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Saving Mr. Banks

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Saving Mr. Banks
Theatrical release poster
Directed byJohn Lee Hancock
Written byKelly Marcel
Sue Smith
Produced byAlison Owen
Ian Collie
Philip Steuer
StarringEmma Thompson
Tom Hanks
Paul Giamatti
Jason Schwartzman
Bradley Whitford
Colin Farrell
CinematographyJohn Schwartzman
Edited byMark Livolsi
Music byThomas Newman
Production
companies
Distributed byWalt Disney Studios
Motion Pictures
Release dates
Running time
125 minutes[1]
CountriesAustralia
United Kingdom
United States
LanguageEnglish
Budget$35 million[2]
Box office$112,521,146[3]

Saving Mr. Banks is a 2013 American-Australian-British biographical comedy-drama film directed by John Lee Hancock from a screenplay written by Kelly Marcel and Sue Smith. Centered on the development of the 1964 Walt Disney Studios film Mary Poppins, the film stars Emma Thompson as author P. L. Travers and Tom Hanks as filmmaker Walt Disney, with supporting performances from Colin Farrell, Paul Giamatti, Jason Schwartzman, Bradley Whitford, Ruth Wilson, B. J. Novak, Rachel Griffiths, and Kathy Baker. Named after the father in Travers' story, the film depicts the author's fortnight-long briefing in 1961 Los Angeles as she is pursued by Disney, in his attempts to obtain the screen rights to her novels.[4]

Produced by Walt Disney Pictures and BBC Films, Saving Mr. Banks was shot entirely in the Southern California area, primarily at the Walt Disney Studios in Burbank, where a majority of the film's narrative takes place.[5][6] The film was released theatrically in the U.K. on November 29, 2013, and in the United States on December 13, 2013, where it was met with positive reviews, with praise directed towards the acting, screenplay, and production merits—Thompson received BAFTA Award, Golden Globe Award, SAG Award, and Critic's Choice Award nominations for Best Actress, while Thomas Newman received an Academy Award nomination for Best Original Score. The film was also a box office success, grossing $112 million worldwide against a $35 million budget.[7]

Plot

In London in 1961, financially struggling author Pamela "P. L." Travers (Emma Thompson) reluctantly agrees to travel to Los Angeles to meet with Walt Disney (Tom Hanks) at the urging of her agent Diarmuid Russell (Ronan Vibert). Disney has been courting Travers for 20 years, seeking to acquire the film rights to her Mary Poppins stories, on account of his daughters' request to make a film based on the character. Travers, however, has been extremely hesitant toward letting Disney bring her creation to the screen because he is known primarily as a producer of animated films, which Travers openly disdains.

Her youth in Allora, Queensland in 1906 is depicted through flashbacks, and is shown to be the inspiration for much of Mary Poppins. Travers was very close to her handsome and charismatic father Travers Robert Goff (Colin Farrell), who fought a losing battle against alcoholism.

Upon her arrival in Los Angeles, Travers is disgusted by what she feels is the city’s unreality, as well as by the naïve optimism and intrusive friendliness of its inhabitants, personified by her assigned limo driver, Ralph (Paul Giamatti).

At the Walt Disney Studios in Burbank, Travers begins collaborating with the creative team assigned to develop Mary Poppins for the screen, screenwriter Don DaGradi (Bradley Whitford), and music composers Richard and Robert Sherman (Jason Schwartzman and B.J. Novak respectively). She finds their presumptions and casual manners highly improper. She meets Disney in person, and he is jocular and familiar from the start, but she remains unfriendly.

Travers’ working relationship with the creative team is difficult from the outset, with her insistence that Mary Poppins is the enemy of sentiment and whimsy. Disney and his associates are puzzled by Travers’ disdain for fantasy, given the fantastical nature of the Mary Poppins story, as well as Travers’ own richly imaginative childhood existence. Travers has particular trouble with the team’s depiction of George Banks, head of the household in which Mary Poppins is employed as nanny. Travers describes Banks’ characterization as completely off-base and leaves the room distraught. The team begins to grasp how deeply personal the Mary Poppins stories are to Travers, and how many of the work’s characters are directly inspired by Travers’ own past.

