Question: What date did writer Michael Chabon sign on to write the film's script?
About the article "Magic Kingdom", section "Planned film".

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Although Michael Chabon has described his attitude toward Hollywood as "pre-emptive cynicism," for years the author has nevertheless engaged in sustained, and often fruitless, efforts to bring both adapted and original projects to the screen.
In 1994, Chabon pitched a screenplay entitled "The Gentleman Host" to producer Scott Rudin, a romantic comedy "about old Jewish folks on a third-rate cruise ship out of Miami".
Rudin bought the project and developed it with Chabon, but it was never filmed, partly due to the release of the similarly themed film "Out to Sea" in 1997.
In the nineties, Chabon also pitched story ideas for both theX-Men and the Fantastic Four movies, but was rejected.
When Scott Rudin was adapting "Wonder Boys" for the screen, the author declined an offer to write the screenplay, saying he was too busy writing "The Amazing Adventures of Kavalier and Clay".
Directed by Curtis Hanson and starring Michael Douglas, "Wonder Boys" was released in 2000 to critical acclaim and financial failure.
Having bought the film rights to "The Amazing Adventures of Kavalier and Clay", Rudin then asked Chabon to work on that film's screenplay.
Although Chabon spent 16 months in 2001 and 2002 working on the novel's film adaptation, the project has been mired in pre-production for years.
Chabon's work, however, remains popular in Hollywood, with Rudin purchasing the film rights to "The Yiddish Policemen's Union", then titled "Hatzeplatz", in 2002, five years before the book would be published.
The same year, Miramax bought the rights to "Summerland" and "Tales of Mystery and Imagination" (a planned collection of eight genre short stories that Chabon has not yet written), each of which was optioned for a sum in the mid-six figures.
Chabon also wrote a draft for 2004's "Spider-Man 2", about a third of which was used in the final film.
Soon after "Spider-Man 2" was released, director Sam Raimi mentioned that he hoped to hire Chabon to work on the film's sequel, "if I can get him," but Chabon never worked on "Spider-Man 3".
In October 2004, it was announced that Chabon was at work writing Disney's "Snow and the Seven", a live-action martial arts retelling of "Snow White and the Seven Dwarfs" to be directed by master Hong Kong fight choreographer and director Yuen Wo Ping.
In August 2006, Chabon said that he had been replaced on "Snow", sarcastically explaining that the producers wanted to go in "more of a fun direction.
"Although Chabon was uninvolved with the project, director Rawson Marshall Thurber shot a film adaptation of "The Mysteries of Pittsburgh" in fall 2006.
The film, which stars Sienna Miller and Peter Sarsgaard, was released in April 2008.
In February 2008, Scott Rudin reported that a film adaptation of "The Yiddish Policemen's Union" was in pre-production, to be written and directed by the Coen brothers.
In April 2009, Chabon confirmed he had been hired to do revisions to the script for Disney's "John Carter". 
In 2010, director Jon Favreau and Walt Disney Pictures had a plan to produce and release a film concerning a family at Disneyland which finds the theme park characters and attractions coming to life.
Favreau, who said "the Disney iconography was probably the first set of archetypes that I was exposed to" and that Disney movies and attractions "made a deep impression on me as a child", noted that, "When I first heard about the ['Magic Kingdom' film] project, I was on my way to visit Disneyland with my family.
I took notes and had no problem filling a book with all the ideas that this concept offered, even on first blush.
"Marc Abraham and Eric Newman of Strike Entertainment were scheduled to produce the film.
Writer-producer Ronald D. Moore had previously written an original script for the project, which the studio eventually declined to use, stating that Favreau and a new screenwriter would develop a new script.
On June 20, 2011, novelist Michael Chabon signed on to write the film's script.
Earlier attempts to bring "Pittsburgh" to the big screen failed, including Chabon's own try at adapting the novel.
In early 2000, independent filmmaker Jon Sherman (writer and director of 1996's "Breathing Room") adapted Chabon's novel into a screenplay, hoping to film it with Jason Schwartzman in the role of Art Bechstein.
By August of the same year, Chabon announced that the project had fallen apart, sadly writing, "Ah, well.
Maybe someday.
"Director Rawson Marshall Thurber got hold of the project sometime prior to 2006, when he began filming after convincing Michael Chabon he could make it work.
Chabon had seen the script, and was pleased with it.
In order to facilitate the film adaptation, Thurber removed the character of Arthur Lecomte "whole cloth" from the original Chabon novel in what he described as "the most glaring change".
Lecomte, a gay man for whom Art begins to develop feelings, had to be removed because Thurber felt strongly "that in order for the film to function properly, it needed a more efficient and more cinematic engine — in short, a love triangle."
Consequently, many elements of Arthur Lecomte were folded into the character of Cleveland. 
After the success of "The Mysteries of Pittsburgh", Chabon spent five years working on a second novel.
