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Atlantis: The Lost Empire

 Atlantis: The Lost Empire

Theatrical-release poster

Directed by Gary Trousdale

Kirk Wise

Produced by Don Hahn

Screenplay by Tab Murphy

David Reynolds (uncredited)

Story by Tab Murphy

Gary Trousdale

Kirk Wise

Bryce Zabel

Jackie Zabel

Joss Whedon (Treatment)

Starring See Cast 

Music by James Newton Howard

Editing by Ellen Keneshea

Studio Walt Disney Pictures

Walt Disney Feature Animation

Distributed by Buena Vista Pictures

Release date(s) • June 3, 2001 (Premiere)

• June 15, 2001 (US)

Running time 95 minutes

Country United States

Language English

Budget $90 – 120 million[][][][1]

Box office $186,053,725[]

 Atlantis: The Lost Empire is a 2001 American animated film created by Walt Disney Feature Animation —the first

science fiction film in Disney's animated features canon and the 41st overall. Written by Tab Murphy, directed by

Gary Trousdale and Kirk Wise, and produced by Don Hahn, the film features an ensemble cast with the voices of 

Michael J. Fox, Cree Summer, James Garner, Leonard Nimoy, Don Novello, and Jim Varney in his final role beforehis death. Set in 1914, the film tells the story of a young man who gains possession of a sacred book, which he

believes will guide him and a crew of adventurers to the lost city of Atlantis.

Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of 

another musical, the production team decided to do an action-adventure film inspired by the works of Jules Verne.

 Atlantis was notable for adopting the distinctive visual style of comic book creator Mike Mignola. At the time of its

release, the film had made greater use of computer-generated imagery (CGI) than any 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 away from hand-drawn animation toward films with full CGI.

 Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, California on June 3, 2001, and went

into general release on June 15. Released by Walt Disney Pictures,  Atlantis performed modestly at the box office.

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Budgeted at $100 million, the film grossed over $186 million worldwide, $84 million of which was earned in North

America. Due to the film's poorer-than-expected box-office performance, Disney quietly canceled both a spin-off 

television series and an underwater attraction at its Disneyland theme park. Some critics praised it as a unique

departure 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; the

Blu-ray released on June 11, 2013. Atlantis is considered to be a cult favorite, due in part to Mignola's unique artistic

influence. A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003.

Plot

The film begins with a large tidal wave, triggered by a distant explosion, which threatens to drown the island of 

Atlantis. In the midst of an evacuation from the capital city, the Queen of Atlantis is caught by a strange, hypnotic

blue light and lifted up into the "Heart of Atlantis", a powerful crystal protecting the city. The crystal consumes her

and creates a dome barrier that protects the city's innermost district. She leaves behind a young daughter, Princess

Kida (Cree Summer), as the island sinks beneath the ocean.

Ten thousand years later, in 1914, Milo Thatch (Michael J. Fox) —a cartographer and linguist at the Smithsonian

Institution who is marginalized for his research on Atlantis —believes that he has found The Shepherd's Journal, an

ancient manuscript allegedly containing directions to the lost island. After his proposal to search for the  Journal is

rejected by the museum board, a mysterious woman, Helga Sinclair (Claudia Christian), introduces Milo to Preston

B. Whitmore (John Mahoney), an eccentric millionaire. Whitmore has already funded a successful effort to retrieve

the Journal as repayment of a debt to Milo's grandfather, and recruits Milo to lead an expedition to Atlantis as soon

as he deciphers it.

The expedition departs with a team of specialists led by Commander Rourke (James Garner), who also led the

 Journal recovery expedition. The crew includes Vinny (Don Novello), a demolitions expert; Mole (Corey Burton), a

geologist; Dr. Sweet (Phil Morris), a medical officer; Audrey (Jacqueline Obradors), a mechanic; Mrs. Packard(Florence Stanley), a radio operator; and Cookie (Jim Varney), a mess cook. They set out in the Ulysses, a massive

submarine, but are soon attacked by the monstrous Leviathan, a robotic lobster-like creature that guards Atlantis'

entrance. The Ulysses is destroyed, but Milo, Rourke, and part of the crew escape and make their way to an

underground cavern, described in the Journal as the entrance to Atlantis.

