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    Art of Mulan PDF

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    Juan Jose Diaz

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    © All Rights Reserved
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    of 207
    4 ere y ae at oN Ss S $60.00 ‘Canada $81.00 THE ART.OF MULAN sixth animated feature, Mulan, a brave young woman is faced with the terrible reali ty that her father—too old co be a soldier bue (00 honorable not to be one—will be killed in batele. Driven by her love for her father and. her devotion to her family, Mulan makes a decision that will change cheir lives forever. Disguising herself as a boy, she secretly takes her father’s place in the Imperial army that is being gathered to meet the ehreat of invasion by the villainous Hum leades, Shan- Ya. Out of this experience Mulan, and everyone around her, will learn profound lessons about courage, honor, and love. Inspired by a 2,000-year-old Chinese legend, Mulan is the firse animated feature film co be primarily produced by Disney’s studio in Orlando, Florida. This richly illus. trated volume, The Are of Mulan, reveals the story behind the making of the film and includes more than 350 stunning color and black-and-white illustrations, showcasing a variety of arc produced by the-many talent- ed artists who worked on che film. Like the film’s heroine, the Disney artises who created Mulan made a journey of self-discovery that began with a momen- tous decision—co make a modern-day film adapted from an anci 1¢ Chinese source Their efforts to remain faithful co the spirit of the original legend and the tradicions of Chinese culture, while at the same time make ie accessible to today’s international audience, are chronicled in The Are of Mulan by ch: artists themeeivc:. Their words reveal their passion whi demonst: sees the dazzlins arra alent {concinue.’ om back ‘<9 Ab Aj mf] FROM THE DISNEY ANIMATED FILM AYPERTONI NEW york PRESENTS bE a Ca Sat NR SE SS si = eee Endpaper: Visual development by Sean Sullivan. Page Calligraphy by David Wang. Preceding pases: Visual development by Hans Bacher. Oppose: Visual development bby Hans Bacher "Honor to Us All)” “Reflection,” “U/l Make a Man Out of You" Girl Worth Fighting For and “True to Your Heart.” Music by Marchew Wilder Lyries by David Zippel Original score by Jerry Goldemith Copyright © 1998 Wale Disney Music Company. All rights reserved, Used by permission. Copyright © 1998 Disney Encerprises, Inc “Te Legend of Mulan" poem on pages 1213 translaced from che Chinese by Lei Fan. Al rights reserved. No part of this book may be used or repreduced in any manner whatsoever without written permission of the Publisher ISBN 0-7868-6588-9 ISBN 0-7868-6466-. (limited edition! For information, address Hyperion 14 Fifth Avenue New York, New York soot Produced by: Welcome Enterprises, Inc 388 Broadway New York, New York 10012 Projecr Director: Sara Baysinger Desiamer Gregory Wakabayashi Hyperion Edieor: Wendy Lefkon Hyperion Assistant Editor: Robin Friedman Princed and bound in Japan by Toppan Printing Co, Led, RAO WESVINES a Adapted from ‘Wale Disney Pictures’ MULAN Music by MATTHEW WILDER. Lyrics by DAVID ZIPPEL Original score by JERRY GOLDSMITH. Produced by PAM COATS: Directed by BARRY COOK and TONY BANCROFT ‘My work on this book is dedicated to the memory of my father, Robert Kure In our eynical world, certain cerms have become passé. Far from their original meaning and purpose, the use of these terms has become contempruous, their incene arch, and their orators suspect. Among these phrases are “passion,” “simeerity;” and “labor of love.” ‘The team that created Mulan was not only unabashed in these feelings for their project, they were fearless about sharing chem with me. | am especially grateful to Peter Schneider and Tom Schumacher for affording me such an ‘opportunity. | also wish ¢o thank Producer Pam Coats and Directors Barry Cook and Tony Bancroft for sharing their creative energies Those talented artists who took time away from making a movie to spend time talking to me about making a movie include Sunny Apinchapong, Ruben Aguino, Hans Bacher, Tom Bancroft, Rob Bekubts, Aaron Blaise, Irma Cartaya, Chen-¥i Chang, Dean DeBlois, Jerry