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Up (2009 film)
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Up
A house is hovering in the air, lifted by balloons. A dog, a boy, and an old man hang beneath on a garden hose. "UP" is written in the top right corner.
Theatrical release poster

Directed by
Pete Docter
Produced by
Jonas Rivera
Screenplay by
Bob Peterson
 Pete Docter
Story by
Pete Docter
 Bob Peterson
Thomas McCarthy
Starring
Ed Asner
Christopher Plummer
Jordan Nagai
 Bob Peterson
Music by
Michael Giacchino
Cinematography
Patrick Lin
 Jean-Claudie Kalache
Edited by
Kevin Nolting

Production
 company

Walt Disney Pictures
Pixar Animation Studios

Distributed by
Walt Disney Studios
 Motion Pictures

Release dates

May 29, 2009


Running time
 96 minutes
Country
United States
Language
English
Budget
$175 million[1]
Box office
$731.3 million[2]
Up is a 2009 American 3D computer-animated comedy-adventure film produced by Pixar Animation Studios and released by Walt Disney Pictures. Directed by Pete Docter, the film centers on an elderly widower named Carl Fredricksen (voiced by Edward Asner) and an earnest young Wilderness Explorer named Russell (Jordan Nagai). By tying thousands of balloons to his home, 78-year-old Carl sets out to fulfill his dream to see the wilds of South America and to complete a promise made to his late lifelong love. The film was co-directed by Bob Peterson, with music composed by Michael Giacchino.
Docter began working on the story in 2004, which was based on fantasies of escaping from life when it becomes too irritating. He and eleven other Pixar artists spent three days in Venezuela gathering research and inspiration. The designs of the characters were caricatured and stylized considerably, and animators were challenged with creating realistic cloth. The floating house is attached by a varying number between 10,000 and 20,000 balloons in the film's sequences. Up was Pixar's first film to be presented in Disney Digital 3-D.[3]
Up was released on May 29, 2009 and opened the 2009 Cannes Film Festival, becoming the first animated and 3D film to do so.[4] The film became a great financial success, accumulating over $731 million in its theatrical release. Up received critical acclaim, with most reviewers commending the humor and heart of the film. Edward Asner was praised for his portrayal of Carl, and a montage of Carl and his wife Ellie aging together was widely lauded. The film received five Academy Award nominations, including Best Picture, making it the second animated film in history to receive such a nomination (and Pixar's first Best Picture nomination), following Beauty and the Beast (1991).[5]


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Animation
3.2 Music
4 Release 4.1 UPisodes
4.2 Home media
5 Reception 5.1 Critical response
5.2 Box office
5.3 Accolades
6 Video games
7 See also
8 References
9 External links

Plot[edit]
In the late-1930s, Carl Fredricksen is a young 8-year old boy who idolizes famous explorer Charles F. Muntz. Muntz has been accused of fabricating the skeleton of a giant bird he says that he discovered in Paradise Falls and vows to return there to catch one alive. One day Carl befriends a girl named Ellie, who is also a Muntz fan. She confides to Carl her desire to move her "clubhouse" — an abandoned house in the neighborhood — to a cliff overlooking Paradise Falls. Carl and Ellie eventually get married and grow old together in the restored house. Though they planned to have children together, Ellie is diagnosed as infertile. Carl therefore wants to fulfill their promise of travel to South America, repeatedly pooling their savings for a trip to Paradise Falls. An elderly Carl finally arranges for the trip, but Ellie suddenly becomes ill and passes away.
Years later, Carl still lives in the house, when he accidentally injures a construction worker over damage to his mailbox, and a court orders him to move to a retirement home. However, Carl comes up with a scheme to keep his promise to Ellie—he turns his house into a makeshift airship, using thousands of helium balloons. Russell, a young Wilderness Explorer, becomes an accidental passenger in his effort to earn his final merit badge for assisting the elderly.
After surviving a thunderstorm, the flying house lands near a ravine facing Paradise Falls. Carl and Russell harness themselves to the still-buoyant house and begin to walk it around the ravine, hoping to reach the falls before all of the balloons deflate. They later befriend a tall, colorful flightless bird (whom Russell names "Kevin") trying to reach her chicks, followed a dog named Dug, who wears a special collar that allows him to speak.
Carl and Russell encounter a pack of dogs led by Alpha and are taken to Dug's master, who turns out to be an elderly Charles Muntz. Muntz invites Carl and Russell aboard his dirigible, the Spirit of Adventure, where he explains that he has spent years since his disgrace searching Paradise Falls for the giant bird. When Russell notes the bird's similarity to Kevin, Muntz then becomes hostile, mistankely believing them to have been attempting to steal the bird, prompting the pair to flee with Kevin and Dug. Muntz catches up with them and starts a fire beneath Carl's house, forcing the old man to choose between saving it or Kevin. Carl rushes to put out the fire, allowing Muntz to take the bird. He and Russell eventually reach the falls, though Russell is disappointed in Carl over his decision to abandon Kevin.
Settling into his home, Carl looks through Ellie's childhood scrapbook and finds photos of their happy marriage added into it, along with a note from Ellie thanking him for the "adventure" and encouraging him to go have a new one. Reinvigorated, he goes to find Russell, only to see him sailing off on some balloons to save Kevin. Carl empties the house of furniture and possessions, lightening it, and pursues him.
Russell is captured by Muntz, but Carl manages to board the dirigible in flight and free both Russell and Kevin. Dug defeats Alpha and become the dogs' new leader. Muntz pursues them around the airship, finally cornering Dug, Kevin, and Russell inside Carl's tethered house. Carl lures Kevin out through a window and back onto the airship with Dug and Russell clinging to her back, just as Muntz is about to close in. Muntz leaps after them, only to snag his foot on some balloon lines and fall to his death. The house then descends out of sight through the clouds.
Carl and Russell reunite Kevin with her chicks, then fly the dirigible back to the city. Carl presents Russell with his final badge: a grape soda cap that Ellie gave to Carl when they first met and made their promise. The two then enjoy some ice cream together. Meanwhile, Carl's house is shown to have landed on the cliff beside Paradise Falls, as promised to Ellie.
Cast[edit]



