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Atlantis: The Lost Empire
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Atlantis: The Lost Empire
The expedition crew stand together as a mysterious woman is floating in the background, surrounded by stone effigies and emitting brilliant white beams of light from a crystal necklace.
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 dates
June 3, 2001(Premiere)
June 15, 2001(US)
 
Running time
95 minutes
Country
United States
Language
English
Budget
$90–120 million[1][2][3][nb 1]
Box office
$186,053,725[3]
Atlantis: The Lost Empireis a 2001 American animatedaction-adventure filmcreated by Walt Disney Feature Animation—the first science fiction filmin Disney's animated features canonand the 41st overall. Written by Tab Murphy, directed by Gary Trousdaleand 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 Varneyin his final role before his 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. Atlantiswas 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. LinguistMarc Okrandcreated a languagespecifically for use in Atlantis, while James Newton Howardprovided the score. The film was released at a time when audience interest in animated films was shifting away from hand-drawn animationtoward films with full CGI.
Atlantis: The Lost Empirepremiered at the El Capitan Theatrein Hollywood, Californiaon June 3, 2001, and went into general release on June 15. Released by Walt Disney Pictures, Atlantisperformed modestly at the box office. Budgeted at $100 million, the film grossed over $186 millionworldwide, $84 millionof 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 Disneylandtheme 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. Atlantiswas 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-rayreleased on June 11, 2013. Atlantisis 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.


Contents [hide]
1Plot
2Cast
3Production3.1Development3.1.1Language
3.2Writing
3.3Animation
3.4Music and sound
4Release4.1Promotion
4.2Box office
4.3Home media
5Reception5.1Critical response
5.2Themes and interpretations
5.3Accolades
6Related works6.1Soundtrack
6.2Video games
7See also
8Notes
9References9.1Bibliography
10External links

Plot[edit]
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), and husband, King Kashekim Nedakh (Leonard Nimoy), 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 Institutionwho 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 Journalis 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 Journalas 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 Journalrecovery expedition. The crew includes Vinny (Don Novello), a demolitions expert; Mole (Corey Burton), a geologist; Dr. Sweet (Phil Morris), a medical officer; Mrs. Packard (Florence Stanley), a radio operator; Audrey (Jacqueline Obradors), a mechanic; 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 Ulyssesis destroyed, but Milo, Rourke, and part of the crew escape and make their way to an underground cavern, described in the Journalas 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 not mentioned 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 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 Kida and Atlantis. Encouraged by Sweet, Milo rallies the crew and the Atlanteans to stop Rourke.
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 (which gradually turns him to stone), 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, having fallen in love with Kida, stays behind to help her rebuild the lost empire.
Cast[edit]

A penciled production sketch showing a man (Milo) on the left embracing a woman (Kida) on the right. A horizontal line is visible on the bottom of the page depicting a reference line for the CinemaScope frame of the drawing.

Production sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand.Michael J. Foxas Milo James Thatch, a linguistand cartographerwho was recruited to decipher The Shepherd's Journalwhile 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.[4]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.[5]Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean languageused in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[6]
James Garneras 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 warand Westernfilms, 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."[7]
Cree Summeras 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.[8]Natalie Strom provided dialogue for Kida as a young child.
Don Novelloas Vincenzo "Vinny" Santorini, an Italiandemolitions expert. Kirk Wise and Russ Edmonds, Vinny's supervising animator, noted Novello's unique ability to improvisedialogue. 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."[9]
Phil Morrisas Doctor Joshua Strongbear Sweet, a medicof African Americanand Native Americandescent. 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 reallyhappy, and when he's solemn, he's realsolemn."[10]
External audio
Podcast interview about the film with cast members Phil Morris, Cree Summer, Don Novello, Claudia Christian, and Corey Burton.
Interview, from hereretrieved July 3, 2012
Claudia Christianas 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."[11]
Jacqueline Obradorsas Audrey Rocio Ramirez, a teenage female Puerto Ricanmechanicand 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.[12]
Florence Stanleyas 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."[13]
David Ogden Stiersas Fenton Q. Harcourt, a board member of the Smithsonian Institutionwho dismisses Milo's belief in the existence of Atlantis. Stiers previously worked with Michael J. Fox in Doc Hollywood.
John Mahoneyas Preston B. Whitmore, an eccentricmillionaire who funds the expedition to Atlantis. Lloyd Bridgeswas 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.[14]Mahoney stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[15]
Jim Varneyas Jebidiah Allerdyce "Cookie" Farnsworth, a Western-style chuckwagonchef. Varney died of lung cancerin 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."[16]Supplemental dialogue for the character was provided by Steve Barr.
Corey Burtonas Gaëtan "Mole" Molière, a Frenchgeologistwho 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".[17]
Leonard Nimoyas 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.[18]
Production[edit]
Development[edit]

A picture of a partially illuminated underground cave with a jagged rock ceiling and a walkway extended into the cavern.

