In the podcast, Woolverton criticized how in the new live-action model, the Beast might depart the fort by way of a magic mirror. “The whole concept of the castle is that it’s impenetrable,” she says. “The mythology didn’t work for me anymore after that.” She additionally discovered it “strange” that the relationship between Gaston and LeFou had sexual undertones in the remake, one thing that she by no means meant when she developed the character with Howard Ashman.
Despite having continued to work with Disney on movies like Alice in Wonderland and Maleficent, Woolverton was not invited to contribute to both the remake of Beauty and the Beast or The Lion King. “I’m not comfortable that I don’t get to take part. Who can be? And I don’t understand how The Lion King goes to be.”
Some of the bitterness might additionally stem from Woolverton’s lack of residuals or revenue participation in the remakes. Animated options aren’t coated by the Writers Guild of America, and in contrast to writers of live-action movies, animation screenwriters obtain no further compensation from remakes or any artistic enter in how they’re made.
Similar discontent has been voiced by Terry Rossio, considered one of the screenwriters of Aladdin, who just lately wrote about being excluded from the upcoming Disney remake: “It’s not about compensation, it’s decorum. Consult with the writers, pay a fee, give park tickets. Zero involvement and zero recognition seems gauche…It’s more a lack of recognition … a remake payment, a chance to view the film, inclusion onto the team, a pass to the park — one cannot presume generosity, but lacking anything at all seems gauche.”
On the entire, Woolverton says her experiences working with Disney have been constructive, and that it has its rewards: “For me, the blessing that I’ve had working for the Disney Company and creating for them is that I feel like I have had these ideas that I got to spread in the world through this huge megaphone. It has an automatic built-in audience with automatic acceptance and desire. And so wow, I get to sneak my ideas in. So I got to sneak in my feminist agenda, or whatever that is, so I feel really blessed and lucky that I’ve had the opportunity to do that.”
The podcast episode is worth a listen and consists of an fascinating story that I hadn’t heard earlier than about how then-Disney government Jeffrey Katzenberg actually needed to make The Lion King as a result of it was partially rooted in a private story about him and the betrayal of an “avuncular” determine in his life. Anyone know the remainder of that story?