 Actors dressed as the film's protagonists at the 66th Venice International Film FestivalEdward Asner as Carl Fredricksen (Jeremy Leary voiced Carl as a young boy). Docter and Rivera noted Asner's television alter ego, Lou Grant, had been helpful in writing for Carl, because it guided them in balancing likable and unlikable aspects of the curmudgeonly character.[6] When they met Asner and presented him with a model of his character, he joked, "I don't look anything like that." (The appearance of Carl is meant to resemble Spencer Tracy as he appeared in his final film, Guess Who's Coming to Dinner.[7]) They tailored his dialogue for him, with short sentences and more consonants, which "cemented the notion that Carl, post-Ellie, is a disgruntled bear that's been poked awake during hibernation".[8] In Colombia, unexpected publicity for the film was generated due to the uncanny similarity of Carl with Colombian ex-president Julio César Turbay Ayala.[9][10]
Christopher Plummer as Charles F. Muntz. Muntz is an old explorer looking for the Beast of Paradise Falls; he vowed not to return to North America until he had captured the creature. He uses a group of dogs to aid him in his hunt. The name of his airship, the Spirit of Adventure, may have been inspired by Charles Lindbergh's airplane, Spirit of St. Louis.[11] In various interviews, Pete Docter has mentioned Howard Hughes and real life adventurers Charles Lindbergh and Percy Fawcett as inspirations for Muntz.[12]
Jordan Nagai as Russell. On their journey, Russell makes several comments to Carl that suggest that Russell's father and mother are no longer together.[13] Russell's design was based on Pixar animator Peter Sohn.[14] Docter auditioned 400 boys in a nationwide casting call for the part.[15] Nagai, who is Japanese American,[16] showed up to an audition with his brother, who was actually the one auditioning. Docter realized Nagai behaved and spoke non-stop like Russell and chose him for the part.[17] Nagai was 8 years old when cast.[15] Docter encouraged Nagai to act physically as well as vocally when recording the role, lifting him upside down and tickling him for the scene where Russell encounters Kevin.[8] Asian Americans have positively noted Pixar's first casting of an Asian lead character,[18] in contrast to the common practice of casting non-Asians in Asian parts.[19]
Bob Peterson as Dug, a Golden Retriever who can communicate with humans through a device on his collar.[11] He is the misfit of a pack of talking dogs owned by Muntz. Peterson knew he would voice Dug when he wrote his line "I have just met you, and I love you," which was based on what a child told him when he was a camp counselor in the 1980s. The DVD release of the film features a short called Dug's Special Mission, which follows Dug just before his first meeting with Carl and Russell. Dug previously appeared in Ratatouille as a shadow on a wall that barks at Remy.[11] Peterson also voices Alpha, a talking Doberman Pinscher[11] and the leader of Muntz's pack of dogs. Pete Docter has stated that Alpha "thinks of himself as Clint Eastwood". Despite his menacing appearance, a frequent malfunction in Alpha's translating collar causes his voice to sound comically high-pitched and squeaky, as if he had been breathing helium. The normal voice for his translator is a resonant, intimidating bass. With both voices, Alpha has a roundabout speech pattern that causes his sentences to be longer than necessary.
Pete Docter as Kevin, the "Beast of Paradise Falls", which is actually just a large, colorful prehistoric bird. Other than voicing Kevin, Docter also voices Campmaster Strauch, Russell's camp master, seen at the end of the film.
Elizabeth Docter as Ellie Fredricksen as a younger child. The voice actor is the director's daughter,[20] who also provided some of the drawings shown by Ellie.[21]
Delroy Lindo as Beta, a Rottweiler[11] and one of Muntz's dogs.
Jerome Ranft as Gamma, a Bulldog[11] and one of Muntz's dogs.
John Ratzenberger as Tom, a construction worker who asks if Carl is ready to sell his house.[11]
David Kaye as the newsreel announcer.
Danny Mann as Steve, a construction worker who Carl injures because he accidentally wrecked his mailbox.
Production[edit]

Image of Spencer Tracy with white hair, wearing thick-rimmed glasses and looking grumpy.