Goldsmith, Eric Guastions, Jane Healey, Mark Henn, T. Dan Hofstedt, Rita Hsiao, Broose Johnson, Fran Kirsten, Alex Kupershmidt, Sai Ping Lok, Ruben Procopio, Pres Romanillos, Laurie Sacks, Chis Sanders, Lisa Smith, Ri Sluiter,Rabere Stanton, Barry Temple, David Tidgwell, Jeffrey Varab, Robert Walker, Matthew Wilder, an avid Zippel Pa eal cha goes co the friendly (anny and everhelnfl van Hall without whose exhaustive efforts, along with those of his successor Krissie Wentz, this book would never have seen the light of day. My appointed escorts through the halls of Feature Animation were my pal and fellow Disney fanatic Russell Schroeder, the ever-efficient-but-never officious Kelly Slagle, my old friend Kim Piercy, and my new friend Sabrina Waterman. Ids rare to enjoy a collaboration as much as I do those projects that come from Wendy Lefkon ac Hyperion, She is a consummate professional and an essential colleague. There are too many good things about her ¢o say here— and, as Wendy would cell you, | already over-write. Thanks to David Andrew, John Canemaker, Jean Cress, Sasha Goodman, Shawn Hayes, Richard Jordan, Dan Long, Leonard Maltin, Sean Markland, Kenneth Martinez, Armistead Maupin, Tim O’Day, Michael Pellerin, Betsy Richman, Erie Sanford, Phil Savenick, Dave Walsh, and Gilles C. Wheeler. Tope you'll never see a book of mine where I don’t express my gratitude co my de facto editor, my advisor, my research angel, my comic co-conspirator, and best of all, my friend, Robert Tieman, Finally, my biggest fans and best supporcers are still my family. Mom, Ron, Joan, Jesse, Darby, Jerry, Shawna, and the ever-popular Grandma Mick, The older I grow, the luckier I feel to have you AIK. The producers also wish to acknowledge the following people for their indispensable contributions to this book: Robin Friedman and David Lote at lyperion; Kevin Breen and Jody Silverman of Walt Disney Business Affairs & Legal; Tim Lewis of Disney Publishing Creative Development; Ann Hansen at che Animation Research Library; Ed Squair at the Photo Library; Onil Chibss, Stacie Iverson, Tom Kennedy, David Wang, and Pam Waterman at Feature Animation; John Hanley, Masanobu Ogata, and Yuzo Hasegawa of Toppan Printing Co. Led.; and photographer Michael Stern, a talented and dependable collaborator. CONTENTS Sk AMSBASQkK~S=> sd Rel Hast acer WH Sk KR~ BN SS We Rew KHOsk=ho acer & Westebaw Gh YSers Reb SBRKE~D acer SK eh s en a MSLESENUAGEWEKY Y In the family garden, Mtn rt Prsdtiy still, Background are by Barry ooser. Layout by Richard Uivingsten, cleanup tayout by Peter DeLuca =~ SwVFSVYNgvwy z WW. ie Disney Feature Animation began a joumey in 1934 th. at has yet to end ‘Thac was che year that Walt Disney and his creative of Snow Whice and the Seven Dwarfs, and initiaced the creation of an all-new group began pre-production form—the animated feature Disney animation—now under the supervision of Roy E. Disney and Pecer Schneider—continue to travel the path chat Wale carved out more chan 60 years ago. ‘They have made it their mission to guard the tremendous legacy he left behind and expand upon it for a new generation. They have returned from their many voyages with such features as The Little Mermaid, Beauty and rhe Beast, The Lion King, and The Hunchback of Notre Dame, which have not only joined the ranks of their el predecessors, but have educated a whole new audience in the art of animation, and broken new ground in storytelling, are and design, filmmaking technology, and music Every new project constitutes an excursion for its creators. After so many of these at the course would be made easier. made more difficult by the desire to make trips, ic would seem logical ch. Bur often, the way is a fresh statement, co use new techniques, and to avoid simply repeating che formula of preceding successes This book is the story of another journey for Wale Disney Fe cure Animation, a joumey not only of a new animated feature with a new story and characters; but an excursion into new cultural territory, with a new team, in a new studio facility. Ie is not just the story of the mythic travels of a wandering heroine named Mulan, but the chronicle of che development of the Mulan tale for film, and a physical journey through China that yielded discovery and insight for