After traveling through a network of caves and a dormant volcano, the team reaches Atlantis. They are greeted by

Kida —who, despite her age, resembles a young woman —and discover that the Atlantean language is the basis of 

many existing languages (which allows the Atlanteans to understand English). Kida enlists Milo's aid in deciphering

the Atlantean written language, long forgotten by the natives. By swimming deep within the city's submerged ruins

and translating underwater murals, Milo helps Kida uncover the nature of the Heart of Atlantis: it supplies the

Atlanteans with power and longevity through the crystals worn around their necks. He is surprised this is notmentioned in the Journal, but upon examination realizes a page is missing.

Returning to the surface with Kida, Milo discovers Rourke has the missing page. Rourke and the crew betray Milo,

intending to bring the crystal to the surface and sell it. Rourke mortally wounds the King of Atlantis (Leonard

Nimoy) while trying to extract information about the crystal's location, but finds its location for himself hidden

beneath the King's throne room. The crystal detects a threat and merges with Kida. Rourke and the mercenaries lock 

Kida in a crate and prepare to leave the city. Knowing that when the crystal is gone the Atlanteans will die, Milo

berates his friends for betraying their consciences and ultimately convinces them to leave Rourke and remain in

Atlantis. The King explains to Milo that the crystal has developed a consciousness; it will find a royal host when

Atlantis is in danger. As he dies he gives his crystal to Milo, telling him to save Atlantis and Kida. Encouraged by

Sweet, Milo rallies the crew and the Atlanteans to stop Rourke.

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In a battle inside the volcano, Helga and the other mercenaries are defeated, including Rourke, who is killed when

Milo slashes his arm with a crystal shard and then collides with his air ship's propellers. As Milo and the others fly

the crystal back to the city, the volcano erupts. With lava flowing towards the city, Kida (in her crystal form) rises

into the air and creates a protective shield. The lava breaks away harmlessly, showing a restored Atlantis, and the

crystal returns Kida to Milo. The surviving crew members return to the surface and promise to keep the discovery of 

Atlantis a secret. Milo, in love with Kida, stays behind to help her rebuild the lost empire.

Cast

• Michael J. Fox as Milo James Thatch, a linguist and cartographer who was recruited to decipher The Shepherd's

 Journal while directing an expedition to Atlantis. Kirk Wise, one of the directors, said that they chose Fox for the

role because they felt he gave his characters his own personality and made them more believable on screen. Fox

said that voice acting was much easier than his past experience with live action because he did not have to worry

about what he looked like in front of a camera while delivering his lines.[2]

The directors mentioned that Fox was

also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose

 Atlantis.[3]

Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who

developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John

Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[]

• Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis. Kida's supervising animator, Randy

Haycock, stated that Summer was very "intimidating" when he first met her; this influenced how he wanted Kida

to look and act on screen when she meets Milo.[4]

• James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries who are hired for the

Atlantean expedition. Wise chose Garner because of his previous experience with action films, especially war and

Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner

replied, "I'd do it in a heartbeat."[5]

• Corey Burton as Gaëtan "Mole" Molière, a French geologist who acts like a mole. Burton mentioned that finding

his performance as Mole was by allowing the character to "leap out" of him while making funny voices. To get

into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm

in this make-believe world".[6]

• Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's second-in-command. Christian described her

character as "sensual" and "striking". She was relieved when she finally saw what her character looked like,

 joking, "I'd hate to, you know, go through all this and find out my character is a toad."[7]

• John Mahoney as Preston B. Whitmore, a wealthy eccentric who funds the expedition to Atlantis. Lloyd Bridges

was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor

led to Whitmore's personality being reworked for the film.[8]

Mahoney stated that doing voice work was "freeing"

and allowed him to be "big" and "outrageous" with his character.[9]

• Phil Morris as Doctor Joshua Strongbear Sweet, a medic of African American and Native American descent.

Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync

with Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with

"no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real

solemn."[10]

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External audio

 Podcast interview about the film with cast members Phil Morris, Cree Summer, Don Novello, Claudia Christian, and Corey

 Burton.

Interview[11]

, from here[12]

 retrieved July 3, 2012

• Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. Michael Cedeno, supervising

animator for King Nedakh, was astounded at Nimoy's voice talent, stating that he had "so much rich character" in

his performance. As he spoke his lines, Cadeno said the crew would sit there and watch Nimoy in

astonishment.[13]

• Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Kirk Wise and Russ Edmonds,

Vinny's supervising animator, noted Novello's unique ability to improvise dialogue. Edmonds recalled, "[Novello]

would look at the sheet, and he would read the line that was written once, and he would never read it again! And

we never used a written line, it was improvs, the whole movie."[14]

• Jacqueline Obradors as Audrey Rocio Ramirez, a teenage female Puerto Rican mechanic and the youngest

member of the expedition. Obradors said her character made her "feel like a little kid again" and she always

hoped her sessions would last longer.[15]

• Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator. Stanley felt

that Packard was very "cynical" and "secure": "She does her job and when she is not busy she does anything she

wants."[16]

• David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's

belief in the existence of Atlantis. Stiers previously worked with Michael J. Fox in Doc Hollywood .

• Jim Varney as Jebidiah Allerdyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died of lung

cancer in February 2000, before production ended, and the film was dedicated to his memory. Producer Don Hahn

was saddened that Varney never saw the finished film, but mentioned that he was shown clips of his character's

performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie,

stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he

passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last

performance."[17]

Production

Development

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The production 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

October 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[18]

the producer and directors

wanted to keep the Hunchback crew together for anotherfilm with an Adventureland setting.

[19]Drawing

inspiration from Jules Verne's A Journey to the Center of 

the Earth (1864), they set out to make a film which would

fully explore Atlantis (compared to the brief visit

depicted in Verne's novel).[20]

While primarily utilizing

the Internet to research the mythology of Atlantis,[21]

the

filmmakers became interested in the clairvoyant readings

of Edgar Cayce and decided to incorporate some of his

ideas —notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans —into the

story.[22]

They also visited museums and old army installations to study the technology of the early 20th century (thefilm's time period), and traveled 800 feet underground in New Mexico's Carlsbad Caverns to view the subterranean

trails which would serve as a model for the approach to Atlantis in the film.[23]

The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said

Wise.[24]

"From the get-go, we were committed to designing it top to bottom. Let's get the architectural style,

clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who

would help us develop those ideas."[]

Art director David Goetz stated, "We looked at Mayan architecture, styles of 

ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian

architecture."[25]

The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan

works.[26]

Hahn added, "If you take and deconstruct architecture from around the world into one architectural

vocabulary, that's what our Atlantis looks like."[27]

The overall design and circular layout of Atlantis were also based

on the writings of Plato,[26]

and his quote "in a single day and night of misfortune, the island of Atlantis disappeared

into the depths of the sea"[28]

was influential from the beginning of production.[18]

The crew wore T-shirts which

read "ATLANTIS —Fewer songs, more explosions" due the film's plan as an action-adventure (unlike previous

Disney animated features, which were musicals).[29]

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Language

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".

Marc Okrand, who developed the Klingon language for the Star 

Trek  films, was hired to devise the Atlantean language for

 Atlantis: The Lost Empire. 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. Hewould change the words if they began to sound too much like an

actual, spoken language.[]

John Emerson designed the written

component, making hundreds of random sketches of individual

letters from among which the directors chose the best to represent

the Atlantean alphabet.[30][31]

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 the flow of water.[]

The Atlantean [A] is a shape developed by John Emerson. It

is a miniature map of the city of Atlantis (i.e., the outside of 

the swirl is the cave, the inside shape is the silhouette of the

city, and the dot is the location of the crystal). It's a treasure

map.

 —Kirk Wise, director[32]

Writing

Joss Whedon was the first writer to be involved with the film, but soon left to work on other Disney projects.[33]

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 155 pages, much longer than a typical

Disney film script (which usually runs 90 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.[34]

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.[35]

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[36]

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.[37]

The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist,

changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with

extending eyeballs", said Wise.[38][39]

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."[]

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Hahn stated that the first animated sequence completed during production was the film's prologue. 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 prologue

did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue

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.[40]

The Viking prologue is included as an extra feature on the DVD release.[41]

Animation

At the peak of its production, 350 animators, artists and technicians were working on  Atlantis[42]

at all three Disney

animation studios: Burbank, California, Orlando, Florida and Paris, France.[43]

The film was one of the few Disney

animated features produced and shot in 70mm anamorphic format. The directors felt that a widescreen image was

crucial, as a nostalgic reference to old action-adventure films presented in the Cinemascope format (2.35:1), noting

 Raiders of the Lost Ark as an inspiration.[44]

Because switching to the format would require animation desks and

equipment designed for widescreen to be purchased, Disney executives were at first reluctant of the idea.[]

Theproduction team found a simple solution by drawing within a smaller frame on the same paper and equipment used

for standard aspect ratio (1.66:1) Disney-animated films.[44]

Layout supervisor Ed Chertner wrote a guide to the

widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could

keep characters in scenes longer because of additional space to walk within the frame.[45]

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.[46]

"Mignola's graphic, angular style was a key influence on the 'look' of the characters," stated Wise.[47]

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.[48]

I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to

the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole

meeting about how to do your hands." It was so weird I couldn't wrap my brain around it.

 —Mike Mignola[]

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 16-inch piece of paper showing aclose-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the

equivalent of an 18,000-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.[49]

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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, theHeart of Atlantis, and the Stone Giants.

[50]During production, 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 362 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.[51]

The digital production also gave the directors a unique "virtual camera" for complicated shots within thefilm. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; 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.[52]

Music and sound

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 an Indonesian orchestral sound incorporating

chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes withoutdialogue; the score would need to convey emotionally what the viewer was seeing on screen.

[53]

Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[54]

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.[55]

Release

Promotion

 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 give-away for UPC labels from

specially marked packages of  Atlantis breakfast cereal.[42]

The film was one of Disney's first marketing attempts

through mobile network operators, and allowed users to download games based on the film.[56]

McDonald's (which

has 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.[57]

Frito-Lay offered free admission tickets for the film on

specially marked snack packages.[58]

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Box office

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 toit."

[]Jeff Jensen of  Entertainment Weekly noted that CGI films (such as Shrek ) were more likely to attract the

teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[59]

 Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, California on June 3,

2001[60]

and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[][]

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.[61]

With a budget of $100 million,[]

the film

opened at #2 on its debut weekend, earning $20.3 million in 3,011 theaters.[62]

The film's international release began

September 20 in Australia and other markets followed suit.[63]

During its 25-week theatrical run, Atlantis: The Lost 

 Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[] Responding to its

disappointing box-office performance, Thomas Schumacher, 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."[64]

Home media

 Atlantis: The Lost Empire was released on VHS and DVD January 29, 2002.[]

During the first month of its home

release, the film led in VHS sales and was third in VHS and DVD sales combined.[65]

Sales and rentals of the VHS

and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[66]

Both a single-disc DVD

edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer

the option of viewing the film either in its original theatrical 2.35:1 aspect ratio or a modified 1.33:1 ratio (utilizing

pan and scan). 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 prologue scene.[]

The two-disc collector's edition DVD contained all the single-disc features and a

disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only

be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however,

contained a Dolby Digital 5.1 track and were THX certified.[][67]

Disney announced that Atlantis would be digitally

remastered and released on Blu-ray on June 11, 2013 bundled with its sequel Atlantis: Milo's Return.[]

Reception

Critical response

 Atlantis: The Lost Empire received mixed reviews from film critics. Review aggregator Rotten Tomatoes reports that

49 percent of 140 professional critics have given Atlantis: The Lost Empire a positive review, with a rating average

of 5.5 out of 10.[]

The site's consensus is that "Atlantis provides a fast-paced spectacle, but stints on such things as

character development and a coherent plot".[]

