Ben Stiller directs and stars in THE SECRET LIFE OF WALTER MITTY, James Thurber’s classic story of a day-dreamer who escapes his anonymous life by disappearing into a world of fantasies filled with heroism, romance and action.
When his job along with that of his co-worker (Kristen Wiig) are threatened, Walter takes action in the real world embarking on a global journey that turns into an adventure more extraordinary than anything he could have ever imagined.
Director: Ben Stiller Screen Story and Screenplay by: Steve Conrad; Based upon the short story by James Thurber Producers: Samuel Goldwyn, Jr., John Goldwyn, Stuart Cornfeld, Ben Stiller Cast: Ben Stiller, Kristen Wiig, Shirley MacLaine, Adam Scott, Kathryn Hahn, and Sean Penn
Disney’s newest film, Frozen, is such a strong film, it would have worked without any musical numbers at all. Fortunately, the soundtrack is as terrific as the film and helps elevate what would have been just a terrific movie into the realm of classic. With Broadway-caliber musical numbers by Kristen Anderson-Lopez and Robert Lopez, the geniuses behind Avenue Q, as well as the Book of Mormon, this is a soundtrack that stands completely on it’s own as a great set of music, independent of the film.
In total, the new CD release contains 10 “songs,” and 12 tracks of the film’s score by Christophe Beck. Of the 10 songs, one is a cover of the film’s most powerful song, “Let it Go,” by Demi Lovato. It’s not terrible, but it’s definitely not better than the track in the film itself. One of the tracks is also a reprise, so that leaves 8 completely original songs.
This collection of songs runs the gamut of styles, whether it be the previously mentioned Let It go, or the hilarious “In Summer,” an ode to the sun as sung by Olaf, a snowman. Some of the songs are just catchy and fun, and others completely emotional. A standout is “Do You Want to Build a Snowman,” a devastating song in it’s simplicity, capturing the anguish of two sisters and the emotional rift that has formed between them.
Of course, they aren’t all masterpieces, nor are they meant to be. There is a track called “Reindeer(s) are Better than People,” which is a quick, silly little song that works in the context of the film, but isn’t really a track that deserves much play on it’s own. I also wasn’t crazy about Fixer Upper, as it was a little generic for my tastes.
As mentioned above, “Let It Go” is the big power number of the soundtrack, and the one that is destined for the Oscars. It comes at an incredibly powerful moment in the film, and as performed by Idina Menzel, perfectly encapsulates the magnitude of what is happening. It’s beautiful, epic, propulsive, and one of the best things the Lopez’s have written.
Listen to the full song “Let It Go” Now, click the Play button below.
Rounding out the actual songs are the captivating opening, “Frozen Heart,” and the Broadway style numbers “For the First Time in Forever” and “Love is an Open Door.” These last two are probably the catchiest of the set, and seem like the type of songs that would have appeared in the Disney classics from the 90’s. This is very much a throwback film to those earlier styles of Disney storytelling, and the soundtrack follows that concept perfectly.
As for Beck’s score, he more than lives up to the work of the Lopez’s. Both adapting their songs into his work as well as coming up with some of his own themes, there are several tracks that are fun to listen to isolated from the film. He also does some beautiful work incorporating a sort of rhythmic chanting that captures the majesty and power of the film. It’s strong work from a strong composer.
Overall, there is a lot of variety in this set, and it’s a soundtrack definitely worth owning. Everything about this film is amongst the strongest work Disney has done in years, and that includes the music. With incredible voice-work from Kristen Bell, Idina Menzel and others, this is a soundtrack that kids will be able to instantly identify years from now. Much like Beauty and the Beast, Aladdin, etc., these songs are destined to be timeless in such a way that they become part of the pop culture musical lexicon. It’s a great soundtrack and I can’t recommend it enough.
There’s been a lot of prophesying about the future of Disney animation since the shuttering of their traditional animation unit. It was primarily discussed as the beginning of the end, a final straw spelling the end of quality animated films. Well, Disney Animation had a secret weapon to combat this negativity, and it’s name is Frozen. Proving that a CGI film can be just as effective as anything traditionally animated, this is a film that will proudly stand next to the best of the Disney name, maybe not surpassing them, but equal to Beauty and the Beast, Aladdin, and even the Lion King.
Loosely based on The Snow Queen by Hans Christian Andersen, Frozen has translated the source material into a timelessly contemporary epic of brilliant characterization, music that alternates between powerful and hilarious while always staying memorable, and perhaps most importantly, thematically dense characterization. While there is a love story (albeit not quite what you’re expecting), this is actually a film about a powerful sibling bond shattered by circumstance, and the shackles this moment places upon their psyches.