 The main character Carl Fredricksen is partially based on Spencer Tracy[7]
Writing for Up first began in 2004 by director Pete Docter. The fantasy of a flying house was developed on the idea of escaping from life when it becomes too irritating,[12][15] which stemmed from his difficulty with social situations growing up.[22] Actor and writer Thomas McCarthy aided Docter and Bob Peterson in shaping the story for about three months.[17] Docter selected an old man for the main character after drawing a picture of a grumpy old man with smiling balloons.[17] The two men thought that an old man was a good idea for a protagonist because they felt that their experiences and the way that they affect their view of the world was a rich source of humor. Docter was not concerned with an elderly protagonist, stating that children would relate to Carl in the way that they relate to their grandparents.[12]
Docter noted that the film reflects his friendships with Disney veterans Frank Thomas, Ollie Johnston, and Joe Grant (who all died before the film's release and thus the film was dedicated to them). Grant gave the script his approval as well as some advice before his death in 2005.[23] Docter recalled that Grant would remind him that the audience needed an "emotional bedrock" because of how wacky the adventure would become; here it is Carl mourning for his wife.[17] Docter felt that Grant's personality influenced Carl's deceased wife Ellie more than the grouchy main character,[23] and Carl was primarily based on Spencer Tracy, Walter Matthau, James Whitmore, and their own grandparents, because there was "something sweet about these grumpy old guys".[7] Docter and Jonas Rivera noted Carl's charming nature in spite of his grumpiness derives from the elderly "hav[ing] this charm and almost this 'old man license' to say things that other people couldn't get away with [...] It's like how we would go to eat with Joe Grant and he would call the waitresses 'honey'. I wish I could call a waitress 'honey'."[24]
Docter revealed that the filmmakers' first story outline had Carl "just want[ing] to join his wife up in the sky. It was almost a kind of strange suicide mission or something. And obviously that's [a problem]. Once he gets airborne, then what? So we had to have some goal for him to achieve that he had not yet gotten."[20] As a result, they added the plot of going to South America. The location was chosen due to both Docter's love of tropical locations, but also in wanting a location that Carl could be stuck with a kid due to the inability to leave him with an authority such as a police officer or social worker. They implemented a child character as a way to help Carl stop being "stuck in his ways".[25]
Docter created Dug as he felt it would be refreshing to show what a dog thinks, rather than what people assume it thinks.[26] Knowledge of canine communication, body language and pack behaviors for the artists and animators to portray such thoughts came from consultant Dr. Ian Dunbar, veterinarian, dog behaviorist and trainer.[27] The idea for Alpha's voice derived from thinking about what would happen if someone broke a record player and it always played at a high pitch.[17] Russell was added to the story at a later date than Dug and Kevin;[17] his presence, as well as the construction workers, helped to make the story feel less "episodic".[20]
Carl's relationship with Russell reflects how "he's not really ready for the whirlwind that a kid is, as few of us are".[23] Docter added he saw Up as a "coming of age" tale and an "unfinished love story", with Carl still dealing with the loss of his wife.[28] He cited inspiration from Casablanca and A Christmas Carol, which are both "resurrection" stories about men who lose something, and regain purpose during their journey.[29] Docter and Rivera cited inspiration from the Muppets, Hayao Miyazaki, Dumbo, and Peter Pan. They also saw parallels to The Wizard of Oz and tried to make Up not feel too similar.[30] There is a scene where Carl and Russell haul the floating house through the jungle. A Pixar employee compared the scene to Fitzcarraldo, and Docter watched that film and The Mission for further inspiration.[31] The character Charles Muntz comes from Howard Hughes and Errol Flynn.[32]
Animation[edit]

A cascading view of several rock formations.

 Docter and eleven other Pixar artists visited tepuis in Venezuela in 2004 for research
Docter made Venezuela the film's setting after Ralph Eggleston gave him a video of the tepui mountains;[12][23] Venezuela and tepuis were already featured in a previous Disney film, Dinosaur. In 2004, Docter and eleven other Pixar artists spent three days reaching Monte Roraima by airplane, jeep, and helicopter.[11] They spent three nights there painting and sketching,[33] and encountering ants, mosquitoes, scorpions, frogs, and snakes. They also flew to Matawi Tepui and climbed to Angel Falls.[11] Docter felt "we couldn't use [the rocks and plants we saw]. Reality is so far out, if we put it in the movie you wouldn't believe it."[7] The film's creatures were also challenging to design because they had to fit in the surreal environment of the tepuis, but also be realistic because those mountains exist in real life.[23] The filmmakers visited Sacramento Zoo to observe a Himalayan Monal for Kevin's animation.[1] The animators designed Russell as an Asian-American, and modeled Russell after similar looking Peter Sohn, a Pixar storyboarder who voiced Emile in Ratatouille and directed the short Partly Cloudy, because of his energetic nature.[15][34]
While Pixar usually designs their characters to be caricatured, Carl was even more so, being only three heads high.[35] He was not given elderly features such as liver spots or hair in his ears to keep him appealing, yet giving him wrinkles, pockmarks on his nose, a hearing aid, and a cane to make him appear elderly. Docter wanted to push a stylized feel, particularly the way Carl's head is proportioned: he has a squarish appearance to symbolize his containment within his house, while Russell is rounded like a balloon.[8] The challenge on Up was making these stylized characters feel natural,[12] although Docter remarked the effect came across better than animating the realistic humans from Toy Story, who suffered from the "uncanny valley".[23] Cartoonists Al Hirschfeld, Hank Ketcham, and George Booth influenced the human designs.[17][29][36] Simulating realistic cloth on caricatured humans was harder than creating the 10,000 balloons flying the house.[22] New programs were made to simulate the cloth and for Kevin's iridescent feathers.[37] To animate old people, Pixar animators would study their own parents or grandparents and also watched footage of the Senior Olympics.[6] The directors had various rules for Carl's movements: he could not turn his head more than 15–20 degrees without turning his torso as well, nor could he raise his arms high. However, they also wanted him to grow more flexible near the end of the film, transforming into an "action hero".
A technical director worked out that to make Carl's house fly, he would require 23 million balloons, but Docter realized that number made the balloons look like small dots. Instead, the balloons created were made to be twice Carl's size. There are 10,927 balloons for shots of the house just flying, 20,622 balloons for the lift-off sequence, and a varying number in other scenes.[11]
Music[edit]
Main article: Up (film score)
Up is the third Pixar film to be scored by Michael Giacchino, after The Incredibles and Ratatouille. What Pete Docter wanted more importantly out of the music was the emotion, so Giacchino wrote a character theme-based score that producer Jonas Rivera thought enhanced the story. At the beginning of the movie, when young Carl is in the movie theater watching a newsreel about Muntz, the first piece of music heard is "Muntz's Theme", which starts out as a celebratory theme, and echoes through the film when Muntz reappears 70 years later. "Ellie's Theme" is first heard when she is introduced as a little kid and plays several times during the film in different versions; for instance, during the sequence where Carl lifts his house with the balloons, the theme is changed from a simple piano melody to a full orchestral arrangement. Giacchino has compared the film to opera since each character has a unique theme that changes during a particular moment in the story.[38]
The score was released as a digital download on May 26, 2009, three days before the film opened in theaters. It won the Academy Award for Best Original Score,[39] the Grammy Award for Best Score Soundtrack Album,[40] the Golden Globe Award for Best Original Score,[41] and the 2010 BAFTA Award for Best Film Music.[42] It is the first score for a Pixar film to win the Oscar (Randy Newman also won for Monsters, Inc. and Toy Story 3, but in the category of Best Original Song).
Release[edit]