Metacritic assigned the film a weighted average score of 52 out of 100

based on 29 reviews from mainstream critics; this was considered "mixed or average reviews".[68]

CinemaScore

polls conducted during the opening weekend revealed the average grade cinema-goers gave  Atlantis: The Lost 

 Empire was an A on an A+-to-F scale.[69]

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 

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Atlantis: The Lost Empire 10

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."[70]

In The N ew York Times, Elvis Mitchell gave high praise to the

film, calling it "a monumental treat", and stated, " Atlantis is also one of the most eye-catching Disney cartoons since

Uncle Walt institutionalized the four-fingered glove."[71]

James Berardinelli, film critic for ReelViews, wrote a

positive review of the film, giving it three out of four stars. 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."[72]

Wesley Morris of the

San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface,

 Atlantis brims with adult possibility."[73]

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. Owen Gleiberman of  Entertainment Week ly gave the film a C+ rating,

writing that the movie had "gee-whiz formulaic character" and was "the essence of craft without dream".[74]

Kenneth

Turan of the Los Angeles Times noted the storyline and characterizations were "old-fashioned" and the film had the

retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic

pace.[75]

Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end,no-fun animated territory."

[76]Stephanie Zacharek of Salon loathed the film, specifically Disney's attempt to make

the film for an adult audience, of which she wrote, "The big problem with Disney's 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."[77]

Rita Kempley

of The Washington Post panned the film, calling it a "new-fashioned but old-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 ."[78]

Themes and interpretations

Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism.

M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the

character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the

knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[79]

Religion journalist Mark 

Pinsky, in his exploration of moral and spiritual themes in popular Disney films, asserts that "it is impossible to read

the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[80]

Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers

intent on uncovering the lost city. Damn the imperialists!"[81]

According to Booker, the film also "delivers a rather

segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in

order to maintain a separation between the two highly divergent cultures.[82]

Others saw  Atlantis as an interesting

look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[83]

When the film was released, some viewers noticed that Atlantis: The Lost Empire bore a number of similarities to the

1990 – 1991 Japanese anime television program Nadia: The Secret of Blue Water and the 1986 film Castle in the Sky

from Studio Ghibli, particularly in its character design, setting, and story.[84]

Although Disney never responded

formally to claims of plagiarism, co-director Kirk Wise posted on a Disney animation news group in May 2001,

"Never heard of  Nadia  till it was mentioned in this [news group]. Long after we'd finished production, I might

add."[85]

Both Atlantis and  Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues

Under the Sea, of which Lee Zion (reporting for Anime News Network) wrote, "There are too many similarities not 

connected with 20,000 Leagues for the whole thing to be coincidence."[86]

Critics also saw parallels with the 1994

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.[87]

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Atlantis: The Lost Empire 11

Accolades

Award Category Name Outcome

29th Annie Awards[88] Individual Achievement in

Directing

Gary Trousdale and Kirk WiseNominated

Individual Achievement inStoryboarding

Chris Ure Nominated

Individual Achievement in

Production Design

David GoetzNominated

Individual Achievement in

Effects Animation

Marlon WestNominated

Individual Achievement in

Voice Acting – Female

Florence StanleyNominated

Individual Achievement in

Voice Acting – Male

Leonard NimoyNominated

Individual Achievement forMusic Score

James Newton Howard Nominated

2002 DVD Exclusive

Awards[89]

Original Retrospective

Documentary

Michael PellerinNominated

2002 Golden Reel

Award[90]

Best Sound Editing – 

Animated Feature Film

Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John

K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and

Susan Sanford

Won

Online Film Critics

Society Awards

2001[91]

Best Animated Feature

Nominated

2002 Political Film

Society[92]

Democracy Nominated

Human Rights Nominated

Peace Nominated

World Soundtrack 

Awards[93]

Best Original Song for Film Diane Warren and James Newton HowardNominated

Young Artist

Awards[94]

Best Feature Family Film – 

Drama

Walt Disney Feature AnimationNominated

Related works Atlantis: the Lost Empire was meant to provide a springboard for an animated television series entitled Team

