Atlantis Movie Lets Try This Again
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This article is about the flick. For other uses, see Atlantis.
- "...in a single day and dark of misfortune, the island of Atlantis disappeared into the depths of the sea. -Plato, 360 B.C."
- ―Opening text
Atlantis: The Lost Empire is a 2001 American animated motion-picture show created past Walt Disney Characteristic Animation—the first science fiction film in the Blithe Catechism and the 41st overall. Written past Tab Murphy, directed by Gary Trousdale and Kirk Wise, and produced by Don Hahn, the film features an ensemble bandage with the voices of Michael J. Pull a fast one on, Cree Summertime, James Garner, Leonard Nimoy, Don Novello, and Jim Varney in his final office before his death. Set in 1914, the motion-picture show tells the story of a fellow who gains possession of a sacred book, which he believes will guide him and a crew of adventurers to the lost city of Atlantis.
Evolution of the film began after production had finished on The Hunchback of Notre Matriarch (1996). Instead of another musical, the product team decided to exercise an action-hazard film inspired by the works of Jules Verne. Atlantis was notable for adapting the distinctive visual style of comic book creator Mike Mignola. At the time of its release, the picture show had made greater use of computer-generated imagery (CGI) than whatever of Disney's previous animated features; it remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand created a language specifically for use in Atlantis, while James Newton Howard provided the score. The film was released at a time when audience interest in animated films was shifting abroad from hand-drawn animation toward films with full CGI.
Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, California on June iii, 2001, and went into general release on June 15. Distributed by Walt Disney Pictures, Atlantis performed modestly at the box office. Approaching at $100 one thousand thousand, the pic grossed over $186 meg worldwide, $84 1000000 of which was earned in North America. This was probable due to the fact that it had to compete with The Fast and the Furious and Shrek (which involved onetime Disney worker Jeffery Katzenberg). Due to the moving picture's poorer-than-expected box-office functioning, Disney quietly canceled both a spin-off television series and an underwater attraction at its Disneyland theme park. Some critics praised information technology equally a unique difference from typical Disney animated features, while others disliked it due to the unclear target audience and absence of songs. Atlantis was nominated for a number of awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, with the Blu-ray released on June 11, 2013. Atlantis is considered to be a cult favorite, due in part to Mignola's unique creative influence. A direct-to-video sequel, Atlantis: Milo'south Return, was released in 2003.
Contents
- 1 Plot
- 2 Production
- 2.ane Development
- 2.1.ane Language
- 2.2 Writing
- two.3 Animation
- 2.4 Music and sound
- 2.ane Development
- 3 Release
- 3.1 Promotion
- 3.two Box function
- 3.3 Home media
- 4 Reception
- four.1 Controversies
- 5 Overview, production notes, and sequel
- 6 Cast
- half-dozen.1 Boosted Voices
- 6.2 Loop Group
- 6.3 ADR Loop Grouping
- vii Crew
- eight Annie Awards
- ix Political Moving picture Guild awards
- x Existent-life references
- eleven Background
- 12 Gallery
- 13 Trivia
- 14 References
- 15 External links
Plot
Many centuries ago, an accidental energy discharge caused a titanic tsunami that threatens to destroy the majuscule city of Atlantis. A huge azure light floating in a higher place the city calls upon the Queen and pulls her up then that they would exist bonded in order to relieve the city. Her young daughter, Princess Kidagakash, watches in tears earlier her begetter, Rex Kashekim Nedakh, runs to her and covers her eyes. The ability of the crystal creates a protective barrier around the eye of the urban center, keeping information technology from being destroyed by the tsunami. However, it as well results in the city being buried beneath the subsiding waters.
In 1914, Milo James Thatch is preparing his presentation to his employers at the Smithsonian Institution in Washington, D.C. on the lost continent of Atlantis. He notes that he believes at that place is a power source that the Atlanteans used and that it could still be hidden within the sunken city. He reasons that there is a volume chosen the Shepherd'south Journal that has been seen throughout history that would contain a detailed route map to the city and believes that the book is in Iceland. During the presentation, he gets a telephone call to set up the boilers, revealing that he is not an employed linguist or cartographer, but rather the janitor. The Establishment'southward lath and so attempts to deceitfully dorsum out. Milo chases after them and manages to corner Mr. Fenton Harcourt, who completely dismisses the existence of Atlantis as myth. Even when Milo threatens to quit, Harcourt notes that the search for Atlantis is a career killer, which is what happened to Milo'due south late grandfather Thaddeus Thatch.
Whitmore convinces Milo to follow in his late granddad's footsteps.
Milo returns dwelling house disheartened, just to all of a sudden meet a woman named Helga Sinclair. She tells him that she is there on behalf of her employer with a suggestion. When Milo asks who her employer is, she instead drives him to the estate of Preston Whitmore. Upon arriving in Whitmore'south private study, Milo discovers that Whitmore was friends with his grandfather. He finds Whitmore in the center of completing a yoga session before pointing out a parcel addressed to Milo from his late grandfather. Milo opens the bundle to find, to his atheism, the Shepherd's Periodical. Whitmore explains that he is fulfilling a bet he made to Thaddeus past financing the expedition, though information technology is articulate that he is willing to do it regardless because of his friendship with him. Whitmore adds that everything is prepare and all they need is someone who can read the book, which is Milo. Without much hesitation, Milo agrees to participate.