Elsa and Anna open the film as sisters and best friends. They are royalty in the fictional city of Arendelle, and love the life they share together. Elsa, the older sister, was born with the ability to control snow and ice. It’s a power that is used for joy while she is young, but as she ages, it becomes more and more difficult to control. After an incident involving her powers almost kills Anna, it is decided to remove Anna’s memories of Elsa’s powers and to begin training Elsa to repress all of her abilities. Flash forward several years, and Elsa and Anna are barely speaking to each other, and have been forced into isolation.
I don’t want to get too specific, especially as the film’s marketing has been extremely vague itself. I will just say that Arendelle ends up trapped in perpetual winter, which doesn’t sit too well with the inhabitants of the city. As a result, Elsa ends up on the run, and the crux of the film revolves around Anna’s quest to find her, save the city, and maybe resolve some long-standing emotional conflicts between the two. What’s particularly fascinating about this entire setup is that Elsa is not a villain in any way. I loved the structure of this story in that Elsa has done something horrible as a realistic psychological reaction, and in the process liberated herself in a way that allows her to embrace the person she has hidden away for most of her life.
This moment of liberation leads to one of Disney’s best musical numbers in many years. Entitled Let It Go (expect to see this performed at the Oscars), this is a showstopper of a number in which Elsa comes to terms with everything she is leaving behind, and embraces all that is ahead for her. It is amazing that they were able to pack so much character work into a song that barely runs over 3 minutes.
Which leads me to the soundtrack. Yes, Frozen is a full-blown musical. I would not be surprised in the slightest to see Disney attempt to translate this to the Broadway stage someday, as this material would be a perfect fit. With songs are by Kristen Anderson-Lopez and Robert Lopez, the incredibly talented song-writers of Avenue Q and The Book of Mormon, I just can’t stop listening to the soundtrack. It’s completely infectious, and fits in perfectly with the Disney pantheon of animated films.
The only thing that really separates this film from the classics that came before is the CGI. However, while definitely different, that doesn’t make this style of animation worse. I love traditional animation, and like everyone else, was devastated when Disney shut those doors. However, this is a beautifully animated film, with jawdropping set-pieces mixed with intimately detailed artistry. Just in terms of the snow and ice alone, I’ve never seen animation capture the natural elements with such perfection. As for the people, sure, they look a little more “bobble-head” than Disney characters used to, but it works in the context of this world. The designs are still perfect for the world they have created, and honestly, I think the CGI actually works in the film’s favor.
I’d be remiss if I didn’t mention Olaf, the comedy-relief snowman that is the center of the entire marketing campaign. I was really worried about this film going in, thinking it was going to be the Olaf comedy show. I am thrilled to report that not only is Olaf very funny, he doesn’t overstay his welcome. Showing up late in the film, he is not there strictly to sell toys and provide cheap laughs. He is a literal symbol of what was lost between Elsa and Anna. He may be cracking jokes, but every moment he’s on screen is a reminder of the emotional stakes of the film.
This is one of those films where everything just comes together perfectly. Kristen Bell and Idina Menzel are terrific as Anna and Elsa respectively. Their musical and voice-over abilities bring so much extra depth to the proceedings. I dare you not to get choked up as Anna is singing to Elsa early in the film, asking her “do you want to build a snowman?” This is acting, pure and simple, and even if it’s just their voices, they give two of the year’s best performances.
This is a film that demands to be seen on the big screen. The world is so expansive, and the detail so perfect, this is a film you want to lose yourself in. I don’t usually care for 3D, but I found the 3D enhanced the film even more than I was expecting. In fact, the film needs to be seen in 3D so the short before the film can be seen in 3D. Entitled Get a Horse, it’s a new Mickey Mouse cartoon that is just genius on every level. I’m not going to say anything more about this masterpiece other than I was not expecting to love it as much as I did, and I can’t imagine it working as well in 2D. This alone makes the upgrade worth it. Just trust me on this one.
I couldn’t have been more satisfied with Frozen. The future of the company is looking very bright if this is the output they are capable of right now. It feels like when Little Mermaid was unleashed upon the world, ushering in a new renaissance of animation. While Tangled and the Princess and the Frog were fun, they didn’t come close to the levels of Frozen. Having set a pretty high bar for themselves, I’m very excited to experience their attempts to reach that bar again, even if that bar is animated in a computer.
The Candlelight Processional returns to Epcot at the Walt Disney World Resort on November 29. This Epcot holiday tradition features a retelling of the Christmas story by a celebrity narrator combined with holiday music by a massed choir and 50-piece orchestra. The show takes place nightly from November 29-December 30 at the America Gardens Theater stage right outside the American Adventure in the World Showcase. Nightly shows take place at 5pm, 6:45pm and 8:15pm.