 Atlantis, which would have presented the further adventures of its characters. However, because of the film's

under-performance at the box office the series was not produced. On May 20, 2003, Disney released a

direct-to-video sequel called Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[95]

In addition, Disneyland planned to revive its Submarine Voyage ride with an Atlantis theme with elements from the

movie and the ride was promoted with a meet-and-greet by the movie's characters. These plans were canceled and

the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on Pixar's 2003 film

 Finding Nemo.[96]

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Atlantis: The Lost Empire 12

Soundtrack

 Atlantis: The Lost Empire

Soundtrack album by James Newton Howard

Released May 22, 2001

Length 53:56

Label Walt Disney

Producer James Newton Howard

Jim Weidman

The soundtrack to Atlantis: The Lost Empire was released on May 22, 2001. It consists primarily of James Newton

Howard's score and includes "Where the Dream Takes You", written by Diane Warren and performed by Mýa. It

was also available in a limited edition of 20,000 numbered copies with a unique 3D album cover insert depicting the

Leviathan from the film. A rare promotional edition (featuring 73 minutes of material, compared to the 53 minutes

on standard commercial editions) was intended only for Academy of Motion Picture Arts and Sciences voters, but

was bootlegged and distributed with fan-created artwork. Concerning the promotional edition, Filmtracks said,

"Outside of about five minutes of superior additional material (including the massive opening, "Atlantis Destroyed"),

the complete presentation is mostly redundant. Still, Atlantis is an accomplished work for its genre."[97]

Video games

There are several video games based on the film.  Atlantis The Lost Empire: Search for the Journal (commonly

known as Atlantis: Search for the Journal) was developed by Zombie Studios and published by Buena Vista Games,

a subsidiary of Disney Interactive. It was released on May 1, 2001 for the Microsoft Windows platform and was a

first-person shooter game, the first of two games based on the film developed by Zombie Studios and released for

UPC labels from Kellogg's products for promotion.[98][99]

  Atlantis: The Lost Empire— Trial by Fire (commonly

known as  Atlantis: Trial by Fire) was the second game developed by Zombie Studios and published by Disney

Interactive, and was released May 18, 2001 for the Microsoft Windows platform.[100]

  Atlant is: The Lost Empire is an

action game developed by Eurocom for the PlayStation console which was released July 12, 2001. The player

controls Milo, Audrey, Molière, and Vinny as they traverse Atlantis, unlocking its secrets. Some features in the game

unlock others (such as a movie) by finding items hidden throughout the game.[101]

THQ released Disney's Atlantis:

The Lost Empire for the Game Boy Advance and Game Boy Color. It is a platform game in which the player controls

Milo and three other characters from the film across 14 levels on a quest to discover Atlantis.[102][103]

Notes and references

Notes

[1] Since the estimated budget has a range, the officially reported budget of $100 million cited by The New York Times from Disney executives is

used within this article's prose for clarity.

[2] Supplemental Features: Animation Production: The Voices of Atlantis at 0:20 – 0:56

[4] Supplemental Features: Animation Production: The Voices of Atlantis at 2:32 – 2:50

[5] Supplemental Features: Animation Production: The Voices of Atlantis at 3:50 – 4:31

[6] Supplemental Features: Animation Production: The Voices of Atlantis at 6:55 – 7:10

[7] Supplemental Features: Animation Production: The Voices of Atlantis at 10:18 – 10:39

[8][8] Kurtti 2001, p. 15.

[9] Supplemental Features: Animation Production: The Voices of Atlantis at 4:55 – 5:07

[10] Supplemental Features: Animation Production: The Voices of Atlantis at 8:20 – 9:13

[11] http:/   /  tiaratalkshow. podomatic. com/  enclosure/  2012-07-02T05_57_30-07_00.  mp3

[12] http:/   /  www. tiaratalkshowpodcast. com/  2012/  07/  27-tiara-talks-interview-with-atlantis. html

[13] Supplemental Features: Animation Production: The Voices of Atlantis at 3:00 – 3:43

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Atlantis: The Lost Empire 13

[14] Supplemental Features: Animation Production: The Voices of Atlantis at 7:18 – 7:47

[15] Supplemental Features: Animation Production: The Voices of Atlantis at 5:59 – 6:07

[16] Supplemental Features: Animation Production: The Voices of Atlantis at 9:38 – 9:51

[17] Supplemental Features: Animation Production: The Voices of Atlantis at 10:45 – 11:31

[18][18] Kurtti 2001, p. 9.

