Emma Thonpson, Tom Hanks - Savings Mr. Banks (the story of Mary Poppins and Walt Disney himself)

Tom Hanks and Emma Thompson in Saving Mr. Banks Take a look at the first photo of the actors in character as Walt Disney and 'Mary Poppins' author P.L. Travers By Lily Rothman @lilyrothmanJuly 10, 2013 (TIME)

FRANÇOIS DUHAMEL / DISNEY

Emma Thompson has taken on some difficult roles during her career, winning Oscars and numerous other awards for her performances in works based on classic literature and  historical events. But, says the actress, one role stands apart from the rest.

“She’s the most difficult person I’ve ever played,” Thompson says of her role as P.L. Travers, the author of the Mary Poppins books, in the forthcoming film Saving Mr. Banks.

The movie, coming out this holiday season, is Disney’s take on Travers’ life and, eventually, the stormy relationship she had with the studio’s own mastermind, Walt Disney. Here, TIME presents an exclusive first official look at Emma Thompson as P.L. Travers and Tom Hanks as Walt Disney. In the scene shown above, Travers has come to Disneyland, in 1961, to meet with the man himself.

Of course, today’s audiences have long enjoyed their resulting cinematic collaboration: Disney’s 1964 Mary Poppins movie. But the film was a struggle to make: even though Disney had a personal interest in Travers’ tale of a magical nanny, it being one of his daughters’ favorites, the author was not interested in her work being changed by a movie studio.

“She was a woman of quite eye-watering complexity and contradiction,” says Thompson, whose first-ever movie-going experience was seeing a Disney movie, Fantasia, as a child. “Often I play people who are controlled by some very clear guiding moral principles. Like Margaret Schlegel [in Howards End], guided by the early principles of feminism and equal rights, and Elinor Dashwood [in Sense and Sensibility], guided by the principles of decency and honor. There are very clear moral prisms these women pour life through, and I understand that very well. And [Travers] was not like that at all. She was far more chaotic and confused and morally various.”

Read more: READ MORE HERE: http://entertainment.time.com/2013/07/10/exclusive-first-look-tom-hanks-and-emma-thompson-in-saving-mr-banks/

Colin Farrell Gets Disneyfied With 'Saving Mr. Banks' June 16th, 2012 4:01pm EDT | (STAR PULSE)

Colin Farrell is about to get a little more family-friendly. The "Fright Night" star will be embracing his paternal instincts as he signs on for a rare "dad" role in "Saving Mr. Banks," according to Deadline.

Farrell joins Tom Hanks and Emma Thompson in the true behind-the-scenes story of the long, hard road to making "Mary Poppins," in which Walt Disney (Hanks) waged a 14-year courtship to persuade Australian author P.L. Travers (Thompson) to sell him the rights to her story of the beloved nanny. Travers (obviously) eventually gave in but remained prickly about it all the way to the end and apparently despised the film's animated sequences.

"Mary Poppins" was a very personal story for Travers, as it reflected the hardships in her real life and her relationship with her father (to be played by Farrell), who died when she was seven years old. Travers' father inspired the character of Mr. Banks, played by David Tomlinson in "Mary Poppins."


READ MORE: http://www.starpulse.com/news/NextMovie/2012/06/16/colin_farrell_gets_disneyfied_with_sav

Tom Hanks, Emma Thompson in Talks to Star in 'Saving Mr. Banks' 6:11 PM PDT 4/9/2012 by Borys Kit (THE HOLLYWOOD REPORTER)

The true-life story recounts the behind-the-scenes drama of bringing the beloved "Mary Poppins" to life. Tom Hanks and Emma Thompson are in talks to topline Disney’s Saving Mr. Banks, a true-life account behind one of the studio’s most-cherished films.

The script by Kelly Marcel details how Walt Disney spent 14 years courting P.L. Travers, the Australian author of Mary Poppins, in order to make adapt her books about the magical nanny. Travers resisted for so long because she feared Disney would make an animated adaptation. The studio finally made a live-action movie in 1964, starring Julie Andrews and Dick Van Dyke, but stuck in animated sequences, which turned the author off from working with Disney again.


READ MORE:  http://www.hollywoodreporter.com/news/tom-hanks-emma-thompson-saving-mr-banks-disney-309716

Paul McCartney: Photo EXCLUSIVE: Sir Paul McCartney Visits MARY POPPINS (BROADWAY WORLD)

Monday, February 20, 2012; 10:02 AM - by Christina Mancuso 


Sir Paul McCartney, along with his wife, Nancy, and daughter, Beatrice, attended a Broadway matinee performance of Mary Poppins on Saturday, February 18.

 Following the curtain call, the family was escorted on stage, where McCartney graciously met with cast members and took several pictures.

 While talking with child actors backstage, Sir Paul McCartney told them that he asked his family what Broadway play they wanted to see, and they immediately exclaimed, “MARY POPPINS!"

 McCartney and his family were very complimentary of the production.


Read more:  http://broadwayworld.com/article/Photo-EXCLUSIVE-Sir-Paul-McCartney-Visits-MARY-POPPINS-20120220

JULIAN FELLOWES AND DOWNTON ABBEY

Behind the Scenes With the Creator of ‘Downton Abbey’

By ALEX WITCHEL

Published: September 8, 2011

Pulling into the driveway of Julian Fellowes’s manor house in Dorset, in the west country of England, with its 50 acres of grass rippling and trees swaying, as if a director had just called “Action!” to the scenery (indeed, one massive tree was featured in the film “Emma,” starring Gwyneth Paltrow), I recalled the advice Fellowes once said his father gave him: “If you have the misfortune to be born into a generation which must earn its living, you might as well do something amusing.”