This year’s Epcot Candlelight Processional narrators are:
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Nov. 29 – Dec. 1: Gary Sinise
Dec. 2-3: Neil Patrick Harris
Dec. 4-5: Ashley Judd
Dec. 6-7: Whoopi Goldberg
Dec. 8-10: Sigourney Weaver
Dec. 11-13: Dennis Haysbert
Dec. 14-16: James Denton
Dec. 17-19: Edward James Olmos
Dec. 20-22: Trace Adkins
Dec. 23-25: Steven Curtis Chapman
Dec. 26-28: Blair Underwood
Dec. 29-30: Amy Grant
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Consider upgrading to the Candlelight Dining Package for even more enjoyment. Each Dining Package includes dinner at an Epcot restaurant of your choice, reserved seating for the Candlelight Processional show and VIP viewing of Illuminations: Reflections of Earth. This is Epcot‘s nightly spectacular featuring fireworks, video and dancing fountains. It is not to be missed!
If you’re planning to visit the Walt Disney World Resort this holiday, the Epcot Candlelight Processional is a Must-Do event!
When Heather isn’t busy sharing Planning tips about Walt Disney World, the Disneyland Resort, and more, you can find her planning Disney and Universal Orlando vacations. Contact her on Facebook at Heather Abbott-Agent with Destinations in Florida. For more info and to book your travel, use the Price Your Vacation Form in the Sidebar or click here. You can also call 877-918-8941 and ask for Heather to book. Make sure to mention that you were referred by Socalthrills.com! Safe travels everyone!
In 2011, director Ken Scott debuted the French-Canadian film “Starbuck” at the Toronto International Film Festival. That film went on to earn nine awards from various film festivals and international award shows. Fast forward two years, and the same director has decided to redo the film in English for US audiences. It is the story of an early-40s man named David Wozniak, a lifetime underachiever who currently works as a truck driver for his father’s butcher shop. David is the type that coasts through life without putting much effort forward. His girlfriend discovers she is pregnant, but wants David out of the picture. He makes promises to his family, but can never live up to his word. And bad luck seems to follow him everywhere. On top of that, David owes upwards of $100k to unknown sources from failed business ventures and pyramid schemes. To sum it up nicely, David’s life is a disaster.
In the midst of all this, David is paid a visit by a lawyer who is representing a fertility clinic. In the early 1990s, David frequently donated sperm to the clinic in an effort to make money. Look it up, it actually pays well! In fact, he made nearly 700 donations, all signed anonymously under the alias “Starbuck.” Due to a clerical error, one doctor used only David’s sperm for fertilization during a two year period, leading to 533 children of which David is the biological father. Now, 142 of these children are suing the the fertility clinic to learn the identity of their father “Starbuck.” David is given an envelope containing the identities of these children, left with the choice of whether to remain anonymous or reveal his identity. After seeking advice from his own lawyer, a close friend named Brett, he decides to interact with some of his children to learn who they are without identifying his relationship to them. David begins to act as a “guardian angel” to several of his kids, overseeing their lives as though meeting them by accident or happenstance. He also makes an effort to clean up his own act and become a more responsible person. Meanwhile, the story of the lawsuit begins to reach the media, and the identity of “Starbuck” becomes a national inquiry. Can David continue his anonymity or will he face the truth publicly and privately about who he really is?
“Delivery Man” stars Vince Vaughn, who takes a break from his usual roles, where he is usually sarcastic and yelling loudly, to play a slightly comedic but more grounded character. The film co-stars Cobie Smulders (“How I Met Your Mother”) as his girlfriend Emma and Chris Pratt (“Parks And Recreation”) as his best friend Brett. It also co-stars Andrzej Blumenfeld (in his American debut) as his father Mikolaj and Bobby Moynihan (“SNL”) as one of his brothers, Aleksy. The film also features a variety of fresh, young talent to play David’s various kids. The ones with more prominent roles are Jack Reynor, David Patten, Adam Chanler-Berat, Britt Robertson and Amos VanderPoel.
WHAT WORKED: I went into the movie not knowing whether it was going to be purely comedic or take a serious tone. I was pleasantly surprised when I got more of the latter. In fact, there are several moments in the film that are quite emotional. Given that David’s kids are around 20 years old, they are grappling with every day life issues. Whether it be financial troubles, job related, or even substance abuse, these are coupled with the current circumstances of not knowing who their father is. What made these children strong is their connection to each other. All of them are siblings, and it has brought them together as one large support group. The kids really steal the show. The most dramatic moment by far is when David meets one of his sons who is severely mentally handicapped and unable to speak. The scenes in which they interact together were not only emotional to watch, but felt genuinely real. This was Vince Vaughn’s strongest role, and one of the first times I have seen him show such a large and diverse range of feelings.