In preparation for the expedition to begin, Milo discovers that Helga is more than than just Whitmore'due south personal banana as she is the expedition's second-in-control. He likewise has run-ins with the elderly cook Jebidiah "Cookie" Farnsworth and demolitions expert Vincenzo "Vinny" Santorini before Whitmore introduces him to the expedition'due south commanding officeholder Commander Lyle Rourke. Announcements are heard from elderly radio operator Wilhelmina Packard, with the last being for final boarding on the avant-garde submarine ship the Ulysses. Later on Milo waves Whitmore skillful-goodbye, the submarine is launched.
Milo realizes that the Leviathan is actually a car.
Milo continues to see some more of the expedition coiffure, such as French geologist Gaetan "Mole" Molière, chief medic Doctor Joshua Sweetness, and teenage mechanic Audrey Ramirez earlier conducting a briefing of where to find the entrance leading them to Atlantis. Suddenly, they are attacked by a giant mechanical Leviathan. Despite best efforts to defend themselves confronting the beast, all hands are forced to abandon ship subsequently it sustains too much damage. The path to the entrance is located and all surviving ships follow with the Leviathan chasing afterward them until it tin no longer do so. Upon reaching an air-pocket, only a small fraction of the crew accept survived.
The remainder of the expedition continues forrard, with Milo leading the way through his translating of the directions in the Shepherd'south Journal. Tricks are played upon him by other crew members until they finally have him in during a end for remainder. Milo comments that the Shepherd's Journal may exist missing a page, but the others get him to ease off the volume for a moment. He comments that he is but so excited almost being on such an adventure, though the others notation they're mainly in it for the money. After opening upwards about himself, Milo hears about Sugariness, Audrey, and Vinny, though he is warned by Sweetness not to learn about Mole's story. As anybody sleeps, a figure that has been watching the trek digs through Milo'south possessions until it is run off past Milo awakening to use the bathroom. While he is unbuckling his belt, he points the flashlight at what appears to be a lamp. The light causes a wave of fireflies to attack the camp. About survive the assail and try to escape into a cave, but the corporeality of weight of their vehicles causes the bridge to collapse.
The Atlanteans can speak other languages as theirs was the root source.
About everyone survives the collapse. Test of their position finds them, according to Mole, placed in the bowels of a volcano that is fallow and volition erupt if disturbed past a powerful enough force. Further test finds that there is a possible escape road through what appears to be the acme of the volcano when anybody realizes that Milo is missing. Milo awakens to find himself surrounded by strange figures until one of them pulls off its mask, revealing a human woman behind. She uses a crystal hanging around her neck to completely heal a cutting on his shoulder before taking off. Milo follows with the expedition catching up and in the procedure they find themselves looking at Atlantis, alive and thriving. The figures discovered to exist Atlanteans return with Milo being able to communicate with them earlier they realize the Atlanteans can speak any language as theirs is the root source for all others. The adult female, revealed to be Princess Kidagakash, agrees to accept them to meet her father the King. Forth the manner, Helga expresses to Rourke hesitation about the mission since there are people live. Rourke, on the other hand, feels it doesn't modify the objective of their mission.
Milo, Rourke, and Helga are brought before the blind Male monarch Kashekim by Kida. Only Milo is able to empathise through the interaction betwixt the father and daughter that outsiders are non welcome and would have originally been killed on sight. Kashekim then speaks English, recognizing why they're really down there, and tells them to leave. Rourke manages to talk him into letting the crew stay for one nighttime so they can rest and resupply. Afterwards Milo, Rourke, and Helga leave, Kida and her father continue to debate with Kida, believing the outsiders can help them rediscover their dying civilisation, while Kashekim firmly states their way of life is being preserved.
Meanwhile, the crew still wishes to get some answers near what'south going on and what to do next. They decide to take Milo speak with Kida. Milo has no trouble talking to Kida as she ends up the one to engage in the conversation.
Milo flusters repeatedly when Kida suggests they swim.
Milo and Kida start to get to know one another as well as understand where each came from. Kida tells of her witnessing the bang-up alluvion, which shocks Milo since it makes her much older than she appears. Milo attempts to notice out about the power source he is looking for but gets sidetracked with some other daze when it is realized that no one in Atlantis tin read the written Atlantean language. Through Milo, he and Kida are able to figure out how to activate one of the Ketaks before they tour the city. The tour is really Kida leading Milo towards a deep pond underneath which a great number of written information is found. Milo and Kida swim effectually with Kida'southward crystal providing light needed for Milo to read. Milo discovers that the power source he's been looking for is the very crystal that took Kida's mother and information technology is the reason Atlantis is still able to thrive alive. However, the location of the Eye of Atlantis is unknown and Milo suspects the missing page contains its whereabouts.
