The Seven Follies
Release Date: November 21st, 2016
The Seven Follies tells the story of a young Walt Disney in the 1930s. At this point in time, Walt has effectively taken the biggest gamble in animation history, and both his brother, Roy and his wife, Lillian, are displeased with his plans. The film chronicles the emotional highs and lows of the production, meticulously detailing events such as Walt setting up the animation school for his animators to the premiere at Carthay Circle Theater, which will be shot at Disney California Adventure’s own Buena Vista Street. The film will place great emphasis on its emotional values in an attempt to dig deeper into the mind of Walt Disney, something that
Saving Mr. Banks teased but never fully elaborated on. Most of the screen time, naturally, will belong to Walt himself, Roy, and Lillian, as the three band together to push the film into completion.
Director: Robert Zemeckis:
What better director to take on this film? Zemeckis is capable of directing films that can be humorous at times yet emotionally-moving when it needs to be (Forrest Gump). Additionally, Zemeckis is a master of masterfully portraying different time periods and bygone eras (Back to the Future, Who Framed Roger Rabbit). Here, Zemeckis will be entrusted with giving the film a distinct 1930s appearance.
Executive Producer: Kathleen Kennedy
Kathleen Kennedy is the right person for the job. Her track record as a producer speaks for itself (E.T. The Extra Terrestrial, Lincoln). Kennedy has worked with Zemeckis in the past, helping to make film environments feel as alive and colorful as the film stars themselves.
Composer: Alan Silvestri: It's no secret that this is a Zemeckis project. Silvestri is the missing piece in making
The Seven Follies feel the way it's meant to be felt through sound. Silvestri also has experience in giving a film's score a memorable early to mid 20th Century jazz feel (Who Framed Roger Rabbit).
Main Cast:
·
Dominic Cooper as
Walt Disney: Simply put, Dominic Cooper has the right look and feel for a young Walt Disney. His charm and wit is undeniable, and he can carry a great deal of emotional weight on his soldiers. The decision to cast him came primarily from his role as Howard Stark in Marvel Cinematic Universe productions.
In this scene from Agent Carter, Cooper demonstrates he's capable of delivering an emotional punch. Just imagine Maggie Gyllenhaal in place of Hayley Atwell here to see the possibilities for emotional interactions between husband and wife.
·
Aaron Staton as
Roy O. Disney: Staton’s work as both an actor on
Mad Men and voice actor on the popular video game,
L.A. Noire, make him the ideal fit for Walt’s supportive but cautious older brother. Additionally Staton has proven that he is quite capable of seamlessly becoming a character from an earlier time
·
Maggie Gyllenhaal as
Lillian Disney: Maggie Gyllenhaal has the right look for Walt’s conservative right-hand woman. She can be kind and nurturing but also sarcastic and frustrated when she wants to be
Supporting Cast:
·
Jon Hamm as
David Hand: The Supervising Director of Snow White and the Seven Dwarfs.
·
Grace Phibbs as
Adriana Caselotti: The voice of Snow White herself.
·
Nestor Carbonell as
Joseph Rosenberg: The banker who approved Walt’s request for a loan to complete the film.
The Nine Old Men:
· Disney’s Nine Old Men will make brief appearances in their film. They will be portrayed by lower-tier actors for the sake of keeping production costs low.
Cameo:
Isabella Crovetti-Cramp as Shirley Temple:
Teaser Trailer Run-Through
Fats Waller’s “Have a Little Dream on Me” plays on the radio on a table near the corner of a studio room. Sheets of drawing paper are scattered about the floor. We see a young Walt hopping around the room energetically, his team of animators eyeing him, some of them intrigued, many of them skeptical. Walt motions to them as if he’s carrying a woman. In a close-up, he grins, spreads his arms wide and says “…and then he carries her to his castle where they live happily ever after, and that’ll be our first feature, men! What do you think?” An animator sitting near the front casually puts down his cigarette, laughs and says “Walt, you must be the second craziest son of a in this room because I’m starting to think it might actually be worth a damn.” We cut to Roy reading the
New York Times to Walt in his living room. He sips his coffee and puts down the paper. “They’re calling it ‘Disney’s Folly.’ I don’t suppose you have any objections?” Walt walks over to Roy and picks up the paper. “Actually I like it. Short but sweet, whimsical. Could be my next picture.”
We cut to Lillian Disney who is sitting on the sofa with her arms folded. “I stood by you, I’ve been with you every step of the way as your wife but I always knew, Walt…I always knew you could bury all of us with something like this and dammit here it is. It's our house...” Walt stands against the window, a cigarette in his hand, his eyes looking out. “What’s a dream without faith, Lillian?” She stares at him, her lip trembling. He turns to look at her. “Just a wish”
This November…
Roy and Walt walk down the street. As he struggles to put on his coat, Roy is looking over a slip of paper. “You know, I think the idea’s growin’ on the boys. They say they’re ready to start production.” Walt puts his hat over his head and tucks his hands into his coat pockets. “You tell em they need to graduate first.” Roy stops dead in his tracks. Walt turns around and laughs. “Come on now, Roy. You should know a little training school goes a long way.” We cut to a dance studio where artists are sketching a live model dressed as snow white. As she moves, the animators trace her movements. The camera pans and zooms to Walt, who is watching over the sequence with an observable intensity.
Walt had a vision…
We see a vigorous Walt next to the animators. Visibly upset, he lectures a couple of them. “Look, boys, I know it’s a lot to ask but you’ve gotta give me something better than that. When the picture's up and the folks back home are watching, they’ll look and they’ll see, boys. Snow White…does
not move like that. Hell, she barely even
looks like that, now come on, tear it up. Tear it all up and start again.
That everyone else had trouble seeing…
David Hand, the film’s Supervising Director, stands with his arms on his hips looking up at the ceiling; he is standing in front of the animators and across from a disgruntled Walt. David has a drawing of the Queen in his hand. “Look, Walt, it’s one thing to ask to have the picture look good for the final show but you’re asking for a God damn miracle to fall outta the sky and into their laps!” Walt frustratingly points to the animators. “Do you think I would ask them to do something I know they couldn’t do?” David throws the paper in the air. “You’re scrapping
six months of footage. I’m startin’ to wonder if you want this to get done at
all.” Walt makes his way out the door. “We start cuttin’ corners and you’ll be right.”
We cut to Lillian, who has her arms stretched over Walt’s shoulders in their bedroom. “You’re quite the charmer, Mr. Disney, but sooner or later you’ll learn that not everyone sees things the way you do.” In another shot, Roy is standing in front of several sheets of paper in an office. He shakes his head. “Walt, ‘less you show the bankers what you’ve got so far, Snow White and those…seven little dwarfs of yours won’t ever see the light of day.” The camera slowly zooms into Walt, who has his back turned to Roy. Walt says nothing. For a few seconds, he seems to contemplate his brother’s words. Finally, he opens his mouth to speak....
2016
The final shot in the trailer: