Rob Marshall met with us in a Beverly Hills Hotel early in the day to discuss his new film Mary Poppins Returns.
Marshall who has given us such films as Chicago, Memoirs of a Geisha, and Into The Woods , for the first time, got to build a musical from the ground up with Mary Poppins Returns. He says, “It felt like I was doing three movies at once.”
Mary Poppins Returns is very much an original musical with Marc Shaiman and Scott Wittman composing delightful catchy numbers that will be sung for years to come. If anyone could deliver a sequel to Mary Poppins, it’s Marshall who has found the perfect balance of nostalgic to bring us to sentimental tears along with plenty of new material to have us smiling ear to ear. He explains how he used his own fondest wishes as a barometer for what audiences should expect. “What would I want to see if I came and saw a sequel to Mary Poppins?”
I’m going to jump right in. The Place Where Lost Things Go was such a beautiful number. The way it deals with grief and loss and I found it so healing. But of course, the film is just so happy and so wonderful. You leave so happy after all the happy/sad tears.
There’s no denying that Mary Poppins Returns is a happy and joyful film. It’s a healing film for people who are struggling with life, struggling with loss and keeping their homes, struggling with finding hope in the world today in this current climate. That’s my great hope that people take something that lifts them and takes that away from the film. It’s all I can ask for.
You do. It’s so magical and you made it such a delight to revisit the world of Mary Poppins.
That’s one of the reasons I actually really wanted to do it because I wanted to live in that world. The original film means so much to me and I have such great respect and love for it and I wanted to protect it in a way. I wanted to treat this movie with great care and love and thoughtfulness. I wanted to really guide it. A lot of people thought, “How could you take this on?” I thought if anybody is going to do it, I want to be the one to do it. I wanted to be that one because it means so much to me. I wanted to protect it.
I have always wanted to do an original musical for film which I’ve never done before.
I know Rob! What was that like for you to build something from the ground up? Everything you’ve done has been an adaptation.
It felt like I was doing three movies at once. We started writing it in Fall 2015 and we started constructing a story. The P.L Travers books are very episodic adventures and we were able to cherry pick some of those from the different books but we had no narrative and no story. We were looking for an emotional story and one that would justify bringing Mary Poppins back after 54 years. I was excited to set it in the Depression era in London in the 1930s. That was something that somehow felt very modern and very accessible to the people of today. Just with that story and this idea of Michael and Jane all grown up. What’s happened to them? With that sense of how you’re getting through life and how you’re struggling and how this family needs to heal, that was the core of it all. From that, we found our musical which took so much time. You have to create a story. You have to find a place for the songs. You have to make sure it feels seamless and that the songs are earned. By the time we had it on its feet, we went into a writers workshop for a while. Disney was amazing. They stayed away and let me have the process to really work the material. There were over two months of rehearsal with the cast. I actually had prep time even before that because there are so many layers of work on this. You have choreography, you have children and new music. We were trying new songs every day. There was animation, visual effects and there was so much involved in it that and it was just a massive project.
How did you balance the nostalgic moments bringing in Dick Van Dyke, the use of animation and then making it original?
I use myself as a barometer and asked myself, “What would I want to see if I came and saw a sequel to Mary Poppins?” I’d want to see an animated live sequence because it’s in the DNA of the Mary Poppins world. I would feel bad or sad if that wasn’t in.
I knew there needed to be a big, athletic production number with Mary Poppins and Jack and all kinds of wonderful male dancers. It’s such an easy thing to overuse the material from the first film. I didn’t want to do that. I found very specific places where to pay homage or where to bring up some nostalgia.
When they’re going through the attic and they find the snowglobe that was in Feed The Birds or the Kite which plays a big part in our film. There were threads of things we wanted to use, but we were careful to make sure we had our own story.
How did you cast your Mary Poppins? I know you’re so meticulous with your casting so how did you land at Emily Blunt?
That was the quickest, fastest, easiest decision. I had just worked with Emily on Into The Woods. I loved working with her. I love her personally, but I also love her work. I knew the requirements to play Mary Poppins were so vast and I knew that Emily had every one of them from being a great actress who could play a series of layers, from the facade of a stern brusque nanny to peeling back a layer and feeling underneath the warmth and heart of Mary, but also her humor and vulnerability. I knew Emily could sing. I learned that she could dance on this which was thrilling. In addition to that, she’s British. I felt it was time for Emily and I felt like it was her moment. I knew she’d be inventive and smart and clever and quick witted. It was very clear to me that there was one choice.
Rob, what’s your process with building your musical? Because I saw this and from the opening of Under The London Sky, I could see this as a big Broadway musical.
