DVDizzy Forum

Marce82 wrote:In the first trailer I saw for Mulan on the Hercules VHS, there is a version of that music played with some sort of wind instrument (and others).

Marce82 wrote:You know, I tried to match the non-synth version of the score to the film. Doesn't match AT ALL.

Marce82 wrote:I just always found the synthesizer sound to be an odd inclusion... I don't think it's used in any other part of the film, and it doesn't really scream "ancient China"...

Mooky wrote:It may be anachronistic and out of place, but I can't imagine that scene without the synthesizer version. It's just more dynamic and dramatic, and elevates the scene into something otherworldly.

DisneyFan09 wrote:The alternate soundtrack version was actually featured in the Storyteller version (13:13 on https://www.youtube.com/watch?v=Dgn8WviePpQ&t=157s) and the Australian Making off-documentary (5:57 on https://www.youtube.com/watch?v=iUMh3si5lxs&t=167s).

Sotiris wrote:Thanks for sharing those links! I'm glad that version was at least featured in some official materials. Still, it doesn't explain how bootleggers got a hold of a clean, studio recording of it in full. To my knowledge, it was never included on any official CDs or cassettes for the film.

Mooky wrote:It may be anachronistic and out of place, but I can't imagine that scene without the synthesizer version. It's just more dynamic and dramatic, and elevates the scene into something otherworldly.

Floyd Norman wrote:I was busily wrapping up my work on Disney’s “The Hunchback of Notre Dame” so I was surprised when my boss called me in with an unexpected assignment. Things had changed at nineties Disney and unlike the balding, overweight producers of a bygone era, Roy Conli was a tall, charming young man who sported an impressive ponytail. He thanked me for my work on the “Hunchback” but informed me I was needed on another production down the street from our headquarters in Glendale. I had heard of the movie tagged with the unfortunate working title, “China Doll.” However, the material was hardly frivolous. Although some might view this story as more legend than fact, the compelling tale detailed the story of a young Chinese woman who goes off to war under the guise of being a man. It was a bold and risky sacrifice since a woman’s role in ancient China would never include the military. Plus, should her gender be revealed, the penalty for such an offense was death. When I had my first meeting, director Barry Cook walked me through the film story and recommended I acquaint myself with Chinese cinema. Doing my best to soak up the unique sensibility of the Chinese action films I sat about building my first sequence.

However, a cold winter was quickly approaching along with a chilly meeting with animation boss, Peter Schneider. Before I could even add anything to the film development, reels were assembled for the presentation. This was standard procedure at Walt Disney Feature Animation. Our animation bosses, Peter, along with Tom Schumacher would have a first look before anything would be shown to the film chairman, Jeffrey Katzenberg. After all, if things weren’t working in the development process why waste Jeffrey’s time? When pitch day finally arrived, we all gathered in the large conference room in the production building. Not a scrap of my work was in the presentation and I can take comfort in that because Peter hated it all. I can still hear his voice as he railed against everything he had been shown. Never at a loss for words, Peter Schneider tore through the presentation in his own inimitable style. He punctuated his critique with, “I hate it! Hate it! Hate it!”

Bruised and battered, the development team returned to their cubicles to weep silently. In spite of all this, an intrepid group of story artists, led by Chris Sanders headed for a nearby conference room. Who were these young guys, and why were they so determined to turn things around? You might take note of their names because in time, all of them became directors of their own films. They were, Chris Sanders, Dean DeBlois, Chris Williams and John Sanford. Another member of our story team was already a director. His name? Burny Mattinson. I’ll not forget that cold December day when we considered the complete overhaul of the film we now called, “The Legend of Mulan.” Dumping the earlier story work and tedious exposition, we began building a new “Beat Board,” and giving the film a sharper focus. No head of story position had been assigned, but the formidable, Chris Sanders was already doing the job. We killed off lovable characters that didn’t work and invented new ones that did. Early in the next year, the battered Disney movie had been refocused and reinvigorated. Plus, a valuable new member was added to the “Mulan” team. Talented animator, Tony Bancroft joined the movie as co-director.

As with any animated motion picture a good measure of clever ideas don’t make the cut. Of course, there are solid reasons material is cut from a film and any story artist worth his or her salt is well aware of this. However, I’d like to share a funny sequence I storyboarded. As you already know, Mulan has enlisted in the Chinese army disguised as a man. While marching to battle, the troops set up camp for the night and the soldiers each share a tent. Mulan’s tent mate happens to be a handsome young soldier named, Shang who encourages the rookie to undress and get a good nights sleep. You can see where this is going. The funny sequence plays like a Billy Wilder movie with a fair share of sexual tension. However, this was a Disney movie and I was well aware just how far I could go. The awkward situation accelerates until the tent eventually collapses on the guy and the girl. As expected, the sequence ends with a laugh. We had some innocent fun, yet never crossed the line. I honestly think I could have sold this sequence to Walt.

Yet, there’s so much more to tell. There was the loss of our composer, Stephen Schwartz to the fledgling competitor, DreamWorks. The first pass of Mulan’s decision to leave home, storyboarded brilliantly by Dean DeBlois. How many board artists can nail it the first time out? Finally, the majestic score by film composer, Jerry Goldsmith. In time, “Mulan” moved to the Disney animation studio in Orlando, and I moved on to other assignments. The movie exceeded expectations and will continue to live on in Disney’s new live-action iteration. I’ve no problem with this because I see nothing wrong with a retelling of a classic story. Looking back, “Mulan” remains one of my favorite Disney films. It was a delight working with producer, Pam Coats and my talented directors, Barry Cook and Tony Bancroft. At the risk of overdoing it, I’ll say it again. You brought honor to us all.

DisneyFan97 wrote: I like the joke of him teaching Mulan to act like a man despite not beiung super maculine himself