Travers' collaboration with the team continues, although she is increasingly disengaged as painful memories from her past numb her in the present. Seeking to find out what’s troubling her, Disney suggests the two of them go to Disneyland. The visit to Disneyland, along with Travers’ developing friendship with her limo driver, the creative team’s revisions to the character of George Banks, and the insertion of a new song to close the film, help to soften Travers. Her imagination begins to reawaken, and she engages enthusiastically with the creative team.

This progress is upended, however, when Travers realizes that an animation sequence is planned for the film. Travers has been adamant from the start that any animated sequences would be unacceptable. She confronts and denounces a protesting Disney, angrily declaring that she will not sign over the film rights and returns to London. Disney discovers that Travers is writing under a pen name. Her real name is Helen Goff, and she’s actually Australian, not British. Equipped with new insight, he departs for London on the next flight, determined to salvage the film. Appearing unexpectedly at Travers’ residence, Disney opens up—describing his own less-than-ideal childhood, while stressing the healing value of his art—and urges her to shed her deeply-rooted disappointment with the world. Travers relents and grants him the film rights.

Three years later, in 1964, Mary Poppins is nearing its world premiere at Grauman's Chinese Theatre. Travers has not been invited because Disney fears that she will give the film negative publicity. Goaded by her agent, Travers returns to Los Angeles, showing up uninvited in Walt Disney’s office, and finagles an invitation to the premiere. She watches Mary Poppins initially with scorn, reacting with particular dismay to the animated sequence. She slowly warms to the film, however, and is ultimately surprised to find herself overcome by emotion, touched by the depiction of George Banks’ redemption, which clearly possesses a powerful personal significance for her.

During the end credits, a surviving recording of one of the sessions between Travers, the Sherman Brothers and DaGradi plays out.

Historical accuracy

The film depicts several events that differ from recorded accounts.[8] The dramatic premise of the script—that Disney had to convince Travers to hand over the film rights, including the scene when he finally persuades her—is fictionalized, as Disney had already secured the film rights when her consultation of the script began.[9][10]

It also depicts Travers coming to amicable terms with Disney, including her approval of his changes to the story.[11] In reality, she never approved of the dilution of the harsher aspects of Mary Poppins' character, felt ambivalent about the music, and hated the use of animation.[12][13] Disney overruled her objections, citing contract stipulations that he had final cut on the finished film. After the film was complete, Travers reportedly approached Disney and told him that the animated sequences had to be removed. Disney dismissed her request, saying, "Pamela, the ship has sailed."[14]

Although the film portrays Travers as being emotionally moved during the film's premiere, presumably due to her feelings about her father,[14] several critics have noted that her reaction was in fact out of anger due to the treatment of her character,[14][9][15] that she felt betrayed the artistic integrity of her work,[16] to the point that Travers wouldn't watch the film again for twenty years.[9] Resentful at what she considered poor treatment at Disney's hands, Travers and Disney never spoke again after the premiere, with Travers vowing to never permit Disney to adapt any of her other novels in any form of media. This later included a stage adaptation in the 1990s, to which she acquiesced on the condition that only English-born writers and no one from the film production were to be directly involved with the stage musical's development.[17][18][19]

However, Travers' biographer, Valerie Lawson, who actually interviewed Travers, states that in fact Travers praised Disney's version of "Poppins" for years and was very pleased with it - until it became obvious that, due to Walt Disney's death, a sequel would likely never happen, after which she soured on the film, became even more unbalanced and eventually denounced it. Lawson reiterated those facts in an interview given after "Saving Mr. Banks" was released: http://articles.chicagotribune.com/2013-12-20/features/chi-saving-mr-banks-valerie-lawson-20131220_1_saving-mr-p-l-travers-p-l-travers