I come from theater as you know. It’s inherent in musicals on film, it will always be a hybrid of theater and film because the shape of it comes from theater. It just has a theatrical sensibility because you’re moving out of dialogue into song which is a more theatrical device. The goal is to make it seamless so it feels like one. It should seem effortless but it’s so hard to achieve. There’s so much involved in that kind of thing. For me, that’s why I think, ultimately, this is the hardest I’ve ever worked on film because it was all new.
At the same time, it was a dream for me to do an original musical for me, this was that chance for me to do that.
Let’s talk about Trip The Light Fantastic and putting that together because that’s a big one.
There were a lot of elements to it. We had over 50 dancers. We had stuntmen who are called Parkour bikers who do all the stunts. We had that whole element. Of course, I had the children involved, Mary Poppins and Jack. Then we had not only a song that’s taking us through the locations in London and you’re guiding them all the way home.
So, we’re on location and we end up in this abandoned park where the leeries gather. That section of it was the most complicated because of all the moving pieces. It was choreographed within an inch of its life. There was so much going on.
I put it together in a full run because I wanted it to feel alive. That’s what I’m always looking for, it should look organic and it’s happening in the moment. I shouldn’t look too stagey or too perfect. It should have life to it.
I started as a dancer so I loved working with dancers, I like treating them like they are actors and principals in the piece. I think you get so much back from that.
Then it transitions into Cherry Tree Lane and that whole sequence — it was massive. I’ve never done production number that’s over eight minutes long, but that’s what this is. It was something I was so excited to take on because it’s literally in my blood.
Meryl is in this, but her character is a man in the books.
I worked with Meryl on Into The Woods which was incredible. There is no one like Meryl Streep. She’s so passionate about her work and she approaches it like it’s the first thing she’s ever done in her life. She just gives everything.
With this character which is so out there, she just attacked it. The humor of it, the physicality of it, the wordiness of it, all of that. She surprises every time. Every time I work with her, she just surprises, all of it. There’s no end to her talent. When she’s swinging on the chandelier that’s her.
No way! I was wondering if that was a stunt double.
No. That is her. She has to do it for real, that’s why I love her. May I please work with her for the rest of my life? She sets the bar so high and we knew all of us, on this film, that the bar was so high. We all knew I knew personally, that I wanted to send this message of hope out into the world, but everybody felt that. Meryl wanted to be a part of that. Colin wanted to be a part of that. Emily. Lin. Ben. Emily Mortimer. This amazing cast and everyone wanted to be a part of that, including Dick Van Dyke.
That was the dream of all dreams. He grabbed me as we were walking on to set, he said, “I have to tell you something, Rob.” I thought, “Oh God! Here we go.” He said, “I feel the same spirit here as I did on the first film.” I thought, “OK. My job is done.” No matter what happens I’ve succeeded because that was the goal for me. To make the experience and the feeling of it come across on the screen.
I revisited Memoirs of a Geisha and it’s still so beautiful.
You know, I haven’t watched it since the premiere. I’m dying to go back. I think I will go back. I’m excited to see it again.
What’s on the cards next?
They came to me about The Little Mermaid. I’m just looking and exploring to see if it’s possible to make that work. I’m in the exploration phase.
Mary Poppins Returns is released on December 19.
It’s so great. I can’t praise it enough. That whole number under the big top about the cover of the book is one of my favorite scenes from any movie this year.
Though the wholly enchanting “Mary Poppins Returns” received mostly excellent reviews as did the film’s titular star Emily Blunt, what surprised me most was the terrific score by Marc Shaiman which is anything but unmemorable. “Nowhere to Go But Up,” “A Conversation,” “Trip a Little Light Fantastic,” “Underneath the Lonely London Sky,” and “Can You Imagine That?” lead a spirited, lyrically accomplished array of songs that make this homage to one of the screen’s most beloved musicals in its own right an effervescent confection that also forges its own path. Splendid cameo numbers from Dick Van Dyke, Angela Lansbury and Meryl Streep add to the unbridled merriment. Pushing close to 5/5 for now I’ll say 4.5/5 and hope to see it again in the coming weeks. Lucille, Melanie, Sammy, Jeremy and Danny and Isaw the 7:00 P.M. screening last night in Secaucus.
Wonderful, magical movie
Great movie! Loved every second of Mary Poppins Returns.
Please God, may he be nominated by the Director’s Branch.
This is deserves to be the film to watch this awards season. While I love black panther to win I love even more for Mary Poppins returns to win only just I might add here why:
1. The original was released during uncertain times in a different context , era different issues but same principle as we find ourselves today with sequel to original mary Poppins..people want excitement , creativity, msgs of hope, power of healing through alternative to drama more so through genre in this case re- defining musical experience that though hard to top the original a sequel that delivers I expect at best 3/4 impact original would is certainly worthy contender for Oscars indeed.. Mind you at very least because…
2. I say at very least because Hollywood indeed the Oscars have the from their point of viewed undeserved honour priveledge to recognise rediscover why original Mary Poppins did not win big Oscars most to this day strongly feel as they did at time of it release strongly deserve. Fast forward decades later and presto- once in a lifetime generational opportunity exists for Oscar to correct compensate for their disgraceful oversight of original musical masterpiece winning big Oscars. Mind you I need recheck my history but it was colossal epic year for filmary Poppins in fairness to other contenders and eventual winners of big prizes deserved their win. Nevertheless fact is it not every year or in lifetime of older ampas members they get one of priveledge to revisit experience of our favourite nanny ..with more modern but equally sincere genuine appeal to audiences today like it was when it’s original was released.
3. But not just that Disneys outstanding contribution to cinema and innovation and filmmaking experience …saw mary Poppins original revolutionise face of what possible cinema . it heralded first major motion picture blending live action and animation in a way never been done before. Ahead of release in boxing day I boldly predict Mary Poppins returns work her magic to set box office slight match it deserved critical acclaim.
4. To create a sequel to old classic to dare be bold ambitious fit very criteria to otherwise flat over bloated self indulgent philosophy that influenced over common sense in eyes of public all too much too often last 5-7 yrs esp. As ” spoonful of sugar” medicine to the Oscar disease of anti- public ignorance in favour of endless self introspection self reflection , at a time politics drives Oscars judgement all too often Mary Poppins returns is truly breath of fresh air. It shaping to be event film at oscars that deserves I say with strong leap of (slight blind faith here ), to be regarded as such as frontrunner …and furthermore at a time Disney continue lead way in cinematic revolutions innovation not to mention shrewd but positive business dealing ( acquiring rights to dynamic marvel franchises) yea you can sure see Disneys magic anchoring visuals magic of “avengers” film series ..
5. Such influence domination by by far most deserved democratically open people friendly organisations well truly over due for Disney spirit to redefine what possible in film as traditional medium blended fused with triumphant musical too many musicals remakes or even fresh ibterpretations off Broadway fell flat but Mary Poppins returns soarsx to new heights.
6. Finally and not much less importantly the driving cast prime choice for most iconic of wonder nannies to graze big screen – one destined for deserved greatness in one and only EMILY BLUNT. Does she ever look in trailers play the part . through her performance film soars and in this way above all else Mary Poppins returns deserves much more than. Nod wink of tokenistic gesturing by academy to this modern masterpiece.
7. Emily blunt, traditional filmmaking , whiff of nostalgia,, musical lift the would stir spirit, only at best loosely linked to politics of today but firmly focused on musical revival for new generation . this is easily Disneys most powerful contribution to balanced innovation in their cinema history since “the lion king” and that putting it mildly.
8. Disney deserve this in a way and hence core reason why ” black panther is slightly behind” Mary Poppins returns “as my next most preferred film. Win best picture director this year, and actor screenplay and host of technical nods too,,
While ” panther” is at apex of next generation of critically acclaimed modern blockbuster it context is not as inventive nor as ambitious or timely as need for remedey world crying out for in entertainment .
The fusion of traditional with modern, performances writing put of sight , and revive reinvent Mary Poppins forodern age to create a film grows from seeds of a older classic and replicate it to I expect be almost as good is feat too few filmmakers had courage to achieve and to that I and Oscar ought to take bow take their hats off to world’s most famous nanny rob marshal ( huge respect I salute you big time) and give crowning glory and I hope 10 Oscars for this modern masterpiece fat and away more ambitious than any other contender this year.
Without further ado I present yo you my list of Oscar contenders my preference way should be for top 8 ( cos I don’t think it worth 10 this year) in order from 1st preference to last ( each has multiplier based on my likeability importance to Oscar and how landmark achievement it is to give it score out of 200.
1. Mary Poppins Returns l- 95/100, ld- 95/100- 190/200
2. Black Panther l- 85/100, ld- 90/100- 175/200
3. First man l- 83/100, ld- 88/100- 171/200
4. Blackkklansman l- 83/100, ld- 83/100- 166/200
5. Roma. l- 80/100, ld- 78/100- 158/200
6. Bohemian Rhapsody l- 82/100, ld 74/100- 156/200
7. Vice l- 78/100, ld 68/100- 146/200
8. The favourite l- 70/100, ld 60/100 – 130/200.
Worth noting :
1. No star is born first it poor direction for future viability of academy full stop remake of remake of remake must be April fools year at Oscars if this gets in neither innovative nor uplifting for future of Oscars and public .
2. Bottom too dip below 150/200 total threshold which in my measurements mean both vice and ” the favourite” ought not blow everyone away at ampas membership be considered nevertheless.
3. Y
es I take risk with ” Mary Poppins returns ” as not even out yet would you take risk too of sequel anticipated as this
Awesome article