WHAT DID NOT WORK: While the rest of the plot is taking place, the small backstory of David being nearly $100k in debt comes in the form of “hitmen-like” characters that wreck his apartment and interrogate his father (although this is not seen). While I understand that this situation is necessary as a reminder of what a disappointment David has been all his life, and as a conflict of whether to file a counter-suit against the fertility clinic, I feel as though it was handled poorly. Making the situation more intense and threatening would have conflicted with the overall lighthearted feeling of the movie. It would have been better served if David was in debt to a bank or with creditors, rather than with an ominous gang of men (for which we are never even told what the debt was for). Also, the relationship between David and Emma was not developed enough. At the beginning when she learns of her pregnancy, she is quick to dismiss him from her life. But a short time later, she is accepting his involvement with no discussion of why her feelings have changed. It seemed unusual that given his effort to be more active in her life whilst also trying to secretly interact with his kids, she suspected nothing.
THE WRAP-UP: Going into “Delivery Man” with low expectations and without having seen the original film “Starbuck” beforehand left me surprised when the movie was over. Given the type of raunchy comedies that Vince Vaughn typically involves himself with, it was a nice change to see him take on a more serious role. While the film is not completely devoid of humor, most of the jokes are quick one liners and dry retorts. The film does tackle some serious issues with the kids’ lives, and gives some great advice on family unity. I actually wish the movie would have been even more of a drama, rather than a dramatic comedy. SCORE: 6.5/10 – Recommended, but not urgent to see it in theaters.
“World of Color − Winter Dreams,” the new version of the after-dark spectacular, adds humor, inspirational music and merriment to Holidays at the Disneyland Resort. Presented on Paradise Bay in Disney California Adventure Park, the show features a new story, new characters from the Walt Disney Pictures animated motion picture “Frozen,” and new, advanced technology.
Musical Wonderland
“World of Color-Winter Dreams” unfolds in seven sequences, each one a dreamlike adventure:
1. The Pre-Show: Glow Honor Choir Wonder – Season’s Greetings: features the “World of Color” Honor Choir singing “Glow,” written especially for this new show. Then Tinker Bell’s traditional greeting from “Wonderful World of Color” summons Old Man Winter and the skating Frost Fairies.
2. Snow – A Winter Wonderland: Olaf takes guests on a breathtaking winter sleigh ride, encountering Bambi, Thumper and, from “Frozen,” sisters Anna and Elsa.
3. Glow – A Season of Light: The holidays are celebrated with images of holiday cards created by Disneyland Resort guests and cast members.
4. Enchantment – The Toy Story Nutcracker: This familiar ballet is danced in some delightful, offbeat renditions by favorite “Toy Story” characters.
5. Spirit-Holiday Sing-Along: Snowman Olaf has always loved the idea of a warm summer. He innocently imagines himself enjoying the sunshine, then leads the audience in a holiday sing-along.
6. Finale – Merry & Bright Holiday Lights”: Olaf welcomes a surprising Santa as 700 newly installed lights blaze to life for a colorful finale around the lagoon.
7. After Glow: Finale (Honor Choir)
“World of Color – Winter Dreams” features more than a dozen songs, ranging from familiar holiday tunes such as “Jingle Bells,” “Feliz Navidad” and “The Dreidel Song” to musical numbers from “Frozen” and original compositions such as “Glow.
The voices of more than 500 singers representing all 50 United States appear in the pre-show carol, “Glow.” Participants signed up on a “World of Color” Honor Choir website and performed “virtually,” in front of their computer webcams. Disneyland Resort teamed with Grammy®-winning composer Eric Whitacre, who has joined hundreds of voices online in similar “virtual choirs.”
More than 1,400 submissions from around the country were received for the “World of Color” Honor Choir.
Other Disney fans designed holiday cards and submitted them online to appear in the “Glow-A Season of Light” sequence.
Technology
Programming for the new “Winter Dreams” show took three months.
Visual projections are now created with an ultra high definition image playback system with more than four times the resolution of the original “World of Color” system.
There are more than 17 million pixels in the “World of Color – Winter Dreams” screen. A High Definition television image uses 2,073,600 pixels.
For the dazzling finale of “World of Color – Winter Dreams,” 700 high-power, color, LED strobe lights were installed along the side of the California Screamin’ roller coaster. Each light has four individual control channels.
Adding new brilliance are 16 narrow-beam moving lights within the sun-ray sculpture on Mickey’s Fun Wheel, plus 21 narrow-beam movie lights within the viewing area.
Six snowflake generators within the viewing area produce giant snowflakes in six different shapes.
Ten mirror balls, installed on the speaker and lighting towers, produce dazzling sparkle effects for the show.
All of the new technological effects enhance the existing “World of Color” “stage: a platform composed of nearly 1 full acre of engineered superstructure, longer than a football field and capable of settling on three levels – one for the performance, one under the water surface and one for maintenance. There are nearly 1,200 powerful and programmable fountains, and a vast underwater grid with more than 18,000 points of control. Each fountain has multiple points of control for lighting, color intensity, water angle and height.