When Milo and Kida surface, they are surprised to find Rourke leading the residuum of the expedition to begin a more forceful mode in finding the Heart of Atlantis, the power source to both the city and its people, horrifying Milo that even Sweet, Audrey, and the others are in on it. Rourke reveals to have possession of the missing page and forces Milo to translate by pointing a gun at Kida after he initially refuses since the crystal is needed to keep Atlantis alive. They end upwards in the Rex'south bedchamber as the page notes that the Heart of Atlantis "lies where the eyes of the King can see". Kashekim refuses to elaborate on the riddle, even after being punched and under threat of execution, much to the horror of the others and Sweetness, who already turns confronting Rourke for his actions. Simply before pulling the trigger, Rourke is able to figure out the riddle that the heart of the room leads to the chamber containing the crystal. Rourke and Helga force Milo and Kida to join them every bit they descend into the chamber to observe the Heart of Atlantis with stone effigies of the past kings orbiting it. While Rourke and Milo fence about how to call back the crystal, which is levitating in the air, the crystal calls to Kida and she is soon infused with the crystal. By warning of Milo, they do not touch her while Rourke'south men place her in a container.
Milo'southward speech convinces some of the others to side against Rourke.
Just before Rourke and the rest of the expedition brand off, Milo sarcastically congratulates the crew by saying that their deportment will kill the Atlanteans and that Rourke will sell the crystal to Kaiser Wilhelm II of Germany for money, thus making them unstoppable. Rourke punches difficult on Milo for no skilful reason—probably for attempting to cease them and betraying them—and leaves him to be forgotten by the world along with a croaky frame of him & Thaddeus. Realizing that Milo is right, Audrey, Vinny, Mole, Cookie, and Packard decide to side with Milo, not wanting the death of innocent lives to be on their conscience (even if said lives are considered by the rest of the globe to exist nonexistent, and therefore will not be missed). The pleas fall on deaf ears with Rourke, who destroys the wooden bridge to keep them from following. With the Middle of Atlantis no longer in the city to keep it powered, it places Atlantis and its civilians in danger. Milo meets with the dying King, who explains that the Heart of Atlantis calls upon 1 with royal claret to bond with to protect itself and the people, heaving developed a consciousness of its own. Because of his arrogance in ruling Atlantis with the crystal, it became too strong to control, and it leads to the sinking of the urban center and his wife being sacrificed to save them. Before he dies, he notes that the crystal needs to exist returned not just to save Atlantis but to prevent Kida from being lost by bonding with the crystal for too long. After an encouraging talk from Sweetness, Milo directs anybody to a Ketak and how the crystals they possess even so have enough power to activate them.
Rourke and his men blow a pigsty through the peak of the volcano and attempt to fly out through a Gyro-Evac when Milo and the others make it to finish them. During the battle, Vinny accidentally discovers how to discharge an free energy bolt from the vehicles to counter the guns and firepower Rourke and his men possess. Milo and Vinny then distract Rourke and Helga while Sweet and Audrey endeavour to release the container with Kida. Though Rourke and Helga drive off Sweet and Audrey, Milo crashes his Ketak into one of the balloons and causes information technology to slowly descend. Helga tries to lighten the load, only they are still dropping when Rourke decides to push her off. She manages to swing back on and kick Rourke around for betraying her, but Rourke catches her and throws her off for good. Milo and Rourke become into a scuffle with the balloon one time again ascending, but a badly hurt Helga gets dorsum at Rourke by firing a flare gun and destroying the main airship, thereby causing information technology to descend permanently.
The heroes look out and survey the restored city of Atlantis.
An enraged Rourke goes subsequently Milo with an axe, during which he breaks a glass hole from the container. Milo notices i of the glass shards has elements of the crystal and uses information technology to cut Rourke when he holds him upwardly by the neck. The cut causes elements of the crystal to mix into Rourke's blood, turning him into crystal class. Even so, he still attacks until a take a chance positioning causes Rourke to shatter after connecting with the yet turning propellers of the hot air balloon. The act disconnects the container, though Milo must motion it fast to foreclose the hot air balloon from crashing down upon it. The crash is enough forcefulness to cause the volcano to reawaken, and Milo and the others quickly bring the container back to the city. Milo opens up the container, and Kida and the Heart of the Atlantis arise. They awaken giant stone guardians to create a strength field to prevent lava from destroying the city. With the city saved, Kida is released from the crystal and into Milo's arms.
The Atlanteans thank those who helped Milo save them, donning each of them with crystals and providing them with an acceptable pile of gilded to render to the surface with. Milo is staying behind, as he and Kida take fallen in dear, and he is needed to assist the Atlanteans rediscover their lost culture. Back on the surface, Whitmore debriefs Vinny, Sugariness, Audrey, Mole, Cookie, and Packard into rehearsing a false story nigh them finding zippo also as the made-up fates of Helga, Rourke, and Milo. While going through photos Packard took, Whitmore discovers a package for him containing a moving picture of Thaddeus and child Milo, a crystal, and a message thanking him on behalf of the Thatches for helping them realize their dream. Back in Atlantis, Milo completes the construction of a stone effigy of Kashekim to join the other past kings orbiting the Heart of Atlantis as it once again hovers above the newly restored city.
Production
Development
The product team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film.
