Dark Horizons reports on a recent industry gathering at which Disney’s Buena Vista Home Video
entertained guests in a bid to push the studio’s upcoming DVD slate. Along with composer Alan
Menken playing a medly from Aladdin to promote its October 2-disc release, animator Eric
Goldberg was on hand to magic up some sketches of his Genie character, and Mulan voice Ming
Na talked about that film’s special edition disc issue and the upcoming Mulan 2, revealing
that plans for a third installment seem to have been abandoned. Na said that as far as she
knew, “there’s no Mulan 3“.
First heard through a thru www.videopremiereawards.com with a interview with
Raymond Singer and Eugenia Bostwick-Singer. The whole article can be read
Raymond Singer and Eugenia Bostwick-Singer has been brought in to
work on Mulan III, for which they have suggested a character that
would bear the name they chose to give their daughter, Ana Ming.
VP: You wrote the first Mulan and did work on the third one. Why weren't you
involved with Mulan II?
RS: We were unavailable for the second one because we were working on live
VP: How do you know where to take the characters and work on a story for
Mulan III when Mulan II isn't even done yet?
RS: We had a rough idea; a two- to three-line description of the second one.
We finally got to see some reels from the second one.
RS: What they have at Disney now, which works really well, though not to
the advantage of freelance writers, is they have really talented writers
who are very, very savvy with the process and have the ear of everybody
because they are in the office every day on staff.
It works very well for Disney and very well for those writers who are probably
on contracts for a certain number of weeks. It leaves freelancers to be
either a superstar or a clean-up man or something like that.
We submitted two Mulan III stories to them. It has to go through development
executives, then a VP, then the president. When you get a story you like
and you pitch it to the VP, they suggest changes.
They are very smart; they know the Disney way and they know what they want
out of each story. They are very quick and very specific. You go home
and you work on that pitch some more. You have a series of pitches.
Finally, you get to a point where those pitches are signed off by the
executive. When the executive is pleased, it goes to the VPs, who take
their turn at it, giving you notes and changes.
The idea is to get it all ready to go to [Disney Animation president]
Thomas Schumacher. And then he gives his notes.
I'm writing a [live action] thriller feature. I'm having fun not having a
deadline and needing to serve other people's ideas of something, of
trying to fit my idea into someone else's idea of what my idea should be.
At some level, you have to surrender to that process.
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