Cast

Dendrie Taylor, Victoria Summer, and Kristopher Kyer appear in minor, non-speaking roles as Lillian Disney, Julie Andrews, and Dick Van Dyke, respectively.[28][29]

Production

Development

In 2002, Australian producer Ian Collie produced a documentary film on P. L. Travers titled The Shadow of "Mary Poppins". During the documentary's production, Collie noticed that there was "an obvious biopic there" and convinced Essential Media and Entertainment to develop a feature film with Sue Smith writing the screenplay.[30] The project attracted the attention of BBC Films, which decided to finance the project, and Ruby Films' Alison Owen, who subsequently hired Kelly Marcel to co-write the screenplay with Smith.[31] Marcel's drafts removed a subplot involving Travers and her son, and divided the story into a two-part narrative: the creative conflict between Travers and Walt Disney, and her dealings with her childhood issues. Marcel's version, however, featured certain intellectual property rights of music and imagery which would be impossible to use without permission from The Walt Disney Company. "There was always that elephant in the room, which is Disney," Collie recalled. "We knew Walt Disney was a key character in the film and we wanted to use quite a bit of the music. We knew we'd eventually have to show Disney." In July 2011, while attending the Ischia Film Festival, Owen met with Corky Hale, who offered to present the screenplay to Richard M. Sherman of the Sherman Brothers, music composers of Mary Poppins.[32] Sherman read the screenplay and gave the producers his support.[32] Later that year, Marcel and Smith's screenplay was listed in Franklin Leonard's The Black List, voted by producers as one of the best screenplays that were not in production.[33]

In November 2011, The Walt Disney Studios' president of production, Sean Bailey, was informed of the existence of Marcel's script.[2] Realizing that the screenplay included a depiction of Walt Disney, Bailey conferred with the company's executives, including Disney CEO Bob Iger[34] and studio chairman Alan Horn, the latter of whom referred to the film as a "brand deposit,"[35] a term adopted from Steve Jobs.[36] Together, the executives discussed the studio's potential choices: purchase the script and shut the production down, put the film in turnaround, or co-produce the film themselves.

Iger approved the film and subsequently contacted Tom Hanks to consider playing the role of Walt Disney, which would become the first-ever depiction of Disney in a mainstream film.[2] Hanks accepted the role, viewing it as "an opportunity to play somebody as world-shifting as Picasso or Chaplin".[37] Hanks made several visits to The Walt Disney Family Museum and interviewed some of Disney's former employees and family relatives, including his daughter Diane Disney Miller.[38][39]

In April 2012, Emma Thompson entered final negotiations to star as P. L. Travers, after the studio was unable to secure Meryl Streep for the part.[40] Thompson said that the role was the most difficult one that she has played, describing Travers as "a woman of quite eye-watering complexity and contradiction."[41] "She wrote a very good essay on sadness, because she was, in fact, a very sad woman. She'd had a very rough childhood, the alcoholism of her father being part of it and the attempted suicide of her mother being another part of it. I think that she spent her whole life in a state of fundamental inconsolability and hence got a lot done."[42]

"I thought the script was a fair portrayal of Walt as a mogul but also as an artist and a human being. But I still had concerns that it could be whittled away. I don't think this script could have been developed within the walls of Disney—it had to be developed outside...I'm not going to say there weren't discussions, but the movie we ended up with is the one that was on the page."

— John Lee Hancock on his initial thoughts of Disney's involvement[32]

With Walt Disney Pictures' approval, the production team was given access to Travers' audio recordings of herself, Disney, the Shermans, and co-writer Don DaGradi that were produced during the development of Mary Poppins, in addition to letters written between Disney and Travers from the 1940s through the 1960s.[30][32] Initially, director John Lee Hancock had reservations about Disney's involvement with the film, believing that the studio would edit the screenplay in their founder's favor. However, Marcel admitted that the studio "specifically didn't want to come in and sanitize it or change Walt in any way."[30] Although the filmmakers did not receive any creative interference from Disney regarding Walt Disney's depiction, the studio did request that they omit any onscreen inhalation of cigarettes[43] due to the company's policy of not directly depicting smoking in films released under the Disney banner, and to avoid an R-rating from the Motion Picture Association of America.[44][45]