 

 

Photo Illustration Drea Zlanabitnig

Cast members of "Downton Abbey," from left, Hugh Bonneville, Maggie Smith, Michelle Dockery, Rob James-Collier, Elizabeth McGovern, Jim Carter and Dan Stevens.

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Video

A Scene from ‘Downton Abbey’

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• A Night Out with Julian Fellowes and Bob Balaban

•  

Emma Hardy for The New York Times

Julian Fellowes on the set of "Downton Abbey," at Highclere Castle in Berkshire, England.                           

 

Inside the house (“Two houses, really. This side was built in 1633, this new bit in 1840,” he said) with its double-height foyer lined with family portraits, a dining room with a mile-long banquet table and a morning room where Thomas Hardy is said to have written, you might think it doesn’t get more amusing than this. Fellowes has lived here only nine years. The decades before that were often fraught with anxiety, even despair. He toiled as a midlevel character actor for 30 years with 12 rejected screenplays to his name until, incredibly, at age 52, he won an Academy Award for his first produced screenplay, Robert Altman’s “Gosford Park,” in 2002. But Fellowes, now 62, is the rare sort who, having won a life lottery, did not kick up his heels and make a fool of himself. He has worked like the proverbial dog — or American — for his continued success, and if that means he is more to the manner bought than born, that is fine with him.

He followed his unexpected screenwriting breakthrough with more films — “Vanity Fair,” with Reese Witherspoon, “Young Victoria,” with Emily Blunt, and “The Tourist,” with Johnny Depp and Angelina Jolie, among them. He also wrote the book for the musical-theater adaptation of “Mary Poppins” and the best-selling novel “Snobs.” Most recently, he created and wrote the wildly successful miniseries “Downton Abbey.” The multi­generational family costume drama kicks off during the final days of aristocratic England before the First World War, and stars Hugh Bonneville, Maggie Smith and Elizabeth McGovern. It drew record ratings on British television last season; the rights have been sold in more than 100 countries. It scored big here too, when it ran on PBS’s Masterpiece last winter (the second season will begin on Jan. 8). The show received 11 Emmy nominations, including Outstanding Miniseries or Movie and Outstanding Writing, for Fellowes.

I was ushered into Stafford House, as it is called, amid waves of apologies about lunch being cold, not cooked. A few days earlier, a bird’s nest that was lodged in the kitchen chimney caught fire, disabling the stove and filling the house with black smoke. Fellowes was joined by his wife, Emma, who is 15 years his junior, nearly six feet tall and bursting with energetic goodwill. It’s easy to see how Fellowes, at 39, fell in love at first sight, why he agreed to her wishes to have only one child, a son, Peregrine, now 20, because she herself was an only child, and why he stoically allows Emma’s mother to call him Evelyn, not Julian. It seems she had her heart set on her daughter marrying a man called Evelyn, so Evelyn he is. There are worse things.

We sat at one end of the banquet table. Meg, a border collie, took the chair to Emma’s right. Humbug, a dachshund, was soon in Emma’s lap, his head and upper body submerged beneath her sweater. He stayed there, motionless, as she explained what it means to be a lady in waiting, as she is, to Princess Michael of Kent, representing her at functions or accompanying her to events.

As she spoke, Fellowes ate contentedly. He liked his food, he liked his wife, he liked her stories. He wasn’t as keen on the interview — “It’s like holding in your stomach, you can only do it for a bit at a time” — so first he suggested we walk the grounds. I was directed to a small room off the kitchen, stocked with racks of Wellington boots. After eyeballing my feet, Emma chose a pair that fit perfectly, and off we set.

Fellowes chatted amiably, glad to be in the countryside. Initially, I couldn’t understand why he wouldn’t just meet me in London at his Chelsea apartment. “Because it’s overtaken by Emma’s wardrobe,” he’d said. But it became clear during our day together that after a professional lifetime accumulating petty defeats, hurtful setbacks and outright failures, to finally have found a place for himself in such a spectacular setting is enormously meaningful to him. It is a wondrous gift to be a late bloomer, but the decades of fertilizer that nurtured those blossoms remain. The shadow of the B.G. era (Before “Gosford”) reasserts itself regularly. When we stood under the “Emma” tree, he lay his hand on the trunk with a tenderness you might show a child. It is rare to encounter a man his age so plainly defined by gratitude.

Bob Balaban, a producer of “Gosford Park,” recommended Fellowes to Robert Altman to write the screenplay. “Altman asked him to try it, and maybe six weeks later Julian sent the first 75 pages,” Balaban said. “It was clear that he was brilliant and his knowledge of class society, the workings of it, was encyclopedic. This talented writer, moldering away as a relatively unsuccessful actor! That was a brass ring, and he took it. It’s part of the key to his current success, his work ethic. He doesn’t procrastinate. He doesn’t hide. He works like a demon.”         1

Alex Witchel (a.witchel-MagGroup@nytimes.com) is a staff writer for the magazine. She writes the Feed Me column for the Dining section of the Times.