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Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like. The Atlantean letter A , created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Guided by the directors' initial concept for it to be a "mother language", Okrand employed an Indo-European word stock with its own grammatical structure.

He would change the words if they began to sound too much like an actual, spoken language. The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate water flow. Joss Whedon was the first writer to be involved with the film, but soon left to work on other Disney projects. Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".

The initial draft was pages, much longer than a typical Disney film script which usually runs 90 pages. When the first two acts were timed at 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 film a faster pace because Atlantis is discovered earlier in the story. The character of Milo Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.

Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as solely action scenes would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one 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 animated sequence completed during production was the film's prolog. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end 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 it 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 by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.

The Viking prolog is included as an extra feature on the DVD release. For comparison, the top image panoramic view of Atlantis is cropped to Disney's standard aspect ratio 1. At the peak of its production, animators, artists, and technicians were working on Atlantis at all three Disney animation studios: Burbank, California , Orlando, Florida , and Paris , France.

The film was one of the few Disney animated features produced and shot in 70mm anamorphic format. The directors felt that a wide-screen image was crucial, as a nostalgic reference to old action-adventure films presented in the Cinemascope format 2. Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant to the idea. The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio 1.

Layout supervisor Ed Ghertner wrote a guide to the wide-screen format for use by the layout artists and mentioned that one advantage of wide-screen was that he could keep characters in scenes longer because of additional space to walk within the frame. Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa. The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy.

Mignola was one of four production designers along with Matt Codd, Jim Martin, and Ricardo Delgado hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character and background designs, and story ideas. Mignola was surprised when first contacted by the studio to work on Atlantis.

His artistic influence on the film would later contribute to a cult following. The final pull-out scene of the movie, immediately before the end-title card, was described by the directors as the most difficult scene in the history of Disney animation.

They said that the pullout attempt 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 again in Atlantis. The scene begins with one 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 18,inch piece of paper composed of many individual pieces of paper 24 inches or smaller.

Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image. Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production. At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery CGI than any other Disney-animated feature. 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 Heart of Atlantis, and the Stone Giants. After Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine to be used as a reference for drawing the 3D Ulysses.

The final film included digital-effects shots, and computer programs were used to seamlessly join the 2D 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 it, a 2D Milo was drawn to appear inside, tracking the camera.

The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged. The digital production also gave the directors a unique "virtual camera" for complicated shots within 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 flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit. Since the film would not feature any musical interludes, the directors hired James Newton Howard to compose the score. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis.

In the case of Atlantis, Howard chose Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen. Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production. Like Howard, Rydstrom employed different sounds for the two 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 made by the Atlantean flying-fish vehicles posed a particular challenge.

Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer he felt it sounded very organic, and that is what is heard within the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, and the sound of sub-pods moving through water with a water pick. Atlantis was promoted at Disneyland with models of the characters Kida and Milo displayed on Main Street.

Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game giveaway for UPC labels from specially marked packages of Atlantis breakfast cereal.

The film was one of Disney's first marketing attempts through mobile network operators and allowed users to download games based on the film. McDonald's which had an exclusive licensing agreement on all Disney releases promoted the film with Happy Meal toys, food packaging, and in-store decor.

The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date. Frito-Lay offered free admission tickets for the film on specially marked snack packages.

Before the film's 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 action-adventure film from Paramount Pictures. Regarding the market's shift from traditional animation and competition with CGI films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge.

I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it. 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 also loaned a variety of fish for display within the attraction. Responding to its disappointing box-office performance, Thomas Schumacher , then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed.

The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2. Bonus features available on the DVD version included audio and visual commentary from the film 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.

The collector's edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.

Atlantis: The Lost Empire received mixed reviews from film critics. While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and its attempt to appeal to an older audience.

Roger Ebert gave Atlantis three-and-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", 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, but the climactic scene transcends the rest and stands by itself as one of the great animated action sequences.

He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division. Other critics felt that the film was mediocre in regards to its story and characters and that it failed to deliver as a non-musical to Disney's traditional audience.

It has also been criticized by some viewers of the film bearing a resemblance to a famous s Japanese anime television show, Nadia: The Secret of Blue Water. The similarities include character designs, story flow, the background settings, and more.

The director Kirk Wise has stated he never even heard of such a show when Atlantis was in production. Critics also saw parallels with the film Stargate. Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 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.

Atlantis is notable as one of the few animated films shot in the anamorphic widescreen process. To prevent having to purchase and implement larger animation desks, longer animation paper, and so forth, the production team resorted to working within 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 motion picture language consultant Dr. Marc Okrand , who developed the Atlantean language for this movie Okrand has said that animator John Pomeroy sketched him, claiming not to know what a linguist looked or behaved like. Additionally, an interesting aspect of the film is that very few of the characters are under the age of 30, a rare component for a Disney animated feature.

Also, Atlantis is the first animated Disney feature since to have a black character, Dr. Joshua Sweet, in the roster of main characters.

On a side note, Atlantis was one of the last Disney films to include a smoking character, Packard, who consistently puffed a cigarette, only had a minor role. The film was originally supposed to provide a springboard for an animated television series titled Team Atlantis , which would have detailed the further adventures of the characters from the film. However, because of its disappointing box office intake, the series was scrapped.

On May 20, , Disney released a direct-to-video sequel called Atlantis: Milo's Return , which consisted mostly of stories originally produced for the aborted series. In addition, several video games were released for various consoles of the time, most notably the PC game Atlantis: Trial by Fire. There were two main "campaigns" the game; Search For The Journal, which events surrounded the expedition to Iceland in order to find the journal. This segment of the game places the player as one of Rourke's mercenaries or as the game simply states "Storm Troopers" and must fight their way through various obstacles and enemies, which are called "The Keepers".

The player remains in constant radio contact throughout the game, along with the voices of most of the actors in the movie. The "reward" for finding the Journal is a trailer of the movie, also, the player can pilot the Whitmore Wing, as seen in the movie, the aircraft Rourke's mercenaries would use in their attempts to fight off Milo's attack.

The second "campaign" of the game Trial by Fire , takes place during the events of the movie, and the player takes on the role of Milo Thatch. The game follows the movie very closely, and the player goes from finding Atlantis to defending it.

Atlantis: Trial by Fire also had a multiplayer component, which featured modes like deathmatch, CTF, and air battles. It also included a minute documentary on how the movie was made. Jim Varney who played Cookie died during production, and several lines near the end of the film had to be filled in by a soundalike. In a interview, Kirk Wise revealed that a sequel was being planned out at one point. It would have introduced a new villain who was described as "wearing big, scary, wool, bulky, World War I-style clothing with a frightening gas mask" and would have lead an army of mercenaries to take 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 end of the first film and be brought back as a "earlyth-century cyborg". Vinnie's last name, "Santorini," is also the current name of an ancient 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 explain Vinnie's profound obsession with explosives, although in the film Vinny's obsession came when there was an explosion in his family's flower shop.

Also, the weaponry is the correct time period , 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. There are various models of Browning. To prepare for the production, the filmmakers visited museums and toured old army installations.

They also traveled feet underground in New Mexico's Carlsbad Caverns to observe the subterranean trails that would serve as the model for the approach to Atlantis in the film.

When it came to creating the look of the city of Atlantis, the filmmakers wanted to avoid the common conception of "Greek columns under the sea somewhere," says art director Dave Goetz. Instead, they modeled their Atlantis on the architecture of ancient civilizations in China, South America, and the Middle East. Disney Wiki Explore. Toy Story Monsters, Inc. Video Games. Explore Wikis Community Central. Register Don't have an account? Atlantis: The Lost Empire.

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