish to acknowledge the work of Valerie Lawson, author of Mary Poppins, She Wrote - The Life of PL Travers " and "The producers wish to thank: J & M Costumers, Inc.; the State of California and the California Film Commission. Special thanks to the Disneyland® Resort, [and] Al Flores, Jon Storbeck, Barb Nicolson, Rich Langhorst, Laura Schaffell, Robyn Vossen, Mike Nichols, Keith Gossett, Mike Hageman, Kristen Lagerlof, Alejandra Gonzalez, Leigh Slaughter, Ken Hughey, Trevor Rush, Dave Caranci, Andy Massey. Special acknowledgement to: 'Moose,' by Robert B. Sherman." Also stated are the following acknowledgements: "Charcoal sketches courtesy of the Norman Rockwell Estate Licensing Company; Aerial photograph and relief map courtesy of Getty Images; TIME magazine courtesy of TIME INC.; John Oxley Library, State Library of Queensland, Negs. 3811, 8986 and 161299; "Lassie" © Classic Media, LLC. LASSIE, associated images and other indicia are trademarks of and copyrighted by Classic Media, LLC. All rights reserved; Developed with the assistance of Screen Australia; Developed with the assistance of BBC FILMS." The picture is dedicated: "In memory of Peter Ronald Owen and Daniel Harris."
       End credits also feature archival photographs of P. L. Travers, Walt Disney, and other filmmakers associated with the production of Mary Poppins (1964, see entry). Many of the historical images are displayed onscreen corresponding to their modern-day credit, showing the audience how the real-life filmmakers appeared at the time of Mary Poppins' production. The end credit crawl is transposed over the image of a reel-to-reel tape recorder, which transmits an audio recording of a meeting between Travers and the Mary Poppins writers. Travers describes her vision of the Banks' home on Cherry Tree Lane, in London, England, and disputes the men's interpretation of her book. She also implies that she grew up in England, and insists that the "Mr. Banks" character "is able... he has a tender, good heart, not a change of heart, because he has always been sweet, but worried with the cares of life."
       According to a 16 Dec 2013 HR article, Saving Mr. Banks originated with a 2002 Australian documentary television series by producer Ian Collie, titled "The Shadow of Mary Poppins." Collie was reportedly intrigued by his discovery that P. L. Travers' identity was clandestine and fraught with inconsistency, including the fact that she was of Australian heritage, despite her legendary "proper British image."
       As noted in a 13 Dec 2013 Vanity Fair interview with screenwriter Kelly Marcel, a first draft of the script was completed in 2003 by Sue Smith, and HR added that Collie used Smith's work to attract British producer Alison Owen, hoping to set up the project as a Australian-U.K. co-production. However, the filmmakers realized that Saving Mr. Banks would be a problematic venture, since Walt Disney Studios Motion Pictures would have to license intellectual property rights, and would undoubtedly decline to do so if a competing company optioned the project. Still, Owen used her personal resources and financing from BBC Films to hire Kelly Marcel, who was known for her work as a television writer. Marcel adapted Smith's autobiographical script, focusing the narrative on Travers' 1961 two-week business trip to Los Angeles, CA, where she worked with Walt Disney, as well as screenwriter Don DaGradi and songwriters Richard and Robert Sherman. Mary Poppins' second credited screenwriter, Bill Walsh, is not featured in Saving Mr. Banks.
       Although Owen was reportedly pleased with Marcel's draft, she remained reticent about approaching Disney and wanted to first secure the approval of the Sherman brothers. During Italy's 2011 Ischia Film Festival, Owen serendipitously befriended a Los Angeles, CA, neighbor of Richard Sherman, who offered to give him the script. In turn, Richard Sherman became an advocate for the project, although his brother, Robert, died 6 Mar 2012 before principal photography began. According to HR, Richard Sherman cried at his first meeting with the filmmakers, remembering the struggles he endured while trying to work with Travers. However, the script for Saving Mr. Banks helped him forgive the writer, as he had not previously known about her troubled childhood. Marcel's script was subsequently included in the 2011 "'Black List' of top unproduced films, and former Creative Artists Agency (CAA) executive Bob Bookman