‘World of Color’ Evolution
Since its premiere on June 11, 2010, “World of Color” has been performed more than 2,100 times and been viewed by more than eight million guests at Disney California Adventure.
The show’s flexibility has made it possible to add and subtract special sequences since its 2010 debut: a July 4 Independence Day pre-show, a New Year’s Eve pre-show, and scenes focusing on “TRON: LEGACY,” “Pirates of the Caribbean: On Stranger Tides” and “Brave.”
From 2011 to 2012, “World of Color” featured a special holiday season pre-show with characters from Walt Disney Animation Studios’ “Prep & Landing.”
The “World of Color” fountains also have played parts in daytime shows on Paradise Bay: “Disney Channel Rocks” and “Instant Concert … Just Add Water.”
The fountains in “World of Color” can send water to heights ranging from 30 feet to 200 feet (by way of comparison, Mickey’s Fun Wheel reaches a height of 150 feet, some of it below the edge of the lagoon).
While I tend to over-analyze almost every movie I see, there are some films that are just immune to this sort of critical viewing. This isn’t meant as a slight on these films, but rather a perspective on the film’s intentions. For instance, take the new Disney film, Planes. As the marketing makes abundantly clear, this is a film “from above the world of Cars,” despite the fact that this is NOT a Pixar film. While Pixar tends to dig deep under it’s narratives to explore detailed thematic material, Planes exists simply to entertain. The characters all fulfill stereotypical “types,” the story follows every plot beat you would expect, and everybody gets their “happily ever after.” This is a film that kids will want to watch again and again, and that parents won’t hate. That may not be the most glowing endorsement, but I don’t think it aspires to much more than that.
Dusty Crophopper is a cropduster with a fear of heights. However, he longs for more out of life than the repetitive crop-dusting that has defined who he is. So it is that he finds himself competing in a race across the world. Will he overcome the competition, along with his phobia, to win the big race? Of course he will, but as with so many things, it is all about the journey. As the underdog of the race, his good heart helps him endear himself to the world, along with most of his fellow racers. In telling a story with villains, comic relief, and of course, the good-hearted trainer with a secret, the screenwriter hits every cliché effectively, without it ever feeling forced. It’s a simple film, but it’s fun.
I have to admit, for almost going direct-to-video, there is some surprisingly strong animation in this film. Considering that the premise of the film involves a race across the world, we see a variety of different locations, ranging from Germany, to Mexico, the Himalayas, and even the Taj Mahal. Much like the Cars series, the world is completely fleshed out as if belonging solely to these anthropomorphic modes of transport without a human to be seen. Some of the design work is quite striking, and the environments are completely detailed as well. There are sequences in snow storms, under the ocean, and even a gripping flashback to a Naval war battle. I was never tempted to look away from the screen, as there was always some new detail or aspect of the world to see.
Bonus Clip: Franz’s Song
It’s just a shame that the film is so formulaic. However, kids won’t care, and this is what I mean by the film being “critic-proof.” It’s entertaining enough, and kids will really enjoy themselves. Having said that, it’s obvious that when putting together the Bonus Features, there wasn’t a great expectation that kids would want to sit through any substantial extras. There’s some deleted scenes, including a song featuring a German bipolar plane/car, Franz. There’s also a look at all the racers, and most interesting of all, a feature detailing the director’s history with aviation. We see him teaching his kids about their family lineage, and the connection they have to airplanes. They tour museums, fly in planes, and make it very clear that the concept of aviation is very important to their family. While not at all insightful about the film itself, it’s a beautiful look at the director’s passion for the subject material, and makes the film itself feel slightly more important than it really is.
Overall, this is a completely forgettable film that doesn’t aspire towards anything more than that. Despite a great cast including Dane Cook who voices Dusty with the sarcastic edge that he brings to his comedy, Terri Hatcher and Brad Garrett as his pit crew, Stacey Keach as the mentor with a secret, and even John Cleese as part of the competition, the film never amounts to much. It’s a solid cast for such an inconsequential film. Having said that, I was entertained for the 91 minutes it was on, and you could definitely do much worse. This is nowhere close to Pixar standards, but it gets the job done.
DreamWorks Pictures’ “Need for Speed” marks an exciting return to the great car culture films of the 1960s and ’70s, when the authenticity of the world brought a new level of intensity to the action on-screen. Tapping into what makes the American myth of the open road so appealing, the story chronicles a near-impossible cross-country journey for our heroes — one that begins as a mission for revenge, but proves to be one of redemption. Based on the most successful racing video game franchise ever with over 140 million copies sold, “Need for Speed” captures the freedom and excitement of the game in a real-world setting, while bringing to life the passion for the road that has made our love of cars so timeless.