The production team visited New Mexico's Carlsbad Cavernsto get a sense of the underground spaces depicted in the film.
The idea for Atlantis: The Lost Empirewas 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[19]the producer and directors wanted to keep the Hunchbackcrew together for another film with an Adventurelandsetting.[20]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).[21]While primarily utilizing the Internet to research the mythology of Atlantis,[22]the filmmakers became interested in the clairvoyantreadings of Edgar Cayceand 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.[23]They also visited museums and old army installations to study the technology of the early 20th century (the film'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.[24]
The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[25]"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."[26]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 Asianarchitecture."[27]The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetanworks.[28]Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[29]The overall design and circularlayout of Atlantis were also based on the writings of Plato,[28]and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[30]was influential from the beginning of production.[19]The crew wore T-shirtswhich read "ATLANTIS—Fewer songs, more explosions" due the film's plan as an action-adventure(unlike previous Disney animated features, which were musicals).[31]
Language[edit]

A drawing of the Atlantean letter A which is a swirl with a dot in the center.

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".
Main article: Atlantean language
Marc Okrand, who developed the Klingon languagefor the Star Trekfilms, 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-Europeanword stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[26]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.[32][33]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.[6]

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[34]
Writing[edit]
Joss Whedonwas the first writer to be involved with the film, but soon left to work on other Disney projects.[35]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".[36]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 Journalbecause he needed a map for the characters to follow throughout their journey.[37]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.[38]



The directors often described the Atlanteans using Egyptas an example. When Napoleonwandered 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[39]
The character of Milo Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeardthe pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[40]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.[41][42]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."[26]
Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Vikingwar party using The Shepherd's Journalto 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 storyboardslater 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.[43]The Viking prologue is included as an extra feature on the DVD release.[44]
Animation[edit]

A panoramic production still from the film depicting two distant figures standing atop an Atlantean building tower while overlooking a city and a vast lake of water with clouds in the background.

For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); 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[45]at all three Disney animation studios: Burbank, California, Orlando, Florida, and Paris, France.[46]The film was one of the few Disney animated features produced and shot in 70mmanamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScopeformat (2.35:1), noting Raiders of the Lost Arkas an inspiration.[47]Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[26]The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio(1.66:1) Disney-animated films.[47]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.[48]Wise drew further inspiration for the format from filmmakers David Leanand Akira Kurosawa.[26]
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.[49]"Mignola's graphic, angular style was a key influence on the 'look' of the characters," stated Wise.[50]Mignola was surprised when first contacted by the studio to work on Atlantis.[51]His artistic influence on the film would later contribute to a cult following.[52]

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[51]
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 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 18,000-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.[53]

A large model of a mechanical submarine perched atop a flat table mount.