[19] Supplemental Features: History: The Journey Begins at 0:08 – 3:05

[20] Supplemental Features: Story and Editorial: Finding the Story at 3:24 – 3:57

[21] Supplemental Features: History: Creating Mythology at 0:30 – 

1:10

[22] Supplemental Features: History: Creating Mythology at 3:48 – 4:20

[23] Supplemental Features: Art Direction: Designing Atlantis at 5:42 – 9:18

[24] Supplemental Features: Art Direction: Designing Atlantis at 9:30 – 9:33

[25] Supplemental Features: Art Direction: Designing Atlantis at 9:50 – 10:02

[26][26] Kurtti 2001, p. 55.

[27] Supplemental Features: Art Direction: Designing Atlantis at 10:37 – 10:44

[28] Plato c. 360 BCE, Timaeus, Sections 25c – d (http:/   /  www. perseus. tufts. edu/  hopper/  text?doc=Perseus:text:1999. 01. 0180:text=Tim.

:section=25c). "But at a later time there occurred portentous earthquakes and floods, and one grievous day and night befell them, when the

whole body of your warriors was swallowed up by the earth, and the island of Atlantis in like manner was swallowed up by the sea and

vanished."

[29] Supplemental Features: History: The Journey Begins at 5:28 – 5:40

[30] Supplemental Features: History: Creating Mythology at 5:20 – 

5:47[31][31] Kurtti 2001, p. 40.

[32][32] Kurtti 2001, p. 82.

[33][33] Lavery 2011, p. 91.

[34] Supplemental Features: History: Creating Mythology at 5:58 – 6:18

[35] Supplemental Features: Story and Editorial: Finding the Story at 3:58 – 7:40

[36][36] Kurtti 2001, p. 50.

[37] Supplemental Features: Story and Editorial: Finding the Story at 2:55 – 3:24

[39]  Audio Commentary at 17:12 – 18.00

[40] Supplemental Features: Story and Editorial: Finding the Story at 7:40 – 10:25

[41] Supplemental Features: Story and Editorial: Four Deleted Scenes— "The Viking Prologue"' 

[42][42] Raugust 2004, n.p.

[44] Supplemental Features: Animation Production: Setting the Scene at 1:10 – 2:28

[45] Supplemental Features: Animation Production: Setting the Scene at 2:30 – 3:17

[46] Supplemental Features: Art Direction: Designing Atlantis at 0:50 – 4:33

[47][47] Kurtti 2001, ap. 27.

[49] Supplemental Features: Animation Production: Setting the Scene at 9:44 – 11:26

[50] Supplemental Features: Digital Production at 0:09 – 4:45

[51] Supplemental Features: Digital Production at 8:15 – 9:33

[52] Supplemental Features: Digital Production at 5:00 – 6:20

[53] Supplemental Features: Music and Sound at 5:00 – 8:45

[54]  Audio Commentary at 1:50 – 2:10

[55] Supplemental Features: Music and Sound at 0:05 – 4:48

[66] Vancheri; Weiskind 2003 p. D – 2 "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."

[79][79] Booker 2009, p. 68.[80][80] Pinsky 2004, p. 202.

[82][82] Booker 2009, p. 69.

[83][83] Montalbano 2010, p. 183.

[85][85] Patten 2004, p. 187.

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Atlantis: The Lost Empire 14

References

Bibliography

Books

• Booker, M. Keith (2009). Disney, Pixar, and the Hidden Messages of Children's Films (http:/   /  books. google.

com/  books?id=jD9_0jxVmqUC). Westport, CT: Praeger. ISBN 978-0-313-37672-6.• Kurtti, Jeff (2001). Atlantis: The Lost Empire— The Illustrated Script . Burbank, CA: Disney Press.