The film centers around Tobey Marshall (Aaron Paul), a blue-collar mechanic who races muscle cars on the side in an unsanctioned street-racing circuit. Struggling to keep his family-owned garage afloat, he reluctantly partners with the wealthy and arrogant ex-NASCAR driver Dino Brewster (Dominic Cooper). But just as a major sale to car broker Julia Bonet (Imogen Poots) looks like it will save Tobey’s shop, a disastrous race allows Dino to frame Tobey for a crime he didn’t commit, and sending Tobey to prison while Dino expands his business out west.
Two years later, Tobey is released and set on revenge — but he knows his only chance to take down his rival Dino is to defeat him in the high-stakes race known as De Leon — the Super Bowl of underground racing. However to get there in time, Tobey will have to run a high-octane, action-packed gauntlet that includes dodging pursuing cops coast-to-coast as well as contending with a dangerous bounty Dino has put out on his car. With the help of his loyal crew and the surprisingly resourceful Julia, Tobey defies odds at every turn and proves that even in the flashy world of exotic supercars, the underdog can still finish first.
“Need for Speed” is presented by DreamWorks Pictures, produced by Patrick O’Brien, John Gatins and Mark Sourian, and directed by Scott Waugh. The screenplay is by George Gatins. The story is by George Gatins & John Gatins, and, based on the video game series created by Electronic Arts. The film releases in U.S. theaters on March 14, 2014.
On Friday, November 8th, I attended the press conference for the upcoming Disney film “Saving Mr. Banks” at the beautiful historic Beverly Hills Hotel. I was fortunate enough to see the film prior to the press conference at the Walt Disney Studios in Burbank (where much of the story and filming took place), and the Hotel was also relevant because it was featured in the film. As I pulled up the long driveway off Sunset Blvd, I felt as though I had suddenly been transported 50 years into the past. This was going to be a treat.
The movie tells the life story of P.L. Travers, the author behind “Mary Poppins,” and her resistance against selling the story’s rights to Walt Disney. Walt tried for 20 years to woo and convince the author to let him make “Mary Poppins” into a motion picture. But P.L. Travers feared the story would become “Disney-fied” and lose its intended meaning. Through the course of the movie, we see pre-production on the film in 1961 Burbank simultaneously mixed in with flashbacks to P.L. Travers’ childhood in 1906 Australia. This dual-storyline allows the audience to learn the significance of the story in her life, and what inspired her to write it.
The film stars two-time Academy Award® winner Emma Thompson as P.L. Travers and two-time Academy Award® winner Tom Hanks as Walt Disney himself. The film co-stars Colin Farrell as the author’s father, Robert Goff Travers; Jason Schwartzman & B.J. Novak as songwriters Richard & Robert Sherman; and Bradley Whitford as screenwriter Don DaGradi. Also at the conference was director John Lee Hancock, writer Kelly Marcel, and producer Alison Owen. Those who also co-starred in the film, but were not present, were Paul Giamatti, Ruth Wilson, Rachel Griffiths, Kathy Baker, and newcomer Annie Rose Buckley.
When asked about playing P.L. Travers, a gruff character that is often difficult to read, Emma Thompson replied, “Is it not rather nice for all of us who’ve been so well brought up and we’re all so bloody polite all the time, Americans particularly, to see someone being rude? It’s bliss, isn’t it? I think we act quite a lot of the time in conflict with what we really feel.” “She was like going into a maze. And around some corners you’d find this terrible monster and around another corner you’d find a sort-of beaten child. She was the most extraordinary combination of things and I suppose that was the scary thing because in films…we often get to play people who are emotionally or at least morally consistent in some way. And she wasn’t inconsistent in any way, you would not know what you would get from one moment to the next.”
Tom Hanks is the first actor to play Walt Disney in a motion picture. Many believe that this is an impossible role to take on, given his iconic status. But Tom did his best, and while he admittedly says he bears little resemblance, he tried to capture Walt’s essence. “There is a bit of a vocal cadence and a rhythm that Mr. Disney had and it took a while to figure out. But a lot of the little anecdotes that we found, specifically from the likes of Richard Sherman, were already in the screenplay. For example, Walt’s cough…you know Walt smoked three packs a day and Richard Sherman said ‘You always knew when Walt was coming to visit your office ‘cause you could hear him coughing from down by the elevator.’ So you’re able to put that kind of stuff into it and it just ends up being one of the delightful cards in the deck.” “Richard Sherman was a never-ending fountain of stories, facts, anecdotes, bits and pieces of everything that had happened. Diane Disney Miller (his daughter) gave me unlimited access to the archives and the Museum in San Francisco. We made a couple of visits there so I had a lot of video and audio that I could work with.” “He believed everything that he said about his projects, he completely embraced the possibilities of wonder in the movies he was going to make as well as the rides he was going to come up with and the things he was going to build. I had a great roadmap in order to search it out.”