George Lucas with the film's protagonists at the 66th Venice International Film Festival.
When the film screened at the El Capitan Theatre in Hollywood, California from May 29 to July 23, 2009, it was accompanied by Lighten Up!, a live show featuring Disney characters.[43] Other tie-ins included children's books such as My Name is Dug, illustrated by screenwriter Ronnie del Carmen.[44] Despite Pixar's track record, Target Corporation and Walmart stocked few Up items, while Pixar's regular collaborator Thinkway Toys did not produce merchandise, claiming its story is unusual and would be hard to promote. Disney acknowledged not every Pixar film would have to become a franchise.[1] Promotional partners include Aflac,[45] NASCAR, and Airship Ventures,[46][47] while Cluster Balloons promoted the film with a replica of Carl's couch lifted by hot air balloons for journalists to sit in.[48]
Before the film's worldwide release date, Pixar granted a wish from 10-year-old Colby Curtin to see the film before she died. Colby had been diagnosed with cancer and was too sick to go to a theater. A Pixar employee flew to the Curtin's house with a DVD of the finished film and screened it for her and her family. Curtin died seven hours later, after seeing the film.[49]

Three men all face forward and are smiling. Two of the men are extending their pointer fingers while the third man is giving a thumbs up gesture.

 Pete Docter (left), Jonas Rivera (right) in 2009 with KUSI-TV's Phil Konstantin
Director Pete Docter intended for audiences to take a specific point from the film, saying:

Basically, the message of the film is that the real adventure of life is the relationship we have with other people, and it's so easy to lose sight of the things we have and the people that are around us until they are gone. More often than not, I don't really realize how lucky I was to have known someone until they're either moved or passed away. So, if you can kind of wake up a little bit and go, "Wow, I've got some really cool stuff around me every day", then that's what the movie's about.[50]
UPisodes[edit]
Before its theatrical release, Disney Pixar created three small animated vignettes called UPisodes to promote its film UP on the internet.[51] These UPisodes chronicled Carl Fredricksen and Russell's journey through the jungle, not seen in the movie. Fans were able to view the vignettes on Apple iTunes movie trailer site and YouTube.
UPisode One: Animal Calls - in the first episode, Russell demonstrates his ability to mimic animal calls.
UPisode Two: First Aid - in the second episode, Russell tries to relieve a minor injury that Carl received.
UPisode Three: Snipe Trap - in the third episode, Russell attempts to capture the elusive snipe.
Home media[edit]
Up was released on Blu-ray Disc and DVD in North America on November 10, 2009,[52] and in the United Kingdom on February 15, 2010.[53] It features the film plus the theatrical short Partly Cloudy and the new short Dug's Special Mission, as well as an audio commentary by director Pete Docter, the documentary Adventure is Out There on the filmmakers' research journey to South America, The Many Endings of Muntz (an alternate ending of sorts), and a digital copy. The Blu-ray edition has a four-disc pack that adds Cine-Explore with BonusView, Global Guardian Badge and Geography games, eight documentaries, and BD-Live to the Deluxe DVD and digital copy platters. A Limited Edition is also available called the Luxo Jr. Premium Pack that includes a collectible lamp modeled after Pixar's bouncy short star that is designed to hold a complete Pixar Blu-ray collection.[54]
In addition, Pixar also created a short film titled George & A.J., written and directed by Up storyboard artist Josh Cooley, that shows what the two Shady Oaks retirement home workers did after Carl left with his house. It was initially available for purchase at the iTunes Store, and then was later posted to Disney·Pixar's Facebook and YouTube pages.[55][56]
In its first week it sold 3,969,792 units ($66,057,339). It eventually reached 10,811,453 units ($182,591,149),[57] becoming the best-selling DVD among those released in 2009, in units sold. It also became the third in sales revenue behind Transformers: Revenge of the Fallen and Twilight.[58]
The rental release of the film to Netflix, Blockbuster, and Redbox was controversial since it failed to include closed captioning.[59] Disney faced a consumer backlash over this[60] and quickly released a statement that this removal was an unfortunate error and that it was moving to correct the issue.[61]
Reception[edit]
Critical response[edit]
Up was met with universal critical acclaim. Rotten Tomatoes reports that 98% of critics have given the film a "Certified Fresh" positive review, based on 278 reviews, with an 8.6/10 review average. The site's consensus states: "Another masterful work of art from Pixar, Up is an exciting, hilarious, and heartfelt adventure impeccably crafted and told with wit and depth."[62] The film also holds a score of 88 on the review aggregator website Metacritic.[63] Audiences gave the film an "A+" CinemaScore.[64]
Film critic Roger Ebert gave the film four out of four stars and called it "a wonderful film."[65][66] The Hollywood Reporter lauded the film as "Winsome, touching and arguably the funniest Pixar effort ever, this gorgeously rendered, high-flying adventure is a tidy 90-minute distillation of all the signature touches that came before it."[67] Although the San Francisco Chronicle noted that the film "contains many boring stretches of mindless freneticism and bland character interaction," it also declared that there are scenes in Up of "such beauty, economy and poetic wisdom that they belong in any anthology of great movie moments...to watch Up with any attention is to be moved and astonished by the economy with which specific visuals are invested with emotion throughout [the film]..."[68] Variety enthused that "Up is an exceptionally refined picture; unlike so many animated films, it's not all about sensory bombardment and volume...Unsurprisingly, no one puts a foot wrong here. Vocal performances...exude a warm enthusiasm, and tech specifications could not be better. Michel Giacchino's full-bodied, traditional score is superlative..."[69] The Globe claimed that Up is "the kind of movie that leaves you asking 'How do people come up with this stuff?'" along with an overall positive review on the film, despite it being predictable.[70]
The character of Carl Fredricksen has received mostly positive reception. Bill Capodagli, author of Innovate the Pixar Way, praised Carl for his ability to be a jerk and likable at the same time.[71] Wall Street Journal editor Joe Morgenstern described Carl as gruff, comparing him to Buster Keaton, but adds that this begins to wear thin as the movie progresses.[72] He has been compared with Spencer Tracy, an influence on the character, by The Washington Post editor Ann Hornaday[73] and Empire Online editor Ian Freer, who describes him as similar to a "Guess Who's Coming to Dinner-era" Tracy.[74] Entertainment Weekly editor Lisa Schwarzbaum described his appearance as a cross between Tracy and an eccentric out of a George Booth cartoon.[75] TIME editor Richard Corliss also makes the comparison, calling him a "trash compacted version" of Tracy.[76] He has also been compared to Walter Matthau, another inspiration for the character's design, by LA Weekly editor Scott Foundas, suggesting that actor Ed Asner was channeling him while performing the role of Carl.[77] Variety editor Todd McCarthy described Carl as a combination of both Tracy and Matthau.[69]
The relationship between Carl and his wife Ellie has been praised in several media outlets. In his book Disney, Pixar, and the Hidden Message of Children's Films, author M. Keith Booker described the love between Carl and Ellie as touching. While also describing the scene of the two of them aging as a "masterpiece of its own kind," he was not sure how much children would appreciate the scene, commenting that his son was squirming in his seat during the scene.[78] Reelviews editor James Berardinelli praised their relationship, stating that it brought a tear to his eye in a way no animated film has done, including anything by famed anime director Hayao Miyazaki.[79] Ann Hornaday praised the prologue, describing it as "worthy of Chaplin in its heartbreaking poignancy."[73] Chicago Tribune editor Michael Phillips praised the scene, describing it as an emotional and cinematic powerhouse, and that he also was nearly moved to tears. However, Salon.com editor Stephanie Zacharek criticized the love between Carl and Ellie, describing their marriage as resembling a dental adhesive commercial more than a real relationship.[80]
Edward Asner was praised in several media outlets for his portrayal of Carl. San Francisco Chronicle editor Mick LaSalle praised Asner as a great choice due to having a grumpiness to his voice that is not truly grumpy, but rather coming from a protective stance.[81] Entertainment Weekly editor Lisa Schwarzbaum praised Asner's acting, stating that he has a "Lou Grant authority" to his voice.[75] Time editor Richard Corliss stated that Asner had the "gruffness and deadpan comic timing to bring Carl to life."[8] The Boston Globe editor Ty Burr concurred with this, stating that his Lou Grant-like voice had not diminished with time.[82] USA Today editor Claudia Puig praised Asner's delivery, describing it as superb.[83]
The formulation of Russell as an Asian American character, along with the casting of an Asian American in the role was met positively as well. Both Nagai and the film were awarded by the East West Players for the depiction of Russell.[84] EWP lauded Pixar for the creation of the character, stating, "We are proud to honor a very progressive film company like Pixar who cast an Asian American character alongside an elderly one to play the leads in a feature film."[84] The character is noted as Pixar's first lead Asian character,[85] and was further positively received within the added context of historical non-Asian castings for Asian roles in entertainment.[19][85] Asian American organizations and entertainment websites, such as media watchdog Media Action Network for Asian Americans (MANAA), Racebending.com, and Angry Asian Man praised the character and Pixar for its diverse character depictions, noting the general lack of Asian American lead characters and Asian actors cast in entertainment.[86][87] In an interview with NPR in 2013, Angry Asian Man's Phil Yu reflected on the character's lack of typical Asian stereotyping, stating, "You know, he just happens to be Asian and he's, you know, really adorable character. But that kid could've been of any ethnicity but they made the effort to make him Asian - just a little color, you know, and it's really wonderful when that kind of thing happens where they don't have to play that up and make it like a thing or a joke, which happens a lot."[88]
Box office[edit]
Up earned $293,004,164 in the United States and Canada, and $438,338,580 in other territories, for a worldwide total of $731,342,744.[2] Worldwide, it is the sixth highest-grossing film of 2009,[89] the fourth highest-grossing Pixar film,[90] the 55th highest-grossing film, and the 13th highest-grossing animated film.
In the United States and Canada, Up is the 49th highest-grossing film, the tenth highest-grossing Disney film,[91] the seventh highest-grossing 3-D film,[92] the sixth highest-grossing animated film,[93] the fifth highest-grossing film of 2009,[94] and the fourth highest-grossing Pixar film.[90] On its opening weekend, it performed stronger than analysts had been expecting, ranking number one with $68,108,790.[95] This is the fourth highest-grossing opening for Pixar[96] and the third largest post-Memorial Day opening. It set a record for opening weekend grosses originating from 3-D showings with $35.4 million (first surpassed by Avatar).[97] The opening weekend audience was 53% female and 47% under 17 years old.[98] The film experienced small drop-offs on subsequent weekends, but lost first place to The Hangover.[99][100]
Outside the US and Canada, it is the 43rd highest-grossing film,[101] the tenth highest-grossing animated film, the fifth highest-grossing film of 2009,[102] and the third highest-grossing Pixar film.[90] It was on top of the overseas box office for three consecutive weekends and four in total.[103] Its highest-grossing opening weekends were recorded in France and the Maghreb region ($8.88 million), the UK, Ireland and Malta, ($8.44 million) and Japan ($7.24 million). These three were also its highest-grossing countries in total earnings.[104] Among major countries, it was the highest-grossing animated film of 2009 only in Spain ($37.1 million),[105] Australia ($25.3 million)[106] and South Korea ($6.32 million).[107]
Accolades[edit]