Filming

Principal photography began on September 19, 2012.[24][46] Although some filming was originally to be in Queensland, Australia,[26][47] all filming took place in the Southern California area, including the Walt Disney Studios lot in Burbank, Disneyland Park in Anaheim, Big Sky Ranch in Simi Valley, the Los Angeles County Arboretum and Botanic Garden in Arcadia, and the TCL Chinese Theatre in Hollywood.[47][48] For the Disneyland sequences, scenes were shot during the early morning, with certain areas cordoned off during the park's daily operation, including Sleeping Beauty Castle, Main Street U.S.A., Fantasyland, and the King Arthur Carrousel attractions,[49] while the park's cast members were hired as extras.[50] Production designer Michael Corenblith had to ensure that post-1961 attractions did not show up on camera, and that storefronts on Main Street were redecorated to appear as they did during that time period.[51][52] Corenblith also had to recreate Disney's office, using photographs and a furniture display from the Ronald Reagan Presidential Library as references.[32][53] To recreate the original film's premiere at the Chinese Theatre, set designers closed Hollywood Boulevard and redressed the street and theater to resemble their 1964 appearances.[53]

Emma Thompson prepared for her role by listening to Travers' own recordings conducted during the development of Mary Poppins, and also styled her natural hair after Travers', due to the actress's disdain for wigs.[54] To accurately convey Walt Disney's midwestern dialect, Tom Hanks listened to archival recordings of Disney in his car and practiced the voice while reading newspapers.[55][56] Hanks also grew his own mustache for the role, which underwent heavy scrutiny, with the filmmakers going so far as to match the dimensions of Hanks' mustache to that of Disney.[57][58] Jason Schwartzman and B. J. Novak worked closely with Richard M. Sherman during pre-production and filming. The lyricist described the actors as "perfect talents" for their roles as Richard and Robert B. Sherman.[59] Costume designer Daniel Orlandi had Thompson wear authentic jewelry borrowed from The Walt Disney Family Museum,[60] and ensured that Hanks' wardrobe included the Smoke Tree Ranch emblem from the Palm Springs property embroidered on his neckties, which Disney always wore.[61] The design department also had to recreate several of the costumed Disneyland characters as they appeared in the 1960s.[62] Filming was completed on November 22, 2012.[26][63][64] Walt Disney Animation Studios produced a recreation of the Tinker Bell animation featured in Walt Disney's Wonderful World of Color.[65]

Soundtrack

Untitled
Professional ratings
Review scores
SourceRating

Walt Disney Records released two editions of the soundtrack on December 10, 2013: a single-disc and a two-disc digipak deluxe edition (containing original demo recordings by the Sherman Brothers and selected songs from Mary Poppins).[66][67] The film's original score was composed by Thomas Newman.[68]