Scale model of Ulyssessubmarine by Greg Aronowitz, used by digital animators as reference during production.[54]
At the time of its release, Atlantis: The Lost Empirewas 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 animatorsthroughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulyssessubmarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[55]During production, after Matt Codd and Jim Martin designed the Ulysseson paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[54]The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[56]One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysseswas 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.[57]The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. 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.[58]
Music and sound[edit]
Since the film would not feature any songs, the directors hired James Newton Howardto 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 soundincorporating 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.[59]
Gary Rydstromand his team at Skywalker Soundwere hired for the film's sound production.[60]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-truckdrove 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 harmonicchiming 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.[61]
Release[edit]
Promotion[edit]
Atlantiswas 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 Atlantisbreakfast cereal.[45]The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[62]McDonald's(which has an exclusive licensing agreement on all Disney releases) promoted the film with Happy Mealtoys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[63]Frito-Layoffered free admission tickets for the film on specially marked snack packages.[64]
Box office[edit]
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."[56]Jeff Jensen of Entertainment Weeklynoted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantisa "marketing and creative gamble".[65]
Atlantis: The Lost Empirehad its world premiere at Disney's El Capitan Theatrein Hollywood, California on June 3, 2001[66]and a limited release in New York Cityand Los Angeleson June 8; a wider release followed on June 15.[3][56]At the premiere, Destination: Atlantiswas 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 Pacificalso loaned a variety of fish for display within the attraction.[67]With a budget of $100 million,[2]the film opened at #2 on its debut weekend, earning $20.3 million in 3,011 theaters.[68]The film's international release began September 20 in Australia and other markets followed suit.[69]During its 25-week theatrical run, Atlantis: The Lost Empiregrossed over $186 million worldwide ($84 million from the United States and Canada).[3]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."[70]
Home media [edit]
Atlantis: The Lost Empirewas released on VHS and DVD January 29, 2002.[71]During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[72]Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[73]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.[71]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 5.1track. Both DVD versions, however, contained a Dolby Digital 5.1track and were THXcertified.[71][74]Disney digitally remastered and released Atlantison Blu-rayon June 11, 2013 bundled with its sequel Atlantis: Milo's Return.[75]
Reception[edit]
Critical response[edit]
Atlantis: The Lost Empirereceived mixed reviews from film critics. Review aggregator Rotten Tomatoesreports that 49 percent of 140 professional critics have given Atlantis: The Lost Empirea positive review, with a rating average of 5.5 out of 10.[76]The site's consensus is that "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[76]Metacriticassigned 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".[77]CinemaScorepolls conducted during the opening weekend revealed the average grade cinema-goers gave Atlantis: The Lost Empirewas an A on an A+-to-F scale.[78]
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 Ebertgave Atlantisthree-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 Atlantisis 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."[79]In The New York Times, Elvis Mitchellgave high praise to the film, calling it "a monumental treat", and stated, "Atlantisis also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[80]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, Atlantisoffers 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."[81]Wesley Morrisof the San Francisco Chroniclewrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantisbrims with adult possibility."[82]
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 Gleibermanof Entertainment Weeklygave the film a C+ rating, writing that the movie had "gee-whiz formulaic character" and was "the essence of craft without dream".[83]Kenneth Turanof the Los Angeles Timesnoted 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.[84]Todd McCarthyof Varietywrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[85]Stephanie Zacharek of Salonloathed 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."[86]Rita Kempley of The Washington Postpanned 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."[87]
Themes and interpretations[edit]
Several critics and scholars have noted that Atlantisplays strongly on themes of anti-capitalismand 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]".[88]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".[89]Max Messier of FilmCritic.comobserves, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[90]According to Booker, the film also "delivers a rather segregationistmoral" 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.[91]Others saw Atlantisas an interesting look at utopianphilosophy of the sort found in classic works of science fiction by H. G. Wellsand Jules Verne.[92]
When the film was released, some viewers noticed that Atlantis: The Lost Empirebore a number of similarities to the 1990–1991 Japanese anime television program Nadia: The Secret of Blue Waterand the 1986 film Castle in the Skyfrom Studio Ghibli, particularly in its character design, setting, and story.[93]Although Disney never responded formally to claims of plagiarism, co-director Kirk Wise posted on a Disney animation news groupin May 2001, "Never heard of Nadiatill it was mentioned in this [news group]. Long after we'd finished production, I might add."[94]Both Atlantisand Nadiawere 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 notconnected with 20,000 Leaguesfor the whole thing to be coincidence."[95]Critics also saw parallels with the 1994 film Stargate. Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargateand its spinoff television series Stargate SG-1—which coincidentally launched its own spinoff, titled Stargate Atlantis.[96]
Accolades [edit]

Award
Category
Name
Outcome
29th Annie Awards[97] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated
Individual Achievement in Storyboarding Chris Ure Nominated
Individual Achievement in Production Design David Goetz Nominated
Individual Achievement in Effects Animation Marlon West Nominated
Individual Achievement in Voice Acting – Female Florence Stanley Nominated
Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated
Individual Achievement for Music Score James Newton Howard Nominated
2002 DVD Exclusive Awards[98] Original Retrospective Documentary Michael Pellerin Nominated
2002 Golden Reel Award[99] 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[100] Best Animated Feature  Nominated
2002 Political Film Society[101] Democracy  Nominated
Human Rights  Nominated
Peace  Nominated
World Soundtrack Awards[102] Best Original Song for Film Diane Warren and James Newton Howard Nominated
Young Artist Awards[103] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated
Related works[edit]
Atlantis: the Lost Empirewas 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-videosequel called Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[104]In addition, Disneylandplanned to revive its Submarine Voyageride with an Atlantistheme 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.[105]
Soundtrack[edit]

