▁as ▁a ▁p iv otal ▁moment ▁in ▁the ▁evolution ▁of ▁Mul an ' s ▁character . ▁Director ▁Barry ▁Cook ▁explained ▁that ▁the ▁sequence ▁initially ▁started ▁as ▁a ▁song ▁story board ed ▁by ▁Barry ▁Johnson ▁and ▁red ra wn ▁by ▁character ▁designer ▁Chen - Y i ▁Ch ang . ▁Following ▁the ▁story ▁changes ▁to ▁have ▁Mul an ▁leave ▁to ▁save ▁her ▁father , ▁the ▁song ▁was ▁dropped . ▁Story board ▁artist ▁and ▁co - head ▁of ▁story ▁Dean ▁De B lo is ▁was ▁task ed ▁to ▁rev ise ▁the ▁sequence , ▁and ▁decided ▁to ▁board ▁the ▁sequence ▁with ▁" min imal ▁dialog ue ". ▁Ass isted ▁with ▁an ▁existing ▁musical ▁selection ▁from ▁another ▁film ▁score ▁cour tes y ▁of ▁Sand ers , ▁the ▁sequence ▁re el ▁was ▁screen ed ▁for ▁Peter ▁Schne ider ▁and ▁Thomas ▁Sch um acher , ▁both ▁of ▁whom ▁were ▁im pressed . ▁De B lo is ▁stated , ▁" Sequence ▁Six ▁was ▁the ▁first ▁sequence ▁that ▁got ▁put ▁into ▁production , ▁and ▁it ▁helped ▁to ▁establish ▁our ▁' sil ent ' ▁approach ." ▁Additionally , ▁General ▁Li ▁was ▁not ▁originally ▁going ▁to ▁be ▁related ▁to ▁Shang ▁at ▁all , ▁but ▁by ▁changing ▁the ▁story , ▁the ▁film m akers ▁were ▁able ▁to ▁mirror ▁the ▁stories ▁of ▁both ▁Shang ' s ▁and ▁Mul an ' s ▁love ▁for ▁their ▁f athers . ▁As ▁a ▁Christian , ▁B anc ro ft ▁decl ined ▁to ▁explore ▁Buddh ism ▁within ▁the ▁film . ▁ ▁Because ▁there ▁was ▁no ▁drag on ▁in ▁the ▁original ▁legend