Called "Fountain City", the novel was a "highly ambitious opus ... about an architect building a perfect baseball park in Florida", and it eventually ballooned to 1,500 pages, with no end in sight.
The process was frustrating for Chabon, who, in his words, "never felt like I was conceptually on steady ground.
"At one point, Chabon submitted a 672-page draft to his agent and editor, who disliked the work.
Chabon had problems dropping the novel, though.
"It was really scary", he said later.
"I'd already signed a contract and been paid all this money.
And then I'd gotten a divorce and half the money was already with my ex-wife.
My instincts were telling me, This book is fucked.
Just drop it.
But I didn't, because I thought, What if I have to give the money back?"
"I used to go down to my office and fantasize about all the books I could write instead.
"When he finally decided to abandon "Fountain City", Chabon recalls staring at his blank computer for hours, before suddenly picturing "a 'straitlaced, troubled young man with a tendency toward melodrama' trying to end it all."
He began writing, and within a couple of days, had written 50 pages of what would become his second novel, "Wonder Boys".
Chabon drew on his experiences with "Fountain City" for the character of Grady Tripp, a frustrated novelist who has spent years working on an immense fourth novel.
The author wrote "Wonder Boys" in a dizzy seven-month streak, without telling his agent or publisher he'd abandoned "Fountain City".
The book, published in 1995, was a commercial and critical success.
In late 2010, "An annotated, four-chapter fragment" from the unfinished 1,500 page manuscript "Fountain City" "complete with cautionary introduction and postscript" written by Chabon was included in "McSweeney's 36". 
In a 2002 essay, Chabon decried the state of modern short fiction (including his own), saying that, with rare exceptions, it consisted solely of "the contemporary, quotidian, plotless, moment-of-truth revelatory story."
In an apparent reaction against these "plotless sparkling with epiphanic dew," Chabon's post-2000 work has been marked by an increased interest in genre fiction and plot.
While "The Amazing Adventures of Kavalier and Clay" was, like "The Mysteries of Pittsburgh" and "Wonder Boys", an essentially realistic, contemporary novel (whose plot happened to revolve around comic-book superheroes), Chabon's subsequent works—such as "The Final Solution", his dabbling with comic-book writing, and the "swashbuckling adventure" of "Gentlemen of the Road"—have been almost exclusively devoted to mixing aspects of genre and literary fiction.
Perhaps the most notable example of this is "The Yiddish Policemen's Union", which won five genre awards, including the Hugo award and Nebula award.
Chabon seeks to "annihilate" not the genres themselves, but the bias against certain genres of fiction such as fantasy, science fiction and romance.
Chabon's forays into genre fiction have met with mixed critical reaction.
One science fiction short story by Chabon, "The Martian Agent," was described by a reviewer as "enough to send readers back into the cold but reliable arms of "The New Yorker"."
Another critic wrote of the same story that it was "richly plotted, action-packed," and that "Chabon skilfully elaborates his world and draws not just on the steampunk worlds of William Gibson, Bruce Sterling and Michael Moorcock, but on alternate histories by brilliant SF mavericks such as Avram Davidson and Howard Waldrop.
The imperial politics are craftily resonant and the story keeps us hanging on."
While "The Village Voice" called "The Final Solution" "an ingenious, fully imagined work, an expert piece of literary ventriloquism, and a mash note to the beloved boys' tales of Chabon's youth", "The Boston Globe" wrote, "he genre of the comic book is an anemic vein for novelists to mine, lest they squander their brilliance,".
"The New York Times" states that the detective story, "a genre that is by its nature so constrained, so untransgressive, seems unlikely to appeal to the real writer," but adds that "... Chabon makes good on his claim: a successful detective story need not be lacking in literary merit.
"In 2005, Chabon argued against the idea that genre fiction and entertaining fiction should not appeal to "the real writer," saying that the common perception is that "Entertainment .
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means junk.
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maybe the reason for the junkiness of so much of what pretends to entertain us is that we have accepted—indeed, we have helped to articulate—such a narrow, debased concept of entertainment.
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I'd like to believe that, because I read for entertainment, and I write to entertain.
Period.
"One of the more positive responses to Chabon's brand of "trickster literature" appeared in "Time" magazine, whose Lev Grossman wrote that "This is literature in mid-transformation.
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highbrow and the lowbrow, once kept chastely separate, are now hooking up, [and you can almost see the future of literature coming."
Grossman classed Chabon with a movement of authors similarly eager to blend literary and popular writing, including Jonathan Lethem (with whom Chabon is friends), Margaret Atwood, and Susanna Clarke.
On the other hand, in "Slate" in 2007, Ruth Franklin said, "Michael Chabon has spent considerable energy trying to drag the decaying corpse of genre fiction out of the shallow grave where writers of serious literature abandoned it."