Atlantis: The Lost Empire

Soundtrack albumby James Newton Howard

Released
May 22, 2001
Length
53:56
Label
Walt Disney
Producer
James Newton Howard
Jim Weidman
Main article: Atlantis: The Lost Empire (soundtrack)
The soundtrack to Atlantis: The Lost Empirewas released on May 22, 2001. It consists primarily of James Newton Howard's score and includes "Where the Dream Takes You", written by Diane Warrenand performed by Mýa. It was also available in a limited edition of 20,000 numbered copies with a unique 3D album coverinsert 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 Sciencesvoters, but was bootleggedand distributed with fan-created artwork. Concerning the promotional edition, Filmtrackssaid, "Outside of about five minutes of superior additional material (including the massive opening, "Atlantis Destroyed"), the complete presentation is mostly redundant. Still, Atlantisis an accomplished work for its genre."[106]
Video games[edit]
There are several video gamesbased on the film. Atlantis The Lost Empire: Search for the Journal(commonly known as Atlantis: Search for the Journal) was developed by Zombie Studiosand published by Buena Vista Games, a subsidiary of Disney Interactive. It was released on May 1, 2001 for the Microsoft Windowsplatform and was a first-person shootergame, the first of two games based on the film developed by Zombie Studios and released for UPC labels from Kellogg's products for promotion.[107][108]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.[109]Atlantis: The Lost Empireis an action gamedeveloped by Eurocomfor the PlayStationconsole 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.[110]THQreleased Disney's Atlantis: The Lost Empirefor the Game Boy Advanceand Game Boy Color. It is a platform gamein which the player controls Milo and three other characters from the film across 14 levels on a quest to discover Atlantis.[111][112]
See also[edit]
Atlantis in popular culture
Notes[edit]
1.Jump up ^Since the estimated budget has a range, the officially reported budget of $100 million cited by The New York Timesfrom Disney executives is used within this article's prose for clarity.
References[edit]
1.Jump up ^"Atlantis: The Lost Empire". The-Numbers. Nash Information Services. Retrieved January 6, 2012.
2.^ Jump up to: abLyman, Rick; Fabrikant, Geraldine (May 21, 2001). "Suddenly, High Stakes for Disney's Film and TV Businesses". The New York Times. Retrieved July 4, 2011. "Besides, Disney executives maintain that they have made it easier for their animated features to break even by a cost-cutting campaign that made Atlantis, which cost $100 million, about 35 percent cheaper to produce than the studio's other recent animated efforts."
3.^ Jump up to: abcd"Atlantis: The Lost Empire(2001)". Box Office Mojo. Amazon. Archivedfrom the original on 6 June 2011. Retrieved July 3, 2011.
4.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 0:20–0:56
5.Jump up ^"Movie Preview: Atlantis(2001)". Entertainment Weekly. May 14, 2001. Retrieved September 1, 2011.
6.^ Jump up to: abWloszczyna, Susan (May 24, 2001). "New Movie Trek for Wordsmith". USA Today. Retrieved July 4, 2011.
7.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 3:50–4:31
8.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 2:32–2:50
9.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 7:18–7:47
10.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 8:20–9:13
11.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 10:18–10:39
12.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 5:59–6:07
13.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 9:38–9:51
14.Jump up ^Kurtti 2001, p. 15.
15.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 4:55–5:07
16.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 10:45–11:31
17.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 6:55–7:10