Saving Mr. Banks (Original Motion Picture Soundtrack)
No.TitleWriter(s)Performer(s)Length
1."Chim Chim Cher-ee (East Wind)"Richard M. Sherman, Robert B. ShermanColin Farrell01:04
2."Travers Goff" Thomas Newman02:06
3."Walking Bus" Thomas Newman02:10
4."One Mint Julep"Rudy ToombsRay Charles01:31
5."Uncle Albert" Thomas Newman01:34
6."Jollification" Thomas Newman01:18
7."The Mouse" Thomas Newman00:57
8."Leisurely Stroll" Thomas Newman01:34
9."Chim Chim Cher-ee (Responstible)"Richard M. Sherman, Robert B. ShermanJason Schwartzman, B. J. Novak, and Emma Thompson00:26
10."Mr. Disney" Thomas Newman00:35
11."Celtic Soul" Thomas Newman01:20
12."A Foul Fowl" Thomas Newman02:04
13."Mrs. P. L. Travers" Thomas Newman01:16
14."Laying Eggs" Thomas Newman01:08
15."Worn To Tissue" Thomas Newman00:54
16."Heigh-Ho"Frank Churchill, Larry MoreyThe Dave Brubeck Quartet02:11
17."Whiskey" Thomas Newman01:21
18."Impertinent Man" Thomas Newman00:38
19."To My Mother" Thomas Newman03:44
20."Westerly Weather" Thomas Newman01:58
21."Supercalifragilisticexpialidocious"Richard M. Sherman, Robert B. ShermanJason Schwartzman, B. J. Novak, and Emma Thompson00:05
22."Spit Spot!" Thomas Newman01:49
23."Beverly Hills Hotel" Thomas Newman00:38
24."Penguins" Thomas Newman01:18
25."Pears" Thomas Newman00:55
26."Let's Go Fly a Kite"Richard M. Sherman, Robert B. ShermanJason Schwartzman, B. J. Novak, Bradley Whitford, Melanie Paxson, and Emma Thompson01:55
27."Maypole" Thomas Newman00:59
28."Forgiveness" Thomas Newman02:00
29."The Magic Kingdom" Thomas Newman01:05
30."Ginty My Love" Thomas Newman03:12
31."Saving Mr. Banks (End Title)" Thomas Newman02:12
Total length:45:57

All tracks are written by Richard M. Sherman and Robert B. Sherman

Saving Mr. Banks (Original Motion Picture Soundtrack – Two-Disc Deluxe Edition) (Disc 2)
No.TitleArtist(s)Length
1."The Pearly Song (Demo)"Richard M. Sherman, Robert B. Sherman01:30
2."Chim Chim Cher-ee (Demo)"Richard M. Sherman, Robert B. Sherman02:39
3."Tuppence A Bag (Demo)"Richard M. Sherman02:55
4."Let's Go Fly A Kite (Demo)"Richard M. Sherman01:44
5."A Spoonful of Sugar"Julie Andrews04:07
6."Supercalifragilisticexpialidocious"Julie Andrews and Dick Van Dyke02:02
7."Chim Chim Cher-ee"Julie Andrews, Dick Van Dyke, Karen Dotrice, and Matthew Garber02:46
8."Feed The Birds"Julie Andrews03:50
9."Let's Go Fly A Kite"David Tomlinson, Dick Van Dyke, and the Londoners01:48
Total length:23:21

Release

A trailer for the film was released on July 10, 2013.[69]

Saving Mr. Banks held its world premiere at the London Film Festival on October 20, 2013.[70][71][72] On November 7, 2013, Walt Disney Pictures held the film's U.S. premiere at the TCL Chinese Theatre during the opening night of the 2013 AFI Film Festival,[73][74] the same location where Mary Poppins premiered.[75] The original film was also screened for its 50th anniversary.[76] Saving Mr. Banks also served as the Gala Presentation at the 2013 Napa Valley Film Festival on November 13,[77] and was screened at the AARP Film Festival in Los Angeles on November 17,[34] as Disney is heavily campaigning Saving Mr. Banks for Academy Awards consideration.[34] On December 9, 2013, the film was given an exclusive corporate premiere in the Main Theater of the Walt Disney Studios lot in Burbank.[78] The film was released in the United States on December 13, 2013, in limited release, and in wide release on December 20.[79] Despite not earning a nomination, the film was widely considered to be a front-runner for Best Picture at the 86th Academy Awards.[80][81][82][83][84]

Home media

Walt Disney Studios Home Entertainment released Saving Mr. Banks on Blu-ray Disc, DVD, and digital download on March 18, 2014.[85] The film debuted at No. 2 in Blu-ray and DVD sales in the United States according to Nielsen's sales chart.[86]

Reception

Box office

Saving Mr. Banks has earned $83,278,146 in North America, and an estimated $29,243,000 in other countries, as of April 7, 2014, for a worldwide total of $112,521,146.[3]