Main article: List of accolades received by Up
Up won two awards at the 82nd Academy Awards, for Best Animated Feature and Best Original Score.[76] It is the second of three animated features to have been nominated for the Academy Award for Best Picture. Beauty and the Beast and Toy Story 3 were also nominated for Best Picture in their respective years. Up also won Best Original Score and Best Animated Feature Film at the 67th Golden Globe Awards.[108] It was nominated for nine Annie Awards in eight categories, winning two awards for "Best Animated Feature" and "Best Directing in a Feature Production".[109] Up also received the Golden Tomato from Rotten Tomatoes for highest rating feature in 2009, and best reviewed animated film,[110] with an approval of 98 percent from film critics, based on 259 reviews.[111] At the 2010 Kids' Choice Awards the film won Favorite Animated Movie.[112] Jordan Nagai was awarded the Breakout Performance Award at the 44th East West Players 44th Anniversary Visionary Awards and Silent Auction for his role as Russell by the East West Players.[84] The organization also awarded the film with the EWP Visionary Award for its progressive casting of an Asian American lead.[84] Dug, the talking canine, was awarded the Palm Dog Award by the British film critics as the best canine performance at Cannes Film Festival, winning over the fox from Antichrist and the black poodle from Inglourious Basterds.[113]
Video games[edit]
Main article: Up (video game)
On May 26, 2009, a video game by the same name themed around the movie was released for multiple platforms.