18.Jump up ^Supplemental Features: Animation Production: The Voices of Atlantisat 3:00–3:43
19.^ Jump up to: abKurtti 2001, p. 9.
20.Jump up ^Supplemental Features: History: The Journey Beginsat 0:08–3:05
21.Jump up ^Supplemental Features: Story and Editorial: Finding the Storyat 3:24–3:57
22.Jump up ^Supplemental Features: History: Creating Mythologyat 0:30–1:10
23.Jump up ^Supplemental Features: History: Creating Mythologyat 3:48–4:20
24.Jump up ^Supplemental Features: Art Direction: Designing Atlantisat 5:42–9:18
25.Jump up ^Supplemental Features: Art Direction: Designing Atlantisat 9:30–9:33
26.^ Jump up to: abcdeHenn, Peter (June 1, 2001). "Finding Atlantis". Film Journal International. Retrieved August 30, 2011.
27.Jump up ^Supplemental Features: Art Direction: Designing Atlantisat 9:50–10:02
28.^ Jump up to: abKurtti 2001, p. 55.
29.Jump up ^Supplemental Features: Art Direction: Designing Atlantisat 10:37–10:44
30.Jump up ^Plato c. 360 BCE, Timaeus, Sections 25c–d. "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."
31.Jump up ^Supplemental Features: History: The Journey Beginsat 5:28–5:40
32.Jump up ^Supplemental Features: History: Creating Mythologyat 5:20–5:47
33.Jump up ^Kurtti 2001, p. 40.
34.Jump up ^Kurtti 2001, p. 82.
35.Jump up ^Lavery 2011, p. 91.
36.Jump up ^West, Rick (June 14, 2001). "An Interview Tab Murphy—AtlantisScreenwriter". Theme Park Adventure Magazine. LaughingPlace.com. Retrieved September 1, 2011.
37.Jump up ^Supplemental Features: History: Creating Mythologyat 5:58–6:18
38.Jump up ^Supplemental Features: Story and Editorial: Finding the Storyat 3:58–7:40
39.Jump up ^Kurtti 2001, p. 50.
40.Jump up ^Supplemental Features: Story and Editorial: Finding the Storyat 2:55–3:24
41.Jump up ^Messier, Max (June 12, 2001). "The Disney Industrial Complex and Atlantis: The Lost Empire". FilmCritic.com. AMC. Archived from the originalon March 10, 2006. Retrieved September 1, 2011.
42.Jump up ^Audio Commentaryat 17:12–18.00
43.Jump up ^Supplemental Features: Story and Editorial: Finding the Storyat 7:40–10:25
44.Jump up ^Supplemental Features: Story and Editorial: Four Deleted Scenes—"The Viking Prologue"'
45.^ Jump up to: abRaugust 2004, n.p.
46.Jump up ^Moore, Roger (June 15, 2001). "The Art of AtlantisDoesn't Just Imitate Life, It Goes It One Better". Orlando Sentinel. Retrieved August 9, 2011.
47.^ Jump up to: abSupplemental Features: Animation Production: Setting the Sceneat 1:10–2:28
48.Jump up ^Supplemental Features: Animation Production: Setting the Sceneat 2:30–3:17
49.Jump up ^Supplemental Features: Art Direction: Designing Atlantisat 0:50–4:33
50.Jump up ^Kurtti 2001, ap. 27.
51.^ Jump up to: abHorvath, Stu (July 6, 2008). "Mike Mignola, HellboyCreator, Didn't See Character's Success Coming". New York Daily News. Retrieved August 29, 2011.
52.Jump up ^Harris, Scott (November 29, 2010). "Disney's 50 Finest: In Order of Awesome". MTV Networks. Archived from the originalon January 1, 2011. Retrieved January 12, 2012. "On the other hand, the movie does feature a great cast, including Michael J. Fox and James Garner, along with animation by legendary comic book artist and Hellboycreator Mike Mignola. Because of this last factor, Atlantishas become a bit of a cult favorite in some circles ..."
53.Jump up ^Supplemental Features: Animation Production: Setting the Sceneat 9:44–11:26
54.^ Jump up to: abTracy, Joe (June 20, 2001). "An Inside Look at Destination: Atlantis". Digital Media FX Magazine. Retrieved September 27, 2011.
55.Jump up ^Supplemental Features: Digital Productionat 0:09–4:45
56.^ Jump up to: abcWloszczyna, Susan (June 14, 2001). "Disney Domain Is Under Siege". USA Today. Retrieved July 4, 2011.
57.Jump up ^Supplemental Features: Digital Productionat 8:15–9:33
58.Jump up ^Supplemental Features: Digital Productionat 5:00–6:20