Colin Farrell only appears in the 1906 timeline of the film, and his character’s actions and battle with alcoholism directly influence the creation of the book “Mary Poppins.” When asked about working with the young actress Annie Rose Buckley who portrayed P.L. as a young girl, Farrell had only positive things to say. “She was just a dream to be around. I know people say you shouldn’t work with children or animals, but you most ONLY work with children because you work eight hours a day [laughter]. And she was a dream, from what I could tell she didn’t exude ambition and sometimes kids do of course, which is not to say that she’s not ambitious and that would be fine if she was. But she didn’t exude ambition and she didn’t seem too phased by any of it. She was just a really sweet presence to be around and to see how beautiful and open her face was on the monitor. And just in being around her was kind of like…the most exquisite of canvases upon which the later life of P.L. Travers was born as she witnessed what her father was putting himself through and thereby putting everyone else in the family through as well.”
“Mary Poppins,” now celebrating its 50th Anniversary, has become a fan favorite for generation after generation. The movie won five Academy Awards® out of its thirteen nominations. When asked about its significance in the actors’ lives, Jason Schwartzman spoke about the impact it had on his childhood. “It meant a lot to me growing up. I saw it a lot of times and in fact, I knew most all of the songs from the movie. In fact, that’s what I remembered the most. It’s funny, just how much when you’re little, a movie and things can affect you. When I got the part in the movie, I started looking through archives and photos and you’d see all these behind the scenes snapshots of the movie being made. It was only then that it occurred to me that it was shot in Burbank, because I experienced it as a young person thinking it was in England. It was only recently that I realized it was all made up. That’s how deep into my body it had gone and how much I believed it was all real. And in many ways…I wish I hadn’t ever seen those photos of Cherry Tree Lane on Burbank Blvd. It means a lot to me, this movie, I loved it very much.”
B.J. Novak also chimed in on what it meant to him. “I thought I had seen ‘Mary Poppins.’ I knew all the songs, I knew all the characters. I had absorbed it without ever having seen it, I didn’t realize that until we all went to your (Farrell’s) house and watched it. And I realized there’s so many scenes and complicated and dark shadings and directions that I had never associated with that film. It’s a very…the film itself is so much odder than we remember and so much more complicated, let alone the story of the film when you know the context of it. So it was something for me…all these Disney films feel like they are in your DNA growing up. These songs, the Sherman Brother’s songs especially, you just feel they came from Heaven fully formed. We went to the archives and saw drafts with different lyrics and different script pages, and it’s so odd to think that this ever could have been any different.”
One of the film’s most nostalgic moments is when Walt Disney invites P.L. Travers to Disneyland, in an effort to remind her why he wants to make the film. Seldom has a movie had the chance to film inside the Anaheim property, and never has a movie featured Walt Disney as a character when doing so. Director John Lee Hancock talked about what it was like to have this unique opportunity. “We were very prepared for Disneyland, kind of military precision, they were very helpful down there. We knew when we could come in before it opened and we knew at 9:17am we needed to be on Main Street and ‘here’ by ‘there.’ And we went down there and scouted it many many times with lenses because if you would pan ‘this far’ over here would be something from 1981, pan to the left and its 1969. So trying to solve those problems without spending money and being there on Main Street before the park opened, and the sun is just coming up and everyone is moving stuff around. And I remember a moment there where…I thought, ‘Damn, this is cool. I’ve got a great job.’ And then I looked over and there was Tom sitting there and I go, ‘This is Walt Disney!’ It’s all too great…it was fantastic.”
Overall, the cast seemed delighted to have been able to make “Saving Mr. Banks.” Given the significance of “Mary Poppins” and Disney-culture in today’s world, the film was a fitting tribute to a largely unknown backstory. Fans of the book, the original film, and Disney history will be delighted to see it brought to life. I anticipate that the film will earn many nominations come awards season. The film hits limited theaters December 13th, with a wide release on December 20th. Stayed tuned for my full movie review of “Saving Mr. Banks” in the coming weeks.
ABC Family’s annual “25 Days of Christmas,” cable’s biggest programming event of the year, will return with 25 continuous days of holiday-themed entertainment for the whole family. From December 1–25, viewers can ring in the holidays with original movies, holiday specials and returning favorites.
This year, “25 Days of Christmas” will feature the world premiere of the ABC Family original movie, “Holidaze,” starring Jennie Garth (“Beverly Hills, 90210”) and Cameron Mathison (“All My Children”). Premiering Sunday, December 8 (8:00–10:00 PM ET/PT), “Holidaze” follows Mel (Garth), a high-powered executive who is sent back to her hometown to convince its residents to allow her company to build a new discount store. The townspeople—led by Mel’s former fiancé Carter (Mathison)—are vehemently opposed to it. Desperate to get out of town and back to her “real” life, Mel takes a spill and wakes up in an alternate universe where she never left home and is married to Carter. Once determined to leave her small town life behind, Melody must make sense of her new life and decide if you truly can go home again.