The idea for Atlantis: The Lost Empire was conceived in Oct 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame the producer and directors wanted to keep the Hunchback crew together for some other film with an Adventureland setting. Cartoon inspiration from Jules Verne'south A Journeying to the Center of the Earth (1864), they set out to make a movie which would fully explore Atlantis (compared to the brief visit depicted in Verne'south novel). While primarily utilizing the Internet to research the mythology of Atlantis, the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a female parent crystal which provides power, healing, and longevity to the Atlanteans—into the story. They besides visited museums and old army installations to study the technology of the early on 20th century (the film's time period), and traveled 800 feet underground in New Mexico'due south Carlsbad Caverns to view the subterranean trails which would serve as a model for the arroyo to Atlantis in the film.
The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise. "From the become-go, we were committed to designing it peak to lesser. Let'south get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would aid us develop those ideas." Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from effectually the world, and the directors really liked the wait of Southeast Asian architecture." The squad later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works. Hahn added, "If you take and deconstruct architecture from effectually the world into 1 architectural vocabulary, that's what our Atlantis looks like."< The overall blueprint and circular layout of Atlantis were also based on the writings of Plato, and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea" was influential from the beginning of production. The crew wore T-shirts which read "ATLANTIS—Fewer songs, more than explosions" due to the motion picture's plan as an action-adventure (unlike previous Disney animated features, which were musicals).
Language
The Atlantean letter of the alphabet A, created by artist John Emerson. Kirk Wise noted that its pattern was a treasure map showing the path to the crystal, "The Eye of Atlantis".
- Main article: Atlantean language
Marc Okrand, who developed the Klingon language for the Star Trek films, was hired to devise the Atlantean linguistic communication for Atlantis: The Lost Empire. Guided past the directors' initial concept for it to be a "female parent linguistic communication", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound as well much like an bodily, spoken language. The written language was boustrophedon: designed to exist read left-to-correct on the first line, and then right-to-left on the second, continuing in a zigzag pattern to simulate h2o menstruation.
Writing
Joss Whedon was the offset writer to be involved with the moving-picture show, but presently left to piece of work on other Disney projects. Tab Murphy completed the screenplay, stating that the fourth dimension from initially discussing the story to producing a script that satisfied the film crew was "near three to four months". The initial draft was 155 pages, much longer than a typical Disney motion-picture show script (which usually runs xc pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey. A revised version of the script eliminated the trials encountered by the explorers as they navigated the underground caves to Atlantis. This gave the pic a faster pace because Atlantis is discovered before in the story.
The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant.
—Don Hahn, producer
The character of Milo Thatch was originally supposed to be a descendant of Edward Teach, otherwise known equally Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration. The character of Molière was originally intended to be "professorial" just Chris Ure, a story artist, changed the concept to that of a "horrible petty burrowing animate being with a wacky coat and strange headgear with extending eyeballs", said Wise. Don Hahn pointed out that the absence of songs presented a challenge for a squad accustomed to animative musicals, equally solely action scenes would take to acquit the motion-picture show. Kirk Wise said it gave the team an opportunity for more on-screen graphic symbol evolution: "We had more screen time bachelor to practice a scene similar where Milo and the explorers are camping out and learning about ane another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."
Hahn stated that the first blithe sequence completed during production was the picture's prolog. The original version featured a Viking war party using The Shepherd's Periodical to find Atlantis and being swiftly dispatched by the Leviathan. Near the stop of production, story supervisor Jon Sanford told the directors that he felt this prolog did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prolog was finished and information technology would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening. The opening was replaced past a sequence depicting the devastation of Atlantis, which introduced the movie from the perspective of the Atlanteans and Princess Kida. The Viking prolog is included as an extra feature on the DVD release.
Blitheness
For comparison, the height image (panoramic view of Atlantis) is cropped to Disney's standard attribute ratio (1.66:ane); bottom image was seen in the film (2.35:1).
At the peak of its production, 350 animators, artists, and technicians were working on Atlantis at all 3 Disney animation studios: Burbank, California, Orlando, Florida, and Paris, France. The film was 1 of the few Disney animated features produced and shot in 70mm anamorphic format. The directors felt that a wide-screen paradigm was crucial, equally a cornball reference to erstwhile activity-gamble films presented in the Cinemascope format (2.35:1), noting Raiders of the Lost Ark every bit an inspiration. Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at get-go reluctant to the thought. The production squad found a simple solution by cartoon within a smaller frame on the aforementioned paper and equipment used for standard aspect ratio (ane.66:1) Disney-animated films. Layout supervisor Ed Ghertner wrote a guide to the wide-screen format for use past the layout artists and mentioned that i advantage of broad-screen was that he could keep characters in scenes longer because of boosted space to walk within the frame. Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.
The film'due south visual fashion was strongly based upon that of Mike Mignola, the comic book artist backside Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired past the Disney studio for the motion-picture show. Appropriately, he provided style guides, preliminary character and groundwork designs, and story ideas. "Mignola'southward graphic, angular way was a central influence on the characters' 'look'," stated Wise. Mignola was surprised when first contacted by the studio to piece of work on Atlantis. His artistic influence on the film would later contribute to a cult following.
The concluding pull-out scene of the movie, immediately before the cease-title card, was described by the directors as the most difficult scene in the history of Disney animation. They said that the pullout effort on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique once again in Atlantis. The scene begins with one 16-inch piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an xviii,000-inch piece of paper equanimous of many individual pieces of paper (24 inches or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flight across the scene to brand the viewer see a complete, integrated paradigm.
