The Beast agreed to let him do this and Maurice quickly went home and told his daughters of his fate. However, Maurice would not allow that to happen and agreed to die, but requested that he be allowed to return home for one night in order to bid his daughters farewell. Meanwhile, Maurice ended up being discovered by the Beast who told him that he would have to pay for his intrusion with his life, but upon learning that the man had three daughters, the Beast told him that if one of them agreed to come and stay at the castle, he would be allowed to live. Back at the cottage, one of Belle's suitors presented her with a gift: a magnificent white horse. However, he ended up getting lost in a storm and wound up at the Beast's castle. Realizing that his family was in desperate need of some money, Maurice left the house with one of his inventions, hoping to find someone that he could sell it to. The latter two were extremely jealous of their sister because she was constantly being hit on by three wealthy suitors who seemed to have no interest in them. In this screenplay, Maurice was a poor inventor living in a cottage with his three daughters: Belle and her two older sisters. However, Jeffrey Katzenberg ordered it scrapped, partially because he deemed the screenplay "too dark and too dramatic," and thought it did not feel like a Disney movie, partially because it had far too many similarities to Cinderella (in particular, the aunt seemed too similar to Lady Tremaine) and partially because he wanted a "feminist twist" to the story due to the reception to Ariel by critics as being "cloyingly sexist." This prompted Purdum to resign as director. A team of animators which included Andreas Deja, Mel Shaw, Glen Keane, Don Hahn, Tom Sito, Jean Gilmore, and Hans Bacher traveled to Purdum's studio in London and spent the next several months putting together a screenplay, the story reels for which were included on the Diamond and Platinum edition DVD releases of the final film. However, Williams wanted to continue working on his lifelong project The Thief and the Cobbler, but suggested his colleague Richard Purdum. In late 1989, when The Little Mermaid was nearly complete, the Disney company approached Richard Williams, animation director of Who Framed Roger Rabbit and asked him to write a screenplay for Beauty and the Beast.
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According to Charles Solomon, there was also going to be a sequence where the main villain, who apparently was also a magician, transforms various vultures and sharks into his human henchmen. However, the little that was known about it was that the screenplay written by LeRoy was significantly more complex than Cox's screenplay, as it featured multiple wizards, body-swaps, as well as an evil prince as a villain. However, when the screenplay reached Jeffrey Katzenberg, while he said that Cox had done well with it, he decided that his direction was not what the studio was looking for.Īfter Cox's draft was silently rejected, Disney then turned to Gen LeRoy to write a draft for the film. So, Michael Eisner phoned him up, congratulated him and asked him to expand his treatment into a full-fledged screenplay. Upon reading the script, Eisner had some of the studio's artists, one of which was Mel Shaw, do some initial sketches, which were then put together to create a presentation reel which was later included on the Platinum and Diamond Edition DVD releases of the final film.Īt this point, Jim Cox had left for his home in Mexico to see his wife.
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After he had written his initial treatment, he submitted it to Michael Eisner and all the other Disney executives for approval. One of these was an adaptation of Beauty and the Beast, which Cox immediately stated he wanted to do. In early 1988, while he was working on the screenplay for The Rescuers Down Under, Jim Cox was given a list of future animated films that the Disney company wanted to make. 4 Differences between the screenplays and the final film.