the Disney creative team. Ic is also an accoune of che coalescence of that group, and how the integrity and spiric of a character they created produced a unanimity of thought that led chem toa fervently shared vision. Finally, it is the story of the creation of the varied, eloquent and beautiful are that was, in many ways, only a by-product of a much greater endeavor. “The uniqueness of Mulan is not just in the time-honored tale, Its uniqueness lies in the way ie entwines so many tales, ancient and contemporary; so many lives, past and present. The legend of Mul. jan has spoken co hundreds of generations over the centuries. dl of Mulan spoke deeply co the Wale Disney Feature Animation team that came together expressly co tell her story. The legen. Now, from their efforts—and hers—Mulan will continu co speak to a wider audi- ence than ever before, and for gener: ations to come. weisz. 4 mM AFD —LAOZ1|LAO-TZU) The Way Daode Jing Ching / y and Ies Power! Ss 4S S hh} SRNSESE WSO OWKUWSVUVVY “A journey of a thousand leagues begins with a single step.” Preceding pages: Visual development of blossoms by Production Designer Hans Bacher. Model sheet pose of ‘Malan by Supervising Animator ‘Mark Henn, cleanup by Cleanup ‘Character Lead Daniel Gracey. Above: Shan-Yu and his re forces survey che majestic Imperial Ciey from high in the mountains Visual development by Sai Ping Lok. Righe: Background art by Barry Kooser. Layout by Jeff Dickson, cleanup layoue by Yong Hong Zhong. WR, Ber VnyR es SAS Since che dawn of recorded history, in every clan, in every culture— from ancient Greece, to China, Egypt, the Americas, and Polynesia—heroes have embarked on life-altering journeys. Literature records tales from the ancient Jason and the Argonauts and The Epic of Gilgamesh co the modern The Wonderful Wizard of Oz and The Lion, the Witch, and che Wardrobe. On all these journeys, heroes pursue such disparate goals as a far-off city, a golden fleece, the Holy Grail—even guidance to the way to get home from the journey. But no matter the varied purposes for their jour- neys, in the end, these heroes share the same destination: “Whether che hero happens to gain a princess, a kingdom, a healing medicine, a talis- man, or some other reward appears immaterial,” concludes mythologist Alexander Eliot. “He actually earns self-ineegration, balance, wisdom, and spiricual health.” ‘One of the most venerable, renowned, and beloved of these “wander- ing heroes” is a young woman named Mulan. In Asia, the story of Mulan is as well-known as the story of Cinderella is in Western culture—the fable of this daring woman has been told through the centuries, providing inspiration for artists, poets, wricers, and composers. In China, the name “Malan” has long been synonymous with che word “heroine.” Reflecting upon the timeless relevance of the Mulan tale Wale Disney Feature Animation President Pecer Schneider says, “I think we always search for who we are—the search for self is an ever-ongoing process. The minute we find ourselves, we then question whether it’s the right self. We keep changing. I chink that’s what makes life interesting,” Visual development of Mullan by Mark Henn. The arate «continually refered back to this pose because i capeured the characters strength, digni- 17 and determination. B. haps the most widely circulated retelling of che Mulan legend is a poem, usually known as The Legend or The Ballad of Mu-lan, which has been popular for generations in China. The poem, by an anonymous writer of the Southem and Northern dynasties (A.D. 420-581], was collected in WARY Yuefu, the Song dynasty compendium of lyrics, songs and poems. THE LEGEND OF MULAN WAASIAH ‘Malan’s love for her father Click click, and click elick click, By the doorway Mulan weaves. ee When all at once the shuttles cease, A sigh is heard wich solemn grief. “© my daughter who is on your mind? Backgrounds Robert Stanton O my daughter who is in your heart?” “Lhave no one on my mind, Ihave no one in my heart. by Barry Kooser But last night | read the battle roll, A roll consisting of twelve scrolls. The Khan is drafting an army of awe, ‘My father’s name on each beadroll. Alas Father has no grown son, Alas Mulan has no elder brother. But I will buy a saddle and a horse, And join the