Calibration model of Ulysses submarine by Greg Aronowitz, used past digital animators as reference during production.
At the time of its release, Atlantis: The Lost Empire was notable for using more calculator-generated imagery (CGI) than any other Disney-animated characteristic. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Centre of Atlantis, and the Stone Giants. Later on Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a calibration model of the submarine to be used equally a reference for drawing the 3D Ulysses. The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2nd and 3D artwork. One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward information technology, a 2D Milo was drawn to appear inside, tracking the photographic camera. The crew noted that it was challenging to go on the audience from noticing the difference between the 2D and 3D drawings when they were merged. The digital production as well gave the directors a unique "virtual camera" for complicated shots inside the film. This camera moved through a digital wire-frame set with the ability to operate in the z-plane; the background and details were later hand-drawn over the wire-frames. This was used in the opening flying scene through Atlantis and the submarine chase through the undersea cave with the Leviathan in pursuit.
Music and sound
Since the film would not feature any musical interludes, the directors hired James Newton Howard to compose the score. Budgeted it equally a alive-action film, Howard decided to accept dissimilar musical themes for the cultures of the surface world and Atlantis. In the example of Atlantis, Howard chose Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the flick would have a number of primal scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.
Gary Rydstrom and his squad at Skywalker Sound were hired for the picture show's sound production. Like Howard, Rydstrom employed different sounds for the ii cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound fabricated by the Atlantean flight-fish vehicles posed a particular claiming. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove past at high speed. When the recording was sped up on his estimator he felt it sounded very organic, and that is what is heard inside the film. Rydstrom created the harmonic chiming of the Middle of Atlantis past rubbing his finger along the border of a champagne flute, and the audio of sub-pods moving through water with a water pick.
Release
Promotion
Atlantis was promoted at Disneyland with models of the characters Kida and Milo displayed on Main Street.
Atlantis was among Disney'due south offset major attempts to utilize net marketing. The motion-picture show was promoted through Kellogg's, which created a website with mini-games and a moving-picture show-based video game giveaway for UPC labels from particularly marked packages of Atlantis breakfast cereal. The pic was one of Disney's showtime marketing attempts through mobile network operators and allowed users to download games based on the moving picture. McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, nutrient packaging, and in-store decor. The McDonald'south advertising campaign involved telly, radio, and impress advertisements beginning on the film's release appointment. Frito-Lay offered free admission tickets for the picture show on specially marked snack packages.
Box office
Before the film'due south release, reporters speculated that it would have a difficult run due to competition from DreamWorks' Shrek (a wholly CGI feature) and Lara Croft: Tomb Raider (an activeness-adventure film from Paramount Pictures). Regarding the marketplace'south shift from traditional animation and competition with CGI films, Kirk Wise said, "Any traditional animator, including myself, tin can't aid but feel a twinge. I retrieve it always comes down to story and character, and one form won't replace the other. Just similar photography didn't replace painting. Just maybe I'k blind to information technology." Jeff Jensen of Amusement Weekly noted that CGI films (such every bit Shrek) were more likely to concenter the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative chance".[1]
Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, California on June 3, 2001[2] and a limited release in New York Urban center and Los Angeles on June 8; a wider release followed on June xv. At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific too loaned a variety of fish for brandish within the attraction.[3] With a budget of $100 million, the film opened at #ii on its debut weekend, earning $20.three million in 3,011 theaters.[4] The motion-picture show's international release began September 20 in Australia and other markets followed arrange.[v] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the The states and Canada). Responding to its disappointing box-office performance, Thomas Schumacher, and so-president of Walt Disney Feature Animation, said, "It seemed like a proficient thought at the time to not do a sweet fairy tale, but we missed."[6]
Home media
- Chief article: Atlantis: The Lost Empire (video)
Atlantis: The Lost Empire was released on VHS and DVD Jan 29, 2002.[7] During the starting time month of its dwelling release, the film led in VHS sales and was third in VHS and DVD sales combined.[8] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[9] Both a single-disc DVD edition and a two-disc collector'due south edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.35:one aspect ratio or a modified ane.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the pic team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prolog scene.[7] The ii-disc collector'due south edition DVD contained all the unmarried-disc features and a disc with supplemental material detailing all aspects of the film's product. The collector'southward edition pic could just be viewed in its original theatrical ratio, and also featured an optional DTS v.ane rails. Both DVD versions, however, contained a Dolby Digital 5.1 rail and were THX certified.[7] [10] Disney digitally remastered and released Atlantis on Blu-ray on June eleven, 2013 bundled with its sequel Atlantis: Milo's Return.[xi]
Reception
Atlantis: The Lost Empire received mixed reviews from film critics. Review aggregator Rotten Tomatoes reports that 49% of 140 professional critics have given Atlantis: The Lost Empire a positive review, with a rating average of 5.v out of 10.[12] The site'due south consensus is that "Atlantis provides a fast-paced spectacle, but stints on such things as graphic symbol evolution and a coherent plot".[12] Metacritic assigned the moving picture a weighted average score of 52 out of 100 based on 29 reviews from mainstream critics; this was considered "mixed or average reviews".[thirteen] CinemaScore polls conducted during the opening weekend revealed the average grade picture palace-goers gave Atlantis: The Lost Empire was an A on an A+-to-F scale.[14]