Critical response

Saving Mr. Banks received positive reviews from film critics, with major praise directed to the acting; particularly Emma Thompson, Tom Hanks, and Colin Farrell's performances.[34][87][88] Film review aggregator website Rotten Tomatoes reports an 80% "Certified Fresh" approval rating from critics, based on 223 reviews with an average score of 7/10. The site's consensus reads: "Aggressively likable and sentimental to a fault, Saving Mr. Banks pays tribute to the Disney legacy with excellent performances and sweet, high-spirited charm."[89] Metacritic assigned the film a weighted average score of 65 (out of 100) based on 46 reviews from mainstream critics, considered to be "generally favorable".[90]

The Hollywood Reporter praised the film as an "affecting if somewhat soft-soaped comedy drama, elevated by excellent performances." The Reporter wrote that "Emma Thompson takes charge of the central role of P. L. Travers with an authority that makes you wonder how anybody else could ever have been considered."[91] Scott Foundas of Variety wrote that the film "has all the makings of an irresistible backstage tale, and it’s been brought to the screen with a surplus of old-fashioned Disney showmanship...", and that Tom Hanks's portrayal captured Walt Disney's "folksy charisma and canny powers of persuasion — at once father, confessor and the shrewdest of businessmen." Overall, he praised the film as "very rich in its sense of creative people and their spirit of self-reinvention."[92]

The Washington Post rated the film three out of four stars, writing: "Saving Mr. Banks doesn't always straddle its stories and time periods with the utmost grace. But the film — which John Lee Hancock directed from a script by Kelly Marcel and Sue Smith — more than makes up for its occasionally unwieldy structure in telling a fascinating and ultimately deeply affecting story, along the way giving viewers tantalizing glimpses of the beloved 1964 movie musical, in both its creation and final form."[93] The New York Times' A. O. Scott gave a positive review, declaring the film as "an embellished, tidied-up but nonetheless reasonably authentic glimpse of the Disney entertainment machine at work."[94]

Mark Kermode awarded the film four out of five stars, lauding Thompson's performance as "impeccable", elaborating that "Thompson dances her way through Travers' conflicting emotions, giving us a fully rounded portrait of a person who is hard to like but impossible not to love."[95] Michael Phillips felt similarly, writing: "Thompson's the show. Each withering put-down, every jaundiced utterance, lands with a little ping." In regard to the screenplay, he wrote that "screenwriters Kelly Marcel and Sue Smith treat everyone gently and with the utmost respect."[96] Peter Travers also gave the film three out of four stars and equally commended the performances of the cast.[97]

Alonso Duralde described the film as a "whimsical, moving and occasionally insightful tale ... director John Lee Hancock luxuriates in the period detail of early-’60s Disney-ana".[98] Entertainment Weekly gave the film a "B+" grade, explaining that "the trick here is how perfectly Thompson and Hanks portray the gradual thaw in their characters' frosty alliance, empathizing with each other's equally miserable upbringings in a beautiful three-hankie scene late in the film."[99] Kenneth Turan of The Los Angeles Times wrote that the film "does not strictly hew to the historical record where the eventual resolution of this conflict is concerned," but admitted that it "is easy to accept this fictionalizing as part of the price to be paid for Thompson's engaging performance."[100]

David Gritten of The Daily Telegraph described the confrontational interaction between Thompson and Hanks as "terrific", singling out Thompson's "bravura performance", and calling the film itself "smart, witty entertainment".[101] Kate Muir of The Times spoke highly of Thompson and Hanks's performances.[102] Joe Morgenstern of The Wall Street Journal, however, considered Colin Farrell to be the film's "standout performance".[103] IndieWire's Ashley Clark wrote that the film "is witty, well-crafted and well-performed mainstream entertainment which, perhaps unavoidably, cleaves to a well-worn Disney template stating that all problems—however psychologically deep-rooted—can be overcome."[104] Another staff writer labeled Thompson's performance as her best since Sense and Sensibility, and stated that "she makes the Australian-born British transplant a curmudgeonly delight."[105] Peter Bradshaw enjoyed Hanks' role as Disney, suggesting that, despite its brevity, the film would have been largely "bland" without it.[106]