The celebrations continue with the holiday-themed premieres of ABC Family’s hit comedies, “Melissa & Joey” and “Baby Daddy,” airing Wednesday, December 11 (8:00–9:00 PM ET/PT).
Making their ABC Family debuts this month are “Deck the Halls” on Wednesday, December 4 (10:00 PM–12:00 AM ET/PT), “Winnie the Pooh” on Saturday, December 14 (8:00–9:30 AM ET/PT) and “Disney’s The Little Mermaid” on Saturday, December 14 (8:00–9:45 PM ET/PT; Encore Presentation 9:45–11:30 PM ET/PT).
A new generation of viewers can enjoy the Rankin Bass holiday classics, such as “Rudolph’s Shiny New Year” Thursday, December 5 (6:00–7:00 PM ET/PT), “Frosty’s Winter Wonderland” Friday, December 6 (6:00–6:30 PM ET/PT) and “The Year Without a Santa Claus” Tuesday, December 10 (9:00–10:00 PM ET/PT). Other returning favorites include “Dr. Seuss’ How The Grinch Stole Christmas,” starting Sunday, December 1 (7:00–9:30 PM ET/PT); “The Santa Clause” films, starting Monday, December 2 (8:00–10:00 PM ET/PT); “Scrooged,” starting Tuesday, December 3 (8:00–10:00 PM ET/PT); “National Lampoon’s Christmas Vacation,” starting Tuesday, December 3 (10:00 PM–12:00 AM ET/PT); “The Polar Express” Thursday, starting December 5 (7:00-9:00 PM ET/PT); and “The Muppet Christmas Carol,” starting Thursday, December 5 (9:00-11:00 PM ET/PT).
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Holidays at the Disneyland Resort are filled with an abundance of merriment, tradition and new experiences this year, including the debut of “World of Color − Winter Dreams.” The all-new version of “World of Color” in Disney California Adventure Park brings the spirit of the holidays to life with music, humor and the joy of the season. Check-out our video from November 14th Premiere.
Hosted by Olaf the snowman, from the upcoming Walt Disney Pictures animated feature “Frozen,” the “World of Color − Winter Dreams” show combines new animation with classic winter scenes from beloved Disney and Disney•Pixar films, such as “Bambi,” “Fantasia” and “Toy Story.” The show includes new music and special effects, including new methods for utilizing the massive “stage” of water, color and light that comes to life with the power of nearly 1,200 fountains.
Adding an element of social media, the voices of singers from all 50 United States appear in the “Glow” carol, which opens the show. The participants signed up on a special “World of Color” Honor Choir website, operated by the Disneyland Resort and Grammy®-winning composer Eric Whitacre, who has joined hundreds of voices online in “virtual choirs” that feature singers performing in front of their computer webcams. Other Disney fans designed holiday cards online to appear in a “World of Color - Winter Dreams” sequence celebrating the spirit of the season.
Also new in Disney California Adventure, “Disney ¡Viva Navidad!” takes over Paradise Gardens with a daily celebration inspired by the warmth and joyous spirit of Latino culture and holiday traditions. From Nov. 15 through Jan. 6, 2014, “Disney ¡Viva Navidad!” offers special activities such as live Latino music, dance lessons, crafts and face painting for children and a “Disney ¡Viva Navidad! Street Party.” The festivities also include traditional holiday foods and appearances by some popular Disney characters. The grand finale of “Disney ¡Viva Navidad!” will be the special celebration of Three Kings Day (Dia de los Reyes) Jan. 3 through 6, 2014 in Paradise Garden.
These new experiences join a merry lineup of Disneyland Resort holiday traditions that begin Nov. 12, including “A Christmas Fantasy” parade, “Believe…in Holiday Magic” fireworks and snowfall on Main Street, U.S.A. in Disneyland Park, plus special seasonal décor on Buena Vista Street, along with whimsical décor in Cars Land and a bug’s land in Disney California Adventure. Characters also make holiday appearances and the skippers of Jingle Cruise add some new holiday fun.
From Disney comes “Maleficent”—the untold story of Disney’s most iconicvillain from the 1959 classic “Sleeping Beauty.” A beautiful, pure-hearted young woman, Maleficent has an idyllic life growing up in a peaceable forest kingdom, until one day when an invading army threatens the harmony of the land.
In an exciting new collaboration with Thirteenth Floor Entertainment Group, the Winchester Mystery House is launching "Festival Fright Nights." This all-new Halloween event will...