While critics had mixed reactions to the film in full general, some praised it for its visuals, action-gamble elements, and its attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-one-half stars out of 4. He praised the animation's "clean bright visual await" and the "classic energy of the comic book manner", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, simply the climactic scene transcends the residue and stands by itself every bit one of the great blithe action sequences."[fifteen] In The New York Times, Elvis Mitchell gave loftier praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the near eye-catching Disney cartoons since Uncle Walt institutionalized the iv-fingered glove."[sixteen] James Berardinelli, film critic for ReelViews, wrote a positive review of the picture show, giving it three out of iv stars. He wrote, "On the whole, Atlantis offers ninety minutes of solid entertainment, in one case once again proving that while Disney may be clueless when information technology comes to producing skilful live-action movies, they are exactly the opposite when information technology comes to their animated division."[17] Wesley Morris of the San Francisco Chronicle wrote positively of the motion picture's approach for an older audition: "But just beneath the surface, Atlantis brims with adult possibility."[xviii]
Other critics felt that the film was mediocre in regards to its story and characters and that it failed to deliver as a not-musical to Disney'due south traditional audition. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the picture show had "gee-whiz formulaic graphic symbol" and was "the essence of craft without dream".[nineteen] Kenneth Turan of the Los Angeles Times noted the storyline and characterizations were "old-fashioned" and the moving-picture show had the retrograde look of a Saturday-morning cartoon, only these deficiencies were offset by its "brisk activeness" and frantic step.[20] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the stop, no-fun animated territory."[21] Stephanie Zacharek of Salon loathed the film, specifically Disney'southward endeavor to make the film for an adult audience, of which she wrote, "The big problem with Disney'southward latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[22] Rita Kempley of The Washington Post panned the picture, calling it a "new-fashioned only former-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[23]
Controversies
It has also been criticized by some viewers of the film begetting a resemblance to a famous 1990s Japanese anime tv show, Nadia: The Secret of Bluish Water. The similarities include character designs, story period, the background settings, and more. The director Kirk Wise has stated he never fifty-fifty heard of such a show when Atlantis was in product. The similarities might be merely due to both being inspired past the Jules Verne novel Xx 1000 Leagues Under the Ocean.
Critics likewise saw parallels with the 1994 motion-picture show Stargate. Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff idiot box series Stargate SG-ane which coincidentally launched its own spinoff, titled Stargate: Atlantis.
The film has also drawn criticism for its supposed "white savior" narrative (a storytelling device in which a white hero saves an indigenous society from danger).
Overview, production notes, and sequel
Atlantis is notable as one of the few animated films shot in the anamorphic widescreen procedure. To foreclose having to purchase and implement larger animation desks, longer blitheness paper, then forth, the production team resorted to working inside a smaller frame on the same paper and equipment used for the standard aspect ratio Disney films.
Some viewers have noted similarities between the Milo character and film language consultant Dr. Marc Okrand, who developed the Atlantean language for this picture show (Okrand has said that animator John Pomeroy sketched him, claiming not to know what a linguist looked or behaved like). Additionally, an interesting attribute of the film is that very few of the characters are under the age of 30, a rare component for a Disney animated feature. As well, Atlantis is the showtime animated Disney feature since 1995 to have a black character, Dr. Joshua Sugariness, in the roster of main characters. On a side annotation, Atlantis was 1 of the last Disney films to include a smoking character, Packard, who consistently puffed a cigarette, only had a small role.
The flick was originally supposed to provide a springboard for an blithe idiot box series titled Team Atlantis, which would have detailed the farther adventures of the characters from the picture show. However, because of its disappointing box office intake, the serial was scrapped. On May 20, 2003, Disney released a direct-to-video sequel called Atlantis: Milo'south Render, which consisted mostly of stories originally produced for the aborted series.
Milo Thatch, Princess Kida, Wilhemina Packard and Commander Roark were featured as guests in House of Mouse.
In improver, several video games were released for various consoles of the fourth dimension, most notably the PC game Atlantis: Trial past Fire. At that place were 2 main "campaigns" the game; Search For The Periodical, which events surrounded the expedition to Republic of iceland in order to find the journal. This segment of the game places the player as one of Rourke's mercenaries (or equally the game simply states "Tempest Troopers") and must fight their way through various obstacles and enemies, which are called "The Keepers". The actor remains in constant radio contact throughout the game, along with the voices of about of the actors in the movie. The "reward" for finding the Journal is a trailer of the pic, besides, the thespian tin can pilot the Whitmore Fly, as seen in the movie, the aircraft Rourke'south mercenaries would use in their attempts to fight off Milo's assault. The 2nd "entrada" of the game Trial by Fire, takes place during the events of the movie, and the role player takes on the role of Milo Thatch. The game follows the pic very closely, and the histrion goes from finding Atlantis to defending information technology. Atlantis: Trial past Burn as well had a multiplayer component, which featured modes similar deathmatch, CTF, and air battles. It also included a ten-minute documentary on how the movie was made.
Jim Varney (who played Cookie) died during production, and several lines near the finish of the picture show had to be filled in by a soundalike.