59.Jump up ^Supplemental Features: Music and Soundat 5:00–8:45
60.Jump up ^Audio Commentaryat 1:50–2:10
61.Jump up ^Supplemental Features: Music and Soundat 0:05–4:48
62.Jump up ^Steinbock, Dan (2007). The Mobile Revolution: The Making of Mobile Services Worldwide. Kogan Page. pp. 158, 304. ISBN 978-0-7494-4850-9.
63.Jump up ^"McDonald's Dives into Disney's Atlantis". QSR Magazine. Journalistic, Inc. June 11, 2001. Retrieved September 1, 2011.
64.Jump up ^Teninge, Annick (June 21, 2001). "Cheetos Lovers Get Tickets To Atlantis". Animation World Network. Retrieved April 23, 2012.
65.Jump up ^Jensen, Jeff (June 22, 2001). "High Toon: As the high-tech Shrekbecomes a surprising giant-size success, is the clock ticking for traditionally animated movies?". Entertainment Weekly. Retrieved September 2, 2011.
66.Jump up ^"World Premiere of Walt Disney Pictures' ATLANTIS: THE LOST EMPIRE – Update". Yahoo!. June 1, 2001. Archived from the originalon June 15, 2001. Retrieved September 22, 2011.
67.Jump up ^Moseley, Doobie (June 15, 2001). "Destination: Atlantisat the El Capitan". LaughingPlace.com. Retrieved September 1, 2011.
68.Jump up ^"Atlantis: The Lost EmpireWeekend Box-Office". Box Office Mojo. Amazon. Retrieved July 6, 2011.
69.Jump up ^"Atlantis: The Lost EmpireInternational Box-Office". Box Office Mojo. Amazon. Retrieved July 6, 2011.
70.Jump up ^Wloszczyna, Susan (October 31, 2001). "'Toons Get Their Very Own Oscar Category". USA Today. Retrieved September 2, 2011.
71.^ Jump up to: abc"Atlantis: The Lost Empire". Walt Disney Studios Home Entertainment. Archivedfrom the original on 24 June 2011. Retrieved August 8, 2011.
72.Jump up ^McCourt, Judith (February 28, 2002). "DVD Sales Explode in January as VHS Wanes". Home Media Magazine. Retrieved August 29, 2011.
73.Jump up ^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."
74.Jump up ^Rankins, Michael (May 8, 2002). "Atlantis: The Lost Empire: Collector's Edition". DVD Verdict. Archivedfrom the original on 26 July 2011. Retrieved August 8, 2011.
75.Jump up ^Latchem, John (March 28, 2013). "Next Wave of Disney Animated Blu-rays Coming Out June 11". Home Media Magazine. Retrieved March 29, 2012.
76.^ Jump up to: ab"Atlantis: The Lost Empire". Rotten Tomatoes. Flixster. Retrieved July 16, 2011.
77.Jump up ^"Atlantis: The Lost Empire". Metacritic. CBS Interactive. Retrieved July 3, 2011.
78.Jump up ^Drysdale, Rob (June 19, 2001). "Box Office Analysis: Lara CroftRaids the Box Office". The Trades. Retrieved September 21, 2011. "Not surprisingly Atlantisscored a very nice set of A's from both men and women under 21 as well as men and women age 21 to 34."
79.Jump up ^Ebert, Roger (June 15, 2001). "Atlantis: The Lost Empire". Chicago Sun-Times. Retrieved August 13, 2011.3.5/4 stars
80.Jump up ^Mitchell, Elvis (June 8, 2001). "Atlantis: the Lost Empire(2001) FILM REVIEW; Under the Sea, Damp Hakuna Matata". The New York Times. Retrieved July 4, 2010.4/5 stars
81.Jump up ^Berardinelli, James (June 2001). "AtlantisReview". ReelViews.net. Retrieved July 4, 2010.3/4 stars
82.Jump up ^Morris, Wesley (June 15, 2001). "AtlantisIs a Find, Disney Emphasizes Adventure over Cuteness, Romance and Song". San Francisco Chronicle. Retrieved August 13, 2011.3/4 stars
83.Jump up ^Gleiberman, Owen (June 6, 2001). "Atlantis: The Lost Empire". Entertainment Weekly. Archivedfrom the original on 27 May 2008. Retrieved June 26, 2008.
84.Jump up ^Turan, Kenneth (July 8, 2001). "Atlantis: The Lost Empire". Los Angeles Times. Retrieved July 4, 2011.3.5/5 stars
85.Jump up ^McCarthy, Todd (June 7, 2001). "Atlantis: The Lost Empire". Variety. Retrieved July 4, 2011.
86.Jump up ^Zacharek, Stephanie (June 15, 2001). "Atlantis—Disney's finally made a cartoon for grown-ups. What was wrong with the old ones they made for kids?". Salon. Retrieved August 13, 2011.
