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I didn't know the books and certainly didn't know the tragic origin story of Mary Poppins in 1906 Australia.
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I've never read a script in which you are actively pulling for the protagonist in the beginning, but little by little, you lose that.
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Every director knows it is his job to be manipulative. When you make an edit, you are trying to manipulate.
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You set out to tell a good story. You don't do it because there is a deep message involved because the movie is almost always bad when you do that.
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Many years ago, I was a producer on a movie called 'My Dog Skip.' Willie Morris, the great southern writer, had written the book. We had adapted it and taken 17 years of his life and compressed it into one year.
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I really don't storyboard unless it's an action sequence of some kind, but I plan carefully.
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I grew up in Texas City, Texas. I didn't know anybody who was a director or whose parents or grandparents were directors. I met somebody from a nearby town one time whose father had been to the moon - it was far more likely to be an astronaut than it was to be a writer or a director.
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You set out to tell a good story. You don't do it because there is a deep message involved, because the movie is almost always bad when you do that. Your job No. 1 is for it to be entertaining, and if it's inspiring, that is great, too.
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Don't worry about the little factual details. Get to the heart of it.
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I think that all the anger and cynicism comes from suppressing things that we always wanted.
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Whenever a film has three different release dates, people understandably assume that there must be something wrong with it.
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I just hope, every now and then, the studios still slip one of my movies in.