In a 2020 interview, Kirk Wise revealed that a sequel was being planned out at one bespeak. Information technology would accept introduced a new villain who was described equally "wearing big, scary, wool, beefy, Earth War I-style wearable with a frightening gas mask" and would have lead an army of mercenaries to have back Atlantis to finish Lyle Rourke's work. The twist would have been that this new villain was actually Helga Sinclair who survived her fall at the terminate of the kickoff picture and be brought back equally a "early-20th-century cyborg".[24]
Cast
The Cast of Atlantis: The Lost Empire.
- Michael J. Fox as Milo Thatch
- Cree Summer as Kidagakash "Kida" Nedakh
- James Garner as Commander Lyle Tiberius Rourke
- Corey Burton as Gaetan Molière
- Claudia Christian as Lieutenant Helga Sinclair
- John Mahoney as Preston B. Whitmore
- Phil Morris every bit Doctor Joshua Sweet
- Leonard Nimoy as Kashekim Nedakh
- Don Novello every bit Vincenzo "Vinny" Santorini
- Jacqueline Obradors equally Audrey Ramirez
- Florence Stanley every bit Wilhelmina Packard
- David Ogden Stiers equally Fenton Q. Harcourt
- Jim Varney every bit Jebidiah Allardyce "Cookie" Farnsworth
- Jim Cummings every bit Helmsman, Atlantean Ketak Warrior, Atlantean Lensman, Businessman, Smithsonian Board Member #ane
- Patrick Pinney equally Smithsonian Lath Fellow member #2
- Jack Angel every bit Truck Driver
- Phil Proctor as Atlantean, Explorers
Additional Voices
- Steve Barr - Cookie (boosted dialogue)
Loop Group
- Mickie McGowan - Female Voices
- Bob Bergen - Army Human, Squad Leader
- Rodger Bumpass - Mr Hickenbottom, Main of the Watch
- Jennifer Darling - Atlantean Queen, Female Voices
- Paul Eiding - Sergeant
- Luck Hari - Atlantean
- Sherry Lynn - Atlantean Adult female #2
- Bill Striglos - Male Explorer, Mr James
ADR Loop Grouping
- Corey Burton - Atlantean Man
- Cree Summer - Kida's Mother
Coiffure
| Crew Position | |
|---|---|
| Directed by | Gary Trousdale Kirk Wise |
| Produced past | Don Hahn |
| Original Story past | Gary Trousdale Kirk Wise Joss Whedon Bryce Zabel Jackie Zabel Tab Murphy |
| Screenplay by | Tab Murphy |
| Original Score by | James Newton Howard |
| Associate Producer | Kendra Haaland |
| Art Director | David Goetz |
| Production Design | Mike Mignola, Matt Codd, Ricardo Delgado, Jim E. Martin |
| Film Editor | Ellen Keneshea |
| Artistic Supervisors | John Sanford (Story supervisor) Ed Ghertner (Layout supervisor) Lisa Keene (Background supervisor) Marshall Toomey (Clean-upwards supervisor) Marlon West (Furnishings supervisor) Kihran Bhakta Joshi (Computer Graphics supervisor) |
| Artistic Coordinator | Chris Jenkins |
| Supervising Animators | John Pomeroy (Milo) Michael Surrey (Rourke) Randy Haycock (Princess Kida) Russ Edmonds (Vinny) Ron Husband (Dr Sweet) Yoshimichi Tamura (Helga) Anne Marie Bardwell (Audrey) David Pruiksma (Mrs Packard/Mr Harcourt) Shawn Keller (Preston Whitmore/Cookie) Anthony DeRosa (Molière) Michael Cedeno (Atlantian Male monarch) |
| Product Manager | Igor Khait |
Annie Awards
| Award | Winner/Nominee Recipient(due south) | Result |
|---|---|---|
| Individual Accomplishment in Directing | Gary Trousdale (Director) Kirk Wise (Director) | Nominated |
| Individual Accomplishment in Storyboarding | Chris Ure (Story Artist) | |
| Individual Accomplishment in Production Design | David Goetz (Art Managing director) | |
| Individual Achievement in Effects Animation | Marlon West (Furnishings Supervisor) | |
| Individual Achievement in Vocalism Interim - Female | Florence Stanley ("Mrs Packard") | |
| Private Accomplishment in Voice Interim - Male | Leonard Nimoy ("King Nedakh") |
Political Movie Society awards
It is argued that Atlantis: The Lost Empire is one of Disney's left-wing movies, hence three nominations from the Political Film Society as follows:
| Award | Notes | Result |
|---|---|---|
| Democracy | lost to Y Tu Mamá También | Nominated |
| Human being Rights | lost to Focus | |
| Peace | lost to Lumumba |
Real-life references
Vinnie's final name, "Santorini," is likewise the electric current name of an aboriginal chain of volcanic islands in the Mediterranean that erupted with many times the force of Mount Vesuvius (and predated it by many centuries), devastated the Minoan civilization, and may have been an origin of the Atlantean legend. This might also explicate Vinnie's profound obsession with explosives, although in the film Vinny'southward obsession came when there was an explosion in his family'southward flower shop.
Also, the weaponry is the correct time period (1914, as it says in the beginning of the film) such as: The Lee Enfield, the Lewis Gun, the Broomhandle Mauser, and a variant of the Luger. In that location are various models of Browning .30 Cal Machine Guns mounted on planes and other vehicles as well.