The film did receive some criticism. The Independent gave the film a mixed review, writing: "On the one hand, Saving Mr. Banks (which was developed by BBC Films and has a British producer) is a probing, insightful character study with a very dark undertow. On the other, it is a cheery, upbeat marketing exercise in which the Disney organization is re-promoting one of its most popular film characters."[107] David Sexton of the Evening Standard concluded that the film "is nothing but a big corporation boasting about its own marvellousness."[108] Lou Lumenick of The New York Post criticized the accuracy of the film's events, concluding that "Saving Mr. Banks is ultimately much less about magic than making the sale, in more ways than one."[109] American history lecturer John Wills praised the film's attention to detail, such as the inclusion of Travers' original recordings, but doubted that the interpersonal relations between Travers and Disney were as amicable as portrayed in the film.[110] Film School Rejects also described several moments where the film had a "shrewd consumption of [the company's] own criticisms", only to later negate them and Disney-fy Travers as a character.[16]

Saving Mr. Banks was named the sixth best film of 2013 by Access Hollywood.[111]

Accolades

Awards
Award Date of ceremony Category Recipients and nominees Result
AARP Annual Movies for Grownups Awards[112] January 6, 2014 Best Movie for Grownups Who Refuse to Grow Up Saving Mr. Banks Won
Academy Awards March 2, 2014 Best Original Score Thomas Newman Nominated
African-American Film Critics Association[113] December 13, 2013 Best Film of the Year 8th place
Alliance of Women Film Journalists[114] December 19, 2013 Best Actress Emma Thompson Nominated
American Cinema Editors[115] February 07, 2014 Best Edited Feature Film - Dramatic Mark Livolsi Nominated
American Film Institute[116] January 10, 2014 Top Ten Films of the Year Alison Owen, Ian Collie, and Philip Steuer Won
Art Directors Guild[117] February 08, 2014 Excellence in Production Design - Period Film Michael Corenblith Nominated
Australian Academy of Cinema and Television Arts Awards[118] January 10, 2014 Best Screenplay – International Kelly Marcel and Sue Smith Nominated
Awards Circuit Community Awards[119] February 28, 2014 Best Costume Design Daniel Orlandi Nominated
Best Ensemble Nominated
Best Original Score Thomas Newman Nominated
British Academy of Film and Television Arts[120] February 16, 2014 Outstanding British Film Alison Owen, Ian Collie, and Philip Steuer Nominated
Best Actress in a Leading Role Emma Thompson Nominated
Outstanding Debut by a British Writer, Director or Producer Kelly Marcel Nominated
Best Film Music Thomas Newman Nominated
Best Costume Design Daniel Orlandi Nominated
Broadcast Film Critics Association[121] January 16, 2014 Best Picture Nominated
Best Actress Emma Thompson Nominated
Best Score Thomas Newman Nominated
Best Costume Design Daniel Orlandi Nominated
Capri Film Festival[122] January 02, 2014 Capri Movie of the Year Nominated
Capri Audience Award Won
Costume Designers Guild[123] February 22, 2014 Excellence in Period Film Daniel Orlandi Nominated
Denver Film Critics Society[124] January 13, 2014 Best Actress Emma Thompson Nominated
Empire Awards[125][126] March 30, 2014 Best Actress Emma Thompson Won
Golden Globe Awards[127] January 12, 2014 Best Performance by an Actress in a Motion Picture – Drama Emma Thompson Nominated
Houston Film Critics Society[128] December 15, 2013 Best Picture Nominated
Best Actress Emma Thompson Nominated
Best Original Score Thomas Newman Nominated
IGN's Best of 2013 Awards[129] January 10, 2014 Best Movie Nominated
Best Movie Actress Emma Thompson Nominated