A video game, Kinect Rush: A Disney-Pixar Adventure, was also released on March 20, 2012, for Xbox 360. It features characters from five of Pixar's films: Up, The Incredibles, Cars, Ratatouille, and Toy Story.[114]
See also[edit]

Portal icon Disney portal
Portal icon Film in the United States portal
Portal icon Animation portal
Portal icon 2000s portal
Cluster ballooning, the activity of flying using clusters of helium balloons



References[edit]
1.^ Jump up to: a b c Barnes, Brooks (April 5, 2009). "Pixar's Art Leaves Profit Watchers Edgy". The New York Times. Retrieved April 6, 2009.
2.^ Jump up to: a b "Up (2009)". Box Office Mojo. Amazon.com. Retrieved August 2, 2011.
3.Jump up ^ Wloszczyna, Susan (May 21, 2009). "Pixar moves on 'Up' with its 10th movie". USA Today. Retrieved November 22, 2013.
4.Jump up ^ Horn, John (March 19, 2009). "Pixar's 'Up' to open Cannes Film Festival". Los Angeles Times. Retrieved November 22, 2013.
5.Jump up ^ Hazlett, Courtney (February 2, 2010). "Things looking 'Up' for best picture race". Today.com. Retrieved November 22, 2013.
6.^ Jump up to: a b "Video Interview: Up Director Pete Docter and Producer Jonas Rivera". /Film. February 13, 2009. Retