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In the stage musical, Mary Poppins takes Jane and Michael Banks to visit Mrs Corry's shop to buy "an ounce of conversation", only to find that Mrs Corry has run out of conversation. She does, however have some letters, and Jane and Michael each pick out seven, with Mary choosing one also.
The scene in which Mary Poppins and Bert interact with a group of animated penguins is noted for its use of the sodium vapor process. Rather than using the more common bluescreen process to insert the actors into the animated footage, the actors were filmed against a white screen lit with sodium vapor lights, which have a yellow hue.
Mary Poppins was made into a film based on the first four books in the series by Walt Disney Productions in 1964. According to the 40th anniversary DVD release of the film in 2004, Walt Disney first attempted to purchase the film rights to Mary Poppins from P. L. Travers as early as 1938, but was rebuffed because Travers did not believe a film version of her books would do justice to her ...
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Admiral's House is believed to have been an inspiration for P. L. Travers' Mary Poppins books. [15] Travers' character Admiral Boom likes to fire cannons, as did Admiral Barton, who at the time was believed to have lived at the house. [5] [6] Scenes from the 1964 Mary Poppins film adaptation were filmed at Admiral's House.
In addition to his real-life loves, Van Dyke also had palpable chemistry with his onscreen wife Mary Tyler Moore on the Dick Van Dyke Show, which ran from 1961 to 1966 and earned 15 Emmy Awards.
Mary Poppins is a fictional character and the eponymous protagonist of P. L. Travers' books of the same name along with all of their adaptations. A magical English nanny, she blows in on the east wind and arrives at the Banks home at Number 17 Cherry Tree Lane, London, where she is given charge of the Banks children and teaches them valuable lessons with a magical touch. [1]
When Marge becomes stressed, the Simpsons hire a nanny, a Mary Poppins parody named Shary Bobbins (voiced by Maggie Roswell). The episode was directed by Chuck Sheetz and written and executive produced by Al Jean and Mike Reiss. [3] It was the last episode for which Reiss received a writing credit.