ISBN 978-0-7868-5327-4.

• Lavery, David; Burkhead, Cynthia, eds. (2011). Joss Whedon: Conversations (http:/   /  books. google.com/ 

books?id=IPNSR9PQ76gC& q=atlantis#v=snippet& q=atlantis& f=false). Jackson, MS: University Press of 

Mississippi. ISBN 978-1-60473-923-7.

• Montalbano, Dave (2010). The Adventures of Cinema Dave in the Florida Motion Picture World (http:/   /  books.

google. com/  books?id=hvfExNxOXpsC). Xlibris. ISBN 978-1-4500-2396-2.

• Patten, Fred (2004). "Simba – Kimba Redux? The Nadia Versus Atlantis Affair" (http:/   /  books. google. com/ 

books?id=81Y1TVYQSrEC& pg=PA185). Watching Anime, Reading Manga: 25 Years of Essays and Reviews.

Berkeley, CA: Stone Bridge Press. pp. 185 – 

189. ISBN 978-1-880656-92-1.

• Pinsky, Mark I. (2004). "Chapter 31: Atlantis (2001): Adventure Capitalism" (http:/   /  books. google. com/ 

books?id=YGtbYTyulb4C& pg=PA194). The Gospel According to Disney: Faith, Trust, and Pixie Dust .

Louisville, KY: Westminster John Knox Press. pp. 194 – 202. ISBN 978-0-664-22591-9.

• Plato (1929) [c. 360 BCE]. "Timaeus" (http:/   /  www. perseus. tufts.edu/  hopper/  text?doc=Perseus:text:1999. 01.

0180:text=Tim. ). Plato; in Twelve Volumes, with an English Translation— Vol. 9: Timaeus, Critias, Cleitophon,

 Menexenus, Epistles. Robert Gregg Bury, trans. Cambridge, MA: Harvard University Press. OCLC 24252251

(http:/   /  www.worldcat. org/  oclc/  24252251).

• Raugust, Karen (2004). The Animation Business Handbook . New York City, NY: St. Martin's Press.

ISBN 978-1-4299-6228-5.

DVD media

• Don Hahn (prod.), Gary Trousdale (dir.), & Kirk Wise (dir.) (January 29, 2002). Atlantis: The Lost 

 Empire—  Audio Commentary (DVD). Disc 1 of 2 (Collector's ed.). Burbank, CA: Walt Disney Studios Home

Entertainment. UPC 786936163872 (http:/   /  www. searchupc. com/  ?q=786936163872).

• Various cast and crew members (January 29, 2002). Atlantis: The Lost Empire— Supplemental Features (DVD).

Disc 2 of 2 (Collector's ed.). Burbank, CA: Walt Disney Studios Home Entertainment. UPC 786936163872

(http:/   /  www.searchupc.com/  ?q=786936163872).

Periodicals

• Vancheri, Barbara; Weiskind, Ron (July 17, 2003). " Nemo-like Stories Pulling Folks into Animated Movies".

 Pittsburgh Post-Gazette. p. D – 

2.

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Atlantis: The Lost Empire 15

External links

• Official website (http:/   /  disneydvd. disney. go. com/  atlantis-the-lost-empire. html#4102)

•  Atlantis: The Lost Empire (http:/   /  www.imdb.  com/  title/  tt0230011/  ) at the Internet Movie Database

•  Atlantis: The Lost Empire (http:/   /  www.bcdb. com/  bcdb/  cartoon.cgi?film=15584) at the Big Cartoon DataBase

•  Atlantis: The Lost Empire (http:/   /  www.boxofficemojo.com/  movies/  ?id=atlantis. htm) at Box Office Mojo

•  Atlantis: The Lost Empire (http:/   /  www.rottentomatoes. com/  m/  atlantis_the_lost_empire/  ) at Rotten Tomatoes•  Atlantis: The Lost Empire (http:/   /  www.metacritic. com/  movie/  atlantis-the-lost-empire) at Metacritic

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