Las Vegas Film Critics Society[122] December 18, 2013 Top Ten Films 7th place
Best Actress Emma Thompson Won
Best Family Film Won
Location Managers Guild of America[130] March 29, 2014 Outstanding Achievement by a Location Professional – Feature Film Andrew Ullman and Lori Balton Nominated
London Film Critics Circle[131] February 2, 2014 Supporting Actor of the Year Tom Hanks Nominated
British Actress of the Year Emma Thompson (also for Beautiful Creatures) Nominated
National Board of Review[132] December 4, 2013 Best Actress Emma Thompson Won
Top Ten Films Saving Mr. Banks Won
North Carolina Film Critics Association[133] January 12, 2014 Best Actress Emma Thompson Nominated
Palm Springs International Film Festival[134] January 5, 2014 Creative Impact in Directing Award John Lee Hancock Won
Phoenix Film Critics Society[135] December 17, 2013 Best Film Nominated
Best Director John Lee Hancock Nominated
Best Actress in a Leading Role Emma Thompson Nominated
Best Actor in a Supporting Role Tom Hanks Nominated
Best Ensemble Acting Nominated
Best Original Score Thomas Newman Nominated
Best Production Design Lauren E. Polizzi, Michael Corenblith Nominated
Best Costume Design Daniel Orlandi Nominated
Best Performance by a Youth in a Lead or Supporting Role – Female Annie Rose Buckley Nominated
Producers Guild of America Award[136] January 19, 2014 Best Theatrical Motion Picture Ian Collie, Alison Owen, Philip Steuer Nominated
San Diego Film Critics Society[137] December 11, 2013 Best Actress Emma Thompson Nominated
Best Production Design Michael Corenblith Nominated
Satellite Awards[138] February 23, 2014 Best Motion Picture Nominated
Best Actress – Motion Picture Emma Thompson Nominated
Best Supporting Actor – Motion Picture Tom Hanks Nominated
Best Original Screenplay Kelly Marcel and Sue Smith Nominated
Best Art Direction and Production Design Lauren E. Polizzi and Michael Corenblith Nominated
Best Costume Design Daniel Orlandi Nominated
Saturn Awards[139][140] June 18, 2014 Best Actress Emma Thompson Pending
Society of Camera Operators[141] March 8, 2014 Camera Operator of the Year Award Ian Fox Nominated
Screen Actors Guild Awards[142] January 18, 2014 Outstanding Performance by a Female Actor in a Leading Role Emma Thompson Nominated
St. Louis Gateway Film Critics Association[143] December 16, 2013 Best Actress Emma Thompson Nominated
Best Original Screenplay Kelly Marcel and Sue Smith Nominated
Best Musical Score Thomas Newman Nominated
UK Regional Critics' Film Awards[144][145] January 29, 2014 Best On-Screen Duo Emma Thompson and Tom Hanks Won
Washington D.C. Area Film Critics Association[146] December 9, 2013 Best Actress Emma Thompson Nominated
Best Score Thomas Newman Nominated
Women in Film and TV Awards[147] December 5, 2013 FremantleMedia U.K. New Talent Award Kelly Marcel (screenwriter of Saving Mr. Banks and Fifty Shades of Grey) Won

References

  1. ^ "SAVING MR. BANKS (PG)". Walt Disney Studios Motion Pictures. British Board of Film Classification. September 18, 2013. Retrieved September 30, 2013.
  2. ^ a b c Barnes, Brooks (October 16, 2013). "Forget the Spoonful of Sugar: It's Uncle Walt, Uncensored". The New York Times. Retrieved October 21, 2013.
  3. ^ a b "Saving Mr. Banks (2013)". Box Office Mojo. Retrieved April 2, 2014.
  4. ^ "BBC Films unveils upcoming slate at Cannes". BBC. BBC Films. Retrieved July 16, 2012.
  5. ^ Cunningham, Todd (December 19, 2013). "'American Hustle' and 'Saving Mr. Banks' Face Mainstream Box-Office Exams This Weekend". The Wrap. Retrieved December 20, 2013.
  6. ^ Gettell, Oliver (December 18, 2013). "'Saving Mr. Banks' director: 'Such an advantage' shooting in L.A." The Los Angeles Times. Retrieved December 19, 2013.
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