Requests for changes - and indeed she did. I was sure she would dislike our notes - they were all To hear her notes on Sibley’s approach, and for them to hear the I returned to her sitting room, againīearing whiskey, for the second of what would be five visits, for me We tried in vain to persuade her to reconsider her veto of our pitch, This one gave away control of the story, settings, and characters to Steep creative price: Unlike every other features deal at the studio, Sibley told Disney she was open to doing a second movie at the studio,Īnd within a few months their agent closed a deal, but she extracted a Travers was 87, Walt’s nephew Roy had been approached by writerīrian Sibley, an acquaintance of his and a longtime friend of hers. Sequel off the ground were entirely theoretical. And since she stillĬontrolled the rights to her Poppins books, my efforts at getting a Intensely disliked Walt Disney’s 1964 version.

Wanted to make a sequel to Mary Poppins, and I was assigned to developīut as the new movie, Saving Mr.

It was 1988, and I’d been a vice president at Disney for two years.įrom the time I got there, studio president Jeffrey Katzenberg had Travers herself.įormer Disney vice president of production Marty Kaplan describes how this deadlock resulted in the sequel film being put into limbo for decades until her death (and agreement from her family and the trustees of her 'literary estate') allowed Disney to regain the rights to exercise full creative control. Disney were keen to make a follow-up to Mary Poppins as early as 1982 but the movie ended up in a glorious legal mess because of legal clauses on both sides that required creative agreement from both Disney and P.L.

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