army in place of Father.” and her fear for his life lead Below: Color key by Head of Boeeom: Calor key In the East Market she buys a steed, From the West Market she buys a saddle. In the North Market she buys a long whip, From the South Market she buys a bridle. At dawn she bids her family farewell, Ac dusk she camps by the Yellow River. She no longer hears her parents calling, Upon her pillow the waters whisper. At dawn she departs the Yellow River, Ac dusk she arrives at Black Mountain. She no longer hears her parents calling, But Tartar horses wailing from Yen Mountain. She gallops ten thousand miles, For the war she has to honor. She crosses lofty Sy Like an eagle soaring over. From northern gusts, through biting chills, Echoes the watchman’s clapper. Mulan’s brave sacrifice and nilicary adventures ultimacely saffron intense ale ser selfless courage saves the mperor, and al of China Above: Color keys ny Sai Ping Lok. With winery glow, of icy hue, Light glimmers on her armor. Generals die in a hundred bateles, Our warrior’s back, how ten years fly. Upon her return she is summoned to see the Emperor. In the Hall of Light, she receives the highest honor. She is awarded a promotion to top rank. The Emperor bestows hundreds of thousands in prizes. The Khan asks her what she desires. “MAalan has no use for a Minister's post, ‘Malan has no other extravagant want, I wish to borrow a swift-footed mount, To take me back to my home.” When Father and Mother hear she’s coming, They watch by the gate, bracing each other. When Elder Sister hears she’s coming, She runs to her room, and dabs on rouge powder. When Little Brother hears she’s coming, He whets his knife, flashing like a light, ‘And prepares pig and sheep for dinner. “O let me push open the door to East Chamber, O let me sit on my bed in West Recess. So swiftly comes off the warrior’s vesture, ‘And silently I put on my old-time dress. Beside the window, I dress up my hair, In front of a mirror, | rouge my face. ‘And when | walk out to meet my compeers, They are perplexed and amazed.” “For twelve years, we fought as comrades-in-arms, The Mulan we knew was not a lady of charm!” They say to choose a hare, you pick them up by the ears, There are telling signs to compare In air the male will kick and strike, While females stare with bleary eyes. But if both are set to the ground, And left to bounce in a flee, Whe will be so wise as to observe, That the hare is a he or she? 0 8 eed Lef: Malan’ ideeiey is revealed in this painting by Zhang Shiming, one of the Chinese artists whose work was commissioned to Provide early visual inspira ton for the Matan project. Opposie: Visual develop- rent ofthe countryside by Sai Ping Lok, a used to feel extremely happy co know that I was born ina country whose history had already lasted sooo years,” wrote Dr. Li Chi of the National Taiwan University in his The Beginnings of Chinese Civilization. The Chinese civilization is surely the oldest still existing on earth, and possesses the longest continuous written history of any n. Dr. Li Chi also noted, however, thac the history of China has been the subject of substantial official revisionism. As Mythologist Joseph Campbell states, WATS SRS “[I¢] is amazing how litcle we know of the writings of the Chinese before the period of Confucius (s51-478 B.C.]. And what to some will perhaps be still more amazing is the fact that from che period of Confucius onward there was such a doctoring of texts thac even the most learned scholarship, whether of Europe, Japan, or China, has been at a fo5s, up co now, to reconstruct wich assurance even the work of Confucius himself—not to mention whatever wi KBONGAYS EB VR isdom, mythic, philosophic, or other, may have gone before.” KAIYR SAR Chinese mythology has certainly been subject to this revisionism. Campbell likens the mythology of China co jewelry, with sems lifted from their primitive settings, then polished apd remounted in the appropriate dynastic style. Above: Visual development by Zhang Shining. igh: Malan saves Shang daring che avalanche. Predvetion stil, Avalanche effects anima tion by Joseph Gillan Jow: Visual development Bao Hong Chen. verleah: Malan puta om her enc by Bao Hong Cheng. ‘The Chinese myth of creation, for instance, is not the standard