Background
To prepare for the production, the filmmakers visited museums and toured old army installations. They also traveled 800 anxiety underground in New Mexico's Carlsbad Caverns to observe the subterranean trails that would serve as the model for the arroyo to Atlantis in the flick.
When it came to creating the look of the urban center of Atlantis, the filmmakers wanted to avoid the mutual formulation of "Greek columns nether the sea somewhere," says fine art managing director Dave Goetz. Instead, they modeled their Atlantis on the architecture of aboriginal civilizations in Mainland china, South America, and the Middle East.
Gallery
Trivia
- This is the second Disney manus-drawn animated motion-picture show to feature Skywalker Sound, the commencement being Hercules.
- This is the third Disney manus-fatigued animated film to non characteristic whatsoever musical numbers or any characters singing. The first two are The Black Cauldron and The Rescuers Down Under.
References
- ↑ Jensen, Jeff (June 22, 2001). "Loftier Toon: Every bit the loftier-tech Shrek becomes a surprising giant-size success, is the clock ticking for traditionally animated movies?". Retrieved on September 2, 2011.
- ↑ World Premiere of Walt Disney Pictures' ATLANTIS: THE LOST EMPIRE – Update. Yahoo! (June one, 2001). Archived from the original on June 15, 2001. Retrieved on September 22, 2011.
- ↑ Moseley, Doobie (June xv, 2001). "Destination: Atlantis at the El Capitan". LaughingPlace.com. Retrieved on September 1, 2011.
- ↑ "Atlantis: The Lost Empire Weekend Box-Function". Amazon. Retrieved on July 6, 2011.
- ↑ "Atlantis: The Lost Empire International Box-Office". Amazon. Retrieved on July half-dozen, 2011.
- ↑ Wloszczyna, Susan (Oct 31, 2001). "'Toons Get Their Very Own Oscar Category". Retrieved on September 2, 2011.
- ↑ 7.0 7.1 7.ii Atlantis: The Lost Empire. Walt Disney Studios Dwelling Amusement. Archived from the original on June 24, 2011. Retrieved on August 8, 2011.
- ↑ McCourt, Judith (Feb 28, 2002). "DVD Sales Explode in Jan as VHS Wanes". Retrieved on August 29, 2011.
- ↑ Vancheri; Weiskind 2003 p. D–ii "Consider what happened with Atlantis: The Lost Empire. It earned $84 million at the box office and rebounded with another $157 million in DVD and VHS rentals and sales, according to Video Business."
- ↑ Rankins, Michael (May 8, 2002). Atlantis: The Lost Empire: Collector's Edition. DVD Verdict. Archived from the original on July 26, 2011. Retrieved on Baronial 8, 2011.
- ↑ Latchem, John (March 28, 2013). "Adjacent Wave of Disney Blithe Blu-rays Coming Out June 11". Retrieved on March 29, 2012.
- ↑ 12.0 12.1 "Atlantis: The Lost Empire". Retrieved on July 16, 2011.
- ↑ "Atlantis: The Lost Empire". Retrieved on July 3, 2011.
- ↑ Drysdale, Rob (June 19, 2001). "Box Office Analysis: Lara Croft Raids the Box Office". The Trades. Retrieved on September 21, 2011. "Non surprisingly Atlantis scored a very overnice ready of A'southward from both men and women under 21 every bit well as men and women age 21 to 34."
- ↑ Ebert, Roger (June xv, 2001). "Atlantis: The Lost Empire". Retrieved on August thirteen, 2011.
- ↑ Mitchell, Elvis (June viii, 2001). "Atlantis: the Lost Empire (2001) Film REVIEW; Under the Sea, Damp Hakuna Matata". Retrieved on July 4, 2010.
- ↑ Berardinelli, James (June 2001). "Atlantis Review". ReelViews.net. Retrieved on July 4, 2010.
- ↑ Morris, Wesley (June 15, 2001). "Atlantis Is a Find, Disney Emphasizes Adventure over Cuteness, Romance and Vocal". Retrieved on August 13, 2011.
- ↑ Gleiberman, Owen (June 6, 2001). Atlantis: The Lost Empire. Archived from the original on May 27, 2008. Retrieved on June 26, 2008.
- ↑ Turan, Kenneth (July 8, 2001). "Atlantis: The Lost Empire". Retrieved on July iv, 2011.
- ↑ McCarthy, Todd (June 7, 2001). "Atlantis: The Lost Empire". Retrieved on July iv, 2011.
- ↑ Zacharek, Stephanie (June 15, 2001). "Atlantis—Disney'south finally made a cartoon for grown-ups. What was wrong with the old ones they made for kids?". Retrieved on August 13, 2011.
- ↑ Kempley, Rita (June 15, 2001). "'Atlantis': That Sinking Feeling". Retrieved on March 25, 2012.
- ↑ Taylor, Drew (June v, 2020). "Exclusive: 'Atlantis: The Last Empire' Co-Director Kirk Wise Reveals Details of Proposed Sequel". Collider. Retrieved on June 5, 2020.
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Source: https://disney.fandom.com/wiki/Atlantis:_The_Lost_Empire
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