Click to Skip Ad
Closing in...
Berlin Review: Could 'War on Everyone' Be the Best Bad Cop Comedy Ever? Berlin Review: Could 'War on Everyone' Be the Best Bad Cop Comedy Ever? Berlin Review: With 'Midnight Special,' Jeff Nichols Offers Up a Very Special Sci-Fi Thriller Berlin Review: With 'Midnight Special,' Jeff Nichols Offers Up a Very Special Sci-Fi Thriller How They Designed the Characters and Sounds for the Oscar-Nominated 'Mad Max: Fury Road' How They Designed the Characters and Sounds for the Oscar-Nominated 'Mad Max: Fury Road' Meryl Streep to Fund The Writers Lab, Supporting Women Screenwriters Over 40 (EXCLUSIVE) Meryl Streep to Fund The Writers Lab, Supporting Women Screenwriters Over 40 (EXCLUSIVE) Oscars: Evaluating the Best Costume Design Nominees Oscars: Evaluating the Best Costume Design Nominees Oscar Predictions 2016 Oscar Predictions 2016 Roger Deakins on Shooting Hollywood From the Inside Out in 'Hail, Caesar!' (Video) Roger Deakins on Shooting Hollywood From the Inside Out in 'Hail, Caesar!' (Video) A Letter to Michael B. Jordan A Letter to Michael B. Jordan Bona Fide Acquires Movie Rights to Knausgaard New York Times Series 'My Saga' for Alexander Payne (EXCLUSIVE) Bona Fide Acquires Movie Rights to Knausgaard New York Times Series 'My Saga' for Alexander Payne (EXCLUSIVE) WATCH: 9 Oscar-Nominated Screenwriters on How They Got Their Start, Their Writing Process, and Much More WATCH: 9 Oscar-Nominated Screenwriters on How They Got Their Start, Their Writing Process, and Much More Inside the Oscar Nominees Lunch Inside the Oscar Nominees Lunch How John Ridley and Company Create the Emotional Resonance of 'American Crime' How John Ridley and Company Create the Emotional Resonance of 'American Crime' Top 10 Takeaways:  'Hail, Caesar!' Leads Three New Releases—Which Barely Total $20 Million Top 10 Takeaways: 'Hail, Caesar!' Leads Three New Releases—Which Barely Total $20 Million 'Deadpool' Review & Roundup: Ryan Reynolds Finds a Franchise Worthy of His Talents 'Deadpool' Review & Roundup: Ryan Reynolds Finds a Franchise Worthy of His Talents Arthouse Audit: 'The Club' and 'Rams' Reveal Weakness in Subtitled Film Market Arthouse Audit: 'The Club' and 'Rams' Reveal Weakness in Subtitled Film Market Inside the Directors Guild Awards Inside the Directors Guild Awards Joel & Ethan Coen Crack Each Other Up, And Me, Talking About 'Hail, Caesar!' Joel & Ethan Coen Crack Each Other Up, And Me, Talking About 'Hail, Caesar!' WATCH: Oscar Nominee Tom Hardy Explains Why Shooting 'The Revenant' Was So Bloody Hard (EXCLUSIVE VIDEO) WATCH: Oscar Nominee Tom Hardy Explains Why Shooting 'The Revenant' Was So Bloody Hard (EXCLUSIVE VIDEO) How They Created the Bear VFX for the Mauling of Leonardo DiCaprio in 'The Revenant' How They Created the Bear VFX for the Mauling of Leonardo DiCaprio in 'The Revenant' What Happened to Scorsese's $70-Million Short 'The Audition' Starring DiCaprio, De Niro and Pitt? What Happened to Scorsese's $70-Million Short 'The Audition' Starring DiCaprio, De Niro and Pitt?

Craft Talking 'Saving Mr. Banks': Bridging 1961 Los Angeles with 1906 Australia through Cinematography, Production Design and Costumes

Photo of Bill Desowitz By Bill Desowitz | Thompson on Hollywood December 11, 2013 at 2:20PM

Like "Mary Poppins," "Saving Mr. Banks" seems deceptively simple on the surface. But once you dig deeper, the story resonates as a brilliant memory piece for Emma Thompson's P.L. Travers, slipping back and forth from her painful childhood in Australia in 1906 to cooperating and subverting the adaptation of her beloved novel with Walt Disney in 1961. And that was the creative hook for director John Lee Hancock and his fellow filmmakers, including production designer Michael Corenblith, cinematographer John Schwartzman, and costume designer Daniel Orlandi.
0
Saving Mr. Banks

Like "Mary Poppins," "Saving Mr. Banks" seems deceptively simple on the surface. But dig deeper, and the story resonates as a brilliant memory piece for Emma Thompson's P.L. Travers, slipping back and forth from her painful childhood in Australia in 1906 to cooperating and subverting the adaptation of her beloved novel with Walt Disney in 1961. And that was the creative hook for director John Lee Hancock and his fellow filmmakers, including production designer Michael Corenblith, cinematographer John Schwartzman and costume designer Daniel Orlandi.

"We had two individuals that had not only recreated themselves but had also created these characters [Mickey Mouse and Mary Poppins] that turned into empires in some ways, so there were so many beautiful parallels between their two stories," explains Corenblith. "But it wasn't clear to me that I was going to have to bring a new level in contemplating these two periods and these two worlds for Travers until I got to the part of [Kelly Marcel's] script with the 'Fidelity Fiduciary Bank' song. 

Saving Mr. Banks

"There's this remarkable moment when the Sherman brothers are composing and pitching to Travers in 1961 and then we cross this story back over and Colin Farrell [as Travers' father] turns to the camera and begins singing those words. Although they are separate, in her mind, time becomes permeable and malleable. It was in this process that we began to develop the idea of instances and icons and visual representations from one to the other and crossing over."

Indeed, this epiphany was like a jolt from Dennis Potter's "Pennies from Heaven" or "The Singing Detective." Palm trees and burnt grass, maypoles and carousels bring forth the past into the present in a rush of confusion, excitement, and melancholy for the conflicted Travers. And that's where research and serendipity came into play for the filmmakers.

"We began in Maryborough, Australia, a Victorian coastal town that was vertical and had palm trees, and ended with palm trees in Beverly Hills," recalls Corenblith. "And we came across a newspaper article about the agricultural show [depicted] in 1906 in Allora and we learned that among the carnival attractions was a maypole, which had the same conical roof form as King Arthur's Carousel at Disneyland. It's no coincidence that we open and close the film with a weather vane where the wind changes direction from west to east and the icon atop that is a horse. This allowed us to create a tapestry of threads running through different periods of time."

This article is related to: Saving Mr. Banks, Immersed In Movies, Interviews , Thompson on Hollywood, Awards Season Roundup


E-Mail Updates






Festivals on TOH



Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.