helped establish Saving Mr. Banks in Hollywood, where Disney Studios embraced the project with the approval of Walt Disney's surviving daughter, Diane Disney Miller. A 16 Oct 2013 NYT article stated that the studio first considered buying the script as a defensive strategy, to prevent the picture from being made, but ultimately decided that the premise was an opportunity to promote the Disney brand, and demonstrate the significance of storytelling. Disney chief executive officer Robert Iger telephoned Tom Hanks personally to offer him the role of "Walt Disney," as the studio had never before entrusted an actor to portray the company founder onscreen. A 10 Apr 2012 DV news item formally announced that both Hanks and Emma Thompson were negotiating contracts for their roles.
       According to various contemporary sources, the filmmakers were initially concerned that Disney Studios would insist on sugarcoating the representation of its founder, but director John Lee Hancock told the 16 Dec 2013 HR that after "discussions" with executives, the script remained uncensored. Although Hancock claimed that Saving Mr. Banks portrayed a realistic, judicious impression of Walt Disney, revealing him as a faulty human being and a sensitive artist, as well as a ruthless businessman, many articles published at the time of release noted the film's lack of scenes with Disney indulging in his three-pack-a-day cigarette smoking addiction, which contributed to his death from lung cancer in 1966. In an 18 Oct 2012 HR news item written during production, Hanks reported that the film would refrain from addressing controversial issues surrounding Disney's life and business practices, such as his violation of labor laws, but that he would "chain smoke his way through the picture." Still, the final film contained only subtle smoking references. In a 12 Dec 2013 WSJ article, Marcel explained that "existing contracts" stipulated that Disney could not be portrayed inhaling smoke, but she included scenes in which he was holding cigarettes and coughing.
       Similarly, Saving Mr. Banks abstained from addressing the "darker and more mysterious" elements of Travers' personal life, which have been the subject of speculation in various biographies and publications, including a 28 Oct 2008 Telegraph article.
       During pre-production, the filmmakers were permitted access to the Walt Disney Archive in Burbank, CA, where they discovered the thirty-nine audiotapes which resulted from Travers' insistence that her meetings at the studio be recorded to uphold verbal agreements. The tapes were both referred to in the film, and featured in the end credits. In addition, production designer Michael Corenblith used over 500 historical photographs to recreate Disney's office, along with artifacts from an exhibit of Disney's workroom at the Ronald Reagan Presidential Library.
       As announced in a 19 Sep 2012 Disney press release, principal photography began that day in Los Angeles, with a projected end date of "around Thanksgiving." Locations included Disney Studios in Burbank, as well as Disneyland in Anaheim, CA. On 6 Nov 2012, the Orange County Register stated that the production's two days at Disneyland, 6 – 7 Nov 2012, marked one of the few instances of filming at the theme park; the last occasion was for Tom Hanks's 1996 picture That Thing You Do (see entry). Over 600 Disneyland employees were dressed in period costume to perform as background actors. The 16 Oct 2013 NYT listed the film's budget as $35 million.
       Saving Mr. Banks premiered opening night of AFI Fest on 7 Nov 2013, and was named one of AFI's Movies of the Year. It was also nominated for a Golden Globe award in the category Best Performance by an Actress in a Motion Picture – Drama (Emma Thompson).
 

Note Credits: General (mod): Valerie Lawson
  Geographic location: Los Angeles California United States
  Geographic location: Burbank California United States
  Geographic location: Anaheim California United States

Source   Date   Page
Daily Variety   10 Apr 2012.   
Hollywood Reporter   18 Oct 2012.   
Hollywood Reporter   1 Nov 2013   p. 79.
Hollywood Reporter   16 Dec 2013.   
Los Angeles Times   13 Dec 2013   p. 1.
New York Times   16 Oct 2013.   
New York Times   13 Dec 2013   p. 8.
Register (Orange County)   6 Nov 2012.   
Telegraph (London)   28 Oct 2008.   
Vanity Fair   13 Dec 2013.   
WSJ   12 Dec 2013.   

 
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