She spent several weeks at Disney's Burbank, California studio, where she became notorious for the “No No No” mantra she constantly barked at Disney's creative team. Travers,' as she demanded that she be called) to act as a consultant on the film. Disney also agreed to allow Travers (or 'Mrs. The royalties from her Mary Poppins series had begun to dwindle by the '60s, and Disney reportedly offered to pay her $100,000 (more than $800,000 by today's standards), plus five percent of the movie's multi-million-dollar gross earnings. Her eventual change of heart, it turned out, was motivated less by Disney's apparent charm, but more so by money. What ensued was nearly two decades of Disney himself personally appealing to Travers before she finally relented in 1961. The holdup: notoriously prickly Travers was staunchly against selling the screen rights, particularly to a studio she feared would overly sentimentalize her work. What the famed animator didn't know at the time, however, is that it would take much longer to make the film than it took audiences to learn how to spell 'Supercalifragilisticexpialidocious.' Disney offered Travers a big payday for her bookīy the time Julie Andrews' titular heaven-sent nanny quite literally descended from the clouds into the Banks family's Cherry Tree Lane home - and into theaters across America - in August 1964, about 20 years had passed since Disney made that promise to his young daughter.

Travers' Mary Poppins, into a big-screen masterpiece. In the early 1940s, Walt Disney made his daughter Diane a promise: he would adapt her favorite 1934 children's book, British author P.L.

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