87.Jump up ^Kempley, Rita (June 15, 2001). "'Atlantis': That Sinking Feeling". The Washington Post. Retrieved March 25, 2012.
88.Jump up ^Booker 2009, p. 68.
89.Jump up ^Pinsky 2004, p. 202.
90.Jump up ^Messier, Max (June 12, 2001). "Atlantis: The Lost Empire". FilmCritic.com. AMC Networks. Retrieved July 15, 2012.
91.Jump up ^Booker 2009, p. 69.
92.Jump up ^Montalbano 2010, p. 183.
93.Jump up ^Zion, Lee (May 15, 2001). "Probing the AtlantisMystery". Anime News Network. Archivedfrom the original on June 29, 2011. Retrieved July 15, 2012.
94.Jump up ^Patten 2004, p. 187.
95.Jump up ^Zion, Lee (July 19, 2001). "Nadiavs. Atlantis, Revisited!". Anime News Network. Archivedfrom the original on June 29, 2011. Retrieved July 15, 2012.
96.Jump up ^Sumner, Darren. "Review: Atlantis: The Lost Empire". Gateworld. Archivedfrom the original on July 23, 2011. Retrieved July 15, 2012. "In 1994, Dr. Daniel Jackson decoded an ancient language and unlocked the secrets of the Stargate, sending him and a military unit across the universe to a lost colony of humans. And in 2001, he did it again – decoding the ancient Atlantean language to launch a quest to find the lost continent of Atlantis."
97.Jump up ^"Legacy: 29th Annual Annie Award Nominees and Winners (2001)". International Animated Film Society. Archivedfrom the original on 25 July 2011. Retrieved August 8, 2011.
98.Jump up ^"2002 DVD Exclusive Winners". Reed Business Information. Archived from the originalon August 11, 2004. Retrieved August 31, 2011.
99.Jump up ^Benzuly, Sarah (June 1, 2002). "Black Hawk DownAmong MPSE Winners". Mix. Retrieved August 30, 2011.
100.Jump up ^"OFCS Awards for 2001 Nominees". Online Film Critics Society. Archived from the originalon February 19, 2002. Retrieved August 31, 2011.
101.Jump up ^"Atlantis: The Lost Empire". Political Film Society. Retrieved August 30, 2011.
102.Jump up ^"Belgian Film Fest to Host World Soundtrack Awards". Billboard. Retrieved August 30, 2011.
103.Jump up ^"Twenty-Third Annual Young Artist Awards 2002". Young Artist Foundation. Retrieved August 30, 2011.
104.Jump up ^Rankins, Michael (July 31, 2003). "Atlantis: Milo's Return". DVD Verdict. Retrieved August 8, 2011.
105.Jump up ^Yoshino, Kimi (June 11, 2007). "Disney Brings Submarine Ride Back from the Depths". Los Angeles Times. Retrieved July 4, 2011.
106.Jump up ^"Filmtracks: Atlantis: The Lost Empire". Filmtracks.com. May 21, 2001. Retrieved August 8, 2011.4/5 stars
107.Jump up ^Adams, Dan (April 2, 2001). "Atlantis: The Lost Empire—Search for the Journal(PC)". IGN. Retrieved August 8, 2011.
108.Jump up ^"CDs 'n' Cereal". IGN. April 27, 2001. Retrieved April 3, 2012.
109.Jump up ^Adams, Dan (June 7, 2001). "Atlantis: The Lost Empire—Trial by Fire(PC)". IGN. Retrieved August 8, 2011.
110.Jump up ^Zdyrko, David (July 17, 2001). "Disney's Atlantis: The Lost Empire(PlayStation)". IGN. Retrieved August 8, 2011.
111.Jump up ^"Atlantis: The Lost Empire". GameSpy. Retrieved February 17, 2012.
112.Jump up ^"Atlantis: The Lost Empire Game Boy Color". IGN. Retrieved February 18, 2012.
Bibliography[edit]
Books
Booker, M. Keith (2009). Disney, Pixar, and the Hidden Messages of Children's Films. 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. 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. Xlibris. ISBN 978-1-4500-2396-2.
Patten, Fred(2004). "Simba–Kimba Redux? The NadiaVersus AtlantisAffair". 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". 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". 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.
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.
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.
Periodicals
Vancheri, Barbara; Weiskind, Ron (July 17, 2003). "Nemo-like Stories Pulling Folks into Animated Movies". Pittsburgh Post-Gazette. p. D–2.
External links[edit]
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