On Monday, a federal jury in Los Angeles swiftly and unequivocally dismissed a claim by an individual asserting that Disney's animated feature "Moana" was a plagiarized version of his tale about a young Hawaiian surfer. After deliberating for a mere two and a half hours, the panel of six women and two men concluded that the creators of "Moana" had never laid eyes on writer and animator Buck Woodall's outlines and script for "Bucky the Surfer Boy." With this pivotal question resolved, the jury didn't even bother to scrutinize the perceived similarities between "Bucky" and Disney's 2016 smash hit, which chronicles the adventures of a determined Polynesian princess.
Woodall had once shared his creative endeavors with a distant relative employed by a different company located on the Disney studio lot. However, during the two-week trial, this woman testified that she had never disclosed Woodall's work to anyone at Disney.
"Obviously, we're disheartened by the verdict," remarked Woodall's attorney, Gustavo Lage, outside the courthouse. "We'll be evaluating our options and charting the most viable course moving forward."
In his closing argument earlier that day, Lage highlighted a series of circumstantial evidences that, in his view, irrevocably linked the two works. "There could be no 'Moana' without 'Bucky,'" he emphasized.
Conversely, defense attorney Moez Kaba argued that the evidence overwhelmingly demonstrated that "Moana" was undeniably the masterpiece and the "culminating achievement" of a 40-year career spanning acclaimed films like "The Little Mermaid" (1989), "Aladdin" (1992), "Hercules" (1997), and "The Princess and the Frog" (2009), all penned and directed by John Musker and Ron Clements. "They were oblivious to 'Bucky,'" Kaba insisted in his summation. "They had neither seen nor heard of it."
"Moana" raked in nearly $700 million at the global box office. A judge had previously ruled that Woodall's 2020 lawsuit was filed too late to claim a share of those earnings, and a separate suit filed earlier this year over "Moana 2" — which surpassed the $1 billion mark — would be adjudicated independently. While this latter suit remains ongoing, the jury's decision does not bode favorably for Woodall's prospects. Following the verdict, Judge Consuelo B. Marshall, who is also presiding over the sequel lawsuit, concurred with the jury's finding regarding access.
"We are immensely proud of the collaborative efforts that went into crafting 'Moana' and are delighted that the jury found it to be unconnected to the plaintiff's works," Disney stated. Musker and Disney's legal representatives declined to comment outside the courtroom.
The relatively youthful jury, comprising six women and two men, watched "Moana" in its entirety within the courtroom confines. They meticulously examined Woodall's 2003 story outline for "Bucky," along with a 2008 revision and a 2011 script.
In the later iterations of the narrative, our titular protagonist, on vacation in Hawaii with his folks, strikes up a friendship with a group of young Native Hawaiians and embarks on an extraordinary quest. This adventure entails time-traveling to the ancient islands and engaging with demigods, all in an effort to preserve a sacred site from the encroaching threat of a developer.
Sometime around 2004, Woodall entrusted the synopsis of his creation, affectionately dubbed "Bucky," to the stepsister of his brother's spouse, Jenny Marchick. Marchick happened to be employed by Mandeville Films, a company nestled on the Disney lot and under contract with the entertainment giant. Over the years, Woodall continuously forwarded her additional materials pertaining to his idea. However, when he witnessed "Moana" in 2016, he was astonishment struck, recognizing numerous elements from his own conception.
Marchick, in her testimony, denied ever showing "Bucky" to anyone. Messages presented by the defense revealed a pattern of her eventually ignoring Woodall's inquiries and informing him that there was nothing she could do to assist him. Disney's legal representative, Kaba, argued that there was no evidence to suggest Marchick had ever worked on "Moana" or received any acknowledgment or remuneration for it.
Kaba emphasized that Marchick, who now holds the position of head of features development at DreamWorks Animation, had spent a considerable portion of her career working for Disney's key competitors, Sony and Fox, during the period when she was allegedly utilizing Woodall's work for Disney.
Woodall had also directly submitted his script to Disney and had a meeting arranged by Marchick with an assistant at the Disney Channel to discuss potential opportunities as an animator. Yet, the jury concurred that this did not provide sufficient grounds to believe that "Bucky" had reached the desks of Musker, Clements, or their collaborators.
In his closing arguments, Lage, Woodall's attorney, highlighted the striking similarities between the two works. Both narratives feature teenage protagonists embarking on oceanic quests. They both revolve around Polynesian demigods as pivotal figures and include shape-shifting characters who transform into various forms, such as insects and sharks. Moreover, the main characters in both stories interact with animals that serve as spiritual guides.
Kaba countered by stating that many of these elements, including Polynesian folklore and fundamental "literary staples," are not subject to copyright protection. He pointed out that shape-shifting among supernatural beings is a trope that has appeared in numerous films, including "The Little Mermaid," "Aladdin," and "Hercules," which were instrumental in the Disney renaissance of the 1990s and cemented Disney's status as a global powerhouse. Animal guides, he continued, date back to films as early as "Pinocchio" from the 1940s and have been a staple in all of Musker and Clements' previous endeavors.
Kaba affirmed that Musker and Clements developed "Moana" in the same manner as their other films, drawing inspiration from their own creativity, research, travels, and the paintings of Paul Gaugin and the writings of Herman Melville. He asserted that thousands of pages of development documents meticulously detail every step of the creative process, showcasing the unique fingerprint and genetic makeup of "Moana."