ori- ental tale of cosmic dissolution, but belongs to a solidly cosmopolitan cul- ture. It concerns Nuwa, a half-woman, half-snake, who is said to have created China’s primeval ancestors from mud. The society which invented this creation myth, however, did not usually exale women—as mortals or as goddesses. For centuries, Chinese women who sought to control their own lives and destinies were forced to make harsh and often fatal choices. Women who escaped Chinese social convention included scholars, warriors and revolutionaries. During che time of the Song dynasty (A.D. 960-1279}, such heroines were epitomized by the assassin Hongxian and the military general Lady She Saihua. Later, women like the military com- mander Hong Xuanjiao and the revolutionary Qiujin gained fame for shactering their gender convention. (Many others, naturally teachers, nd politicians—are remembered and revered for their virtuous adherence co Confucian social ethics.) Given the social standing of women in A‘ mn cultures, it is not sur- prising that the unconventional story of Mulan, “che secree soldier,” wich ica Insues of gender deception and denouncement of conventional bias, has heen popular for centuries. Thene inate, mat of filial piety and duty to country and countrymen, have sustained the poem’s fame. Wad We L = é z Ww D 0 F SAS AWrYNss ( here is no official record of the achievemenes of Mulan in any Chinese chronicle prior to the Song dynasty. Indeed, was a real person at all there is no proof that Mulan First, there is disagreement about Mulan’s birthplace and che seog- raphy of her adventures. Some say she hailed from the Wan County in Hebei, others believed she inhabited the Shangaiu province in Henan, and still others believe she was a native of the Liang prefecture in Gansu This disagreement was brought first-hand to the Mul lan creative team when they visited China “Everybody there had a different story,” recalls Director Barry Cook. “And everybody we asked about Mulan would say, ‘This is the story of Mulan and this is how it really happened, because she was from my village, and | know.’ She’s from 20 villages. She's from 20 cities. She’s from 20 different regions. Everybody wants to claim her, proudly, and say, ‘Mulan, she was a northern girl ‘Oh, no, she was a southern girl,’ It’s that kind of thing. It’s such an old story that no one could be proven right. “We did meet one professor who said, ‘We think that we have found her grave site. We know she was a real person.’ A professor from anocher town might have told us a different story, but with the same gusto, So, it’s hard to sore it all out—but it was inspiring.” In the end what became very clear fo the team was chat all Chinese people wished to cl laim Mulan because of what she stands for.” Above: Mulan with her father and mother, Fa Zhou and, Fa Li. Production still. Lf: Visual development bby Mark Henn, Above: Malan serugsles to naintain ber masculine dis- iuise in the face of her exact- ng military commander, shang, Production still tight: Vieual development ty Mark Henn, ‘ain which Mulan lived. Cheng, There is also debate about the er Dachang of the Song dynasty recorded thac Mulan lived during the Sui and ‘Tang dynasties. Song Xiangfens of the Qing dynasty (A.D. 1644- 1011] believed that she was of Sui origin (A.D. 581-618). Yao Ying, also of the Qing dynasty, believed she was from the cime of the Five Dynasties {A.D. 907-960]. Legends of China’s Cencral Plains attest to a belief chat Mulan lived before the Tang dynasty (A.D. 618-907) Finally, there is even disagreement about the heroine’s name “Malan” eranslates to “magnolia” (“Ma by itself means “woods” and A.D. 1, According to annals of the Ming dynasty | family name was Zhu. The annals of the Qing (A.D. 1368-1644], Mulan’s f 1644-to1t) say it is Wei. In his play, Mulan Joins the Army for Her (“flower”). The Father, Xu Wei gives the heroine the sumame Hua | Chinese Pinyin method (a transliteration system devised by the dardize spelling of Chinese in Western Lan- “Lan” means “orchid, People’s Republic of China to st. guages} and the Wade-Giles method (an earlier tradicional cransliteration system used by English speakers] spell the name “Hua Mu-Lan,” while i the Cantonese translation ic is “Fa Mulan” or “Fa Muhk Lahn.” Mulan atempts co conform ‘0 society noms forher ‘meeting with he Matchmaker Alarng the song “Honor eo Us All” Production stil, WEY BE~ Won ywsnys ENS yW AS SARE AN as ‘Visual development by ‘Are Director Rie Slicer a ‘or us, Mulan initially presented—as it would continue to present throughout its development and production—a sense of balance,” says Pecer Schneider. “First there was an unusual and compelling story and distinctive characters. It also contained a universal cheme that often the individual must sacrifice for the greater good, and that the path of impor- tant personal discovery lies in chat sacrifice. Finally, it was a legend that was developed enough to contain those strong elements, but spare enough to invite further elaboration of character and motivation.” In adapeing any story, Disney sets itself up for criticism on the grounds of cultural meddling. Previously obscure folk tales, ambiguous characters, or disputable ‘ory suddenly become to the critic sacro- sanct—prisoners of a looming and sinister “Disneyfication.” The immen- sity of the Disney organization as a commercial venture is inevitably, and erroneously, intermingled wich its corresponding cultural importance. This confusion between commerce and mythology creates a bizarre backlash, no matter what the Disney organization is doing. Critic Greil Marcus notes that ultimacely those who instinctively line up Disney—anything Disney—in their critical cross- i y—in their cricical hairs are (smugly or naively) engaging in avoidance of complicity with che culture that is in fact one’s own.” Disney Feature Animation Executive Vice President Thomas Schumacher makes a similar, if somewhat more blunt, assessment, “Storycellers for all time have taken core story material and adapted and changed it for their audience, their era, and their point of view. Giambactista, The Brothers Grimm, Charles Perrault, Hans Christian Andersen, every storyteller throughout time. To say that we ‘Disneyfy’ | something as a pejorative in terms of adapting a narrative is to reveal one’s complete Naiveté about the Process and history of Storytelling.” Ulsimacely, whether Mulan was a genuine historical figure or simply legendary hero didn’t really Matter £0 the team at Disney chat had inherited her story. Although a determined respect for the original eale had to be part of the Disney adaptation of Mulan, Director Tony Bancrofe notes that the creative group recognized cere, ain limications, “We knew we had to respect the material. Th: 1s is a beloved eale to the Chinese people. Soing to make a Chinese picture. We couldn't. We're not Chinese. We h, We also knew that we weren’t ‘ave a different sensibilicy, a difference storytelling style,” Was going to be.” ighe: Visual development of «and his feachered companion / Peter de Sive 'pposice above: Visual devel- smene of Malan by Character ‘signer Chen-Yi Chang. ‘ppasice below: Visual wvelopment by Los Angeles ‘ead of Backgrounds ny Apinchapong. Mulan’s legendary status was more of a blessing chan an encum- brance to the transition from fable co film. “When I discovered the broad history of the legend—the many different versions of the story in China and across Asia, | began to see that there was freedom to enhance and change,” Director Barry Cook recalls. “I felt very relieved. | realized it wasn’c a historical document. We weren’e dealing with something so liter- al that we couldn’ enhance it. That knowledge was liberating. That’s when we could let our imagi ns kick in.” “was born in Thailand,” states Los Angeles Head of Backgrounds Sunny Apinchapong, “and there we have a version of the Mulan tale. Most people in Asia are familiar with che story. | am sure chey will wel- come different views, different interpretations—they know it’s still her.” Above: Mulan’s first encounter With Musha the dragon, Visual ‘development by Alex Nino, Rishe: Malan’ companions, Rough animation of Mushy Sy Robert 0. Corey and of (CF Kee by Supervising Animator Bary Temple Top right: Visual development ny Hans Bacher. verteaf: The Great Wall— sethaps che most renowned symbol of Chinese culeure— serves as a dramatic setting for he beginning of Disnev/s incer recation of Malan. Visual SRW V SVS WS

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