In 1989, Walt Disney Feature Animation Florida had opened with 40 to 50 employees,[5] with its original purpose to produce cartoon shorts and featurettes.[6] However, by late 1993, following several animation duties on Beauty and the Beast, Aladdin, and The Lion King, Disney executives were convinced to allow the Feature Animation Florida studios to produce their first independent film.[7] Around that same time, Disney Feature Animation developed an interest in Asian-themed legends, beginning with the optioning of several books by children's book author Robert D. San Souci, who had a consulting relationship with Disney executive Jay Dyer.[8] Also around that time, a short straight-to-video film titled China Doll about an oppressed and miserable Chinese girl who is whisked away by a British Prince Charming to happiness in the West was in development. Thomas Schumacher asked San Souci if he had any additional stories, in response to which San Souci turned in a manuscript of a book based on the Chinese poem "The Song of Fa Mu Lan". Ultimately, Disney decided to combine the two separate projects.[9][10]

Following the opening of the Feature Animation Florida studios, Barry Cook, who had served as a special-effects animator since 1982,[11] had directed the Roger Rabbit cartoon Trail Mix-Up produced at the satellite studio. At a lunch invitation with Thomas Schumacher, Cook was offered two projects in development: a Scottish folk tale with a dragon or Mulan. Knowledgeable about the existence of dragons in Chinese mythology, Cook suggested adding a dragon to Mulan, in which a week later, Schumacher urged Cook to drop the Scottish project and accept Mulan as his next project.[12] Following this, Cook was immediately assigned as the initial director of the project,[13] and cited influences from Charlie Chaplin and David Lean during production.[14] While working as an animator on the gargoyles for The Hunchback of Notre Dame, Tony Bancroft was offered to co-direct the film following a recommendation from Rob Minkoff, co-director of The Lion King, to Schumacher, in which he accepted.[15] He joined the creative team by early 1995.[16]


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The film starts off showing I think Chinese New year, fireworks, long dancing dragon costuam, that kinda stuff, it then soon shows three half goat people, two kids, and one adult that's telling the story, I think they were around a fire. The story he narrates is, obviously, an adaptation of mulan. She lived at home that was suffering a huge drout, and I remember she had a little brother, I think she had a chipmunk that would only make sounds, I think it's name was chonsky, but I'm not sure.

I don't remember the middle bits, but I remember that the villain, the reason for the drouts, is an old man in purple robes that's partnered up with a red dragons. I remember that mulan was tasked with getting a box, and a key from this villain, using her friend chipmunk to get the two keys from around his neck, but only one box. She takes the box back to a cave, back to a young man (I don't remember how they met) but after opened the box the man turns into a dragon. I can't remember what happens much after that, but I do know that they go see some sky goddess person, and they give them a bottle, one drop per cloud to make them rain. Mulan drops the bottle and causes too much rain, I think then there was a flight fight between mulan, the old man, and the two dragons, that resulted in the other box being opened, and the dragon that used to be a man finally able to breath fire.

The visual style breaks slightly with the look of modern Disney animation to draw from Chinese and Japanese classical cartoon art; in the depiction of nature, there's an echo of the master artist Hiroshige. In a scene where the Hun troops sweep down the side of a snowy mountain, I was reminded of the great battle sequence in Sergei Eisenstein's "Alexander Nevsky.'' There are scenes here where the Disney artists seem aware of the important new work being done in Japanese anime; if American animation is ever going to win an audience beyond the family market, it will have to move in this direction, becoming more experimental both in stories and visual style.

In 1989, Walt Disney Feature Animation Florida had opened with 40 to 50 employees, with its original purpose to produce cartoon shorts and featurettes. However, by late 1993, following several animation duties on Beauty and the Beast, Aladdin, and The Lion King, Disney executives were convinced to allow the Feature Animation Florida studios to produce their first independent film. Around that same time, Disney Feature Animation developed an interest into Asian-themed legends beginning with the optioning several books by children's book author Robert D. San Souci who had a consulting relationship with Disney executive Jay Dyer. Around that same time, a short straight-to-video film titled China Doll about an oppressed and miserable Chinese girl who is whisked away by a British Prince Charming to happiness in the West was in development. Thomas Schumacher asked Souci if he had any additional stories, in which Souci turned in a manuscript of a book based on the Chinese poem "The Song of Fa Mu Lan". Ultimately, Disney decided to combine the two separate projects.

Following the opening of the Feature Animation Florida studios, Barry Cook, who had served as a special-effects animator since 1982, had directed the Roger Rabbit cartoon Trail Mix-Up produced at the satellite studio. Upon a lunch invitation with Thomas Schumacher, Cook was offered two projects in development: a Scottish folk tale with a dragon or Mulan. Knowledgeable about the existence of dragons in Chinese mythology, Cook suggested adding a dragon to Mulan, in which a week later, Schumacher urged Cook to drop the Scottish project and accept Mulan as his next project. Following this, Cook was immediately assigned as the initial director of the project, and cited influences from Charlie Chaplin and David Lean during production. While working as an animator on the gargoyles for The Hunchback of Notre Dame, Tony Bancroft was offered to co-direct the film following a recommendation from Rob Minkoff, co-director of The Lion King, to Schumacher, in which he accepted, and joined the creative team by early 1995.

Mulan's opening weekend box office figures were $22.8 million, placing it as the second highest grossing movie that week to The X-Files. It went on to make $120 million domestically and $304 million worldwide, placing it the second highest family film of the year, behind A Bug's Life, and the 7th highest of the year overall. However, these figures were criticized as being a significant decrease from former Disney films, and this was considered a sign of the decreasing popularity of cartoon animation. Top international releases include the United Kingdom ($14.6 million) and France ($10.2 million).

RUWITCH: The man, named Michael, asked NPR not to use his full name because Hong Kong and Xinjiang are politically sensitive subjects in China. "Mulan" may flop in China anyway. The cartoon version did. The live-action film gets a rating of 4.9 out of 10 on the Chinese social networking site Douban. The consensus seems to be that foreigners have failed once again to tell this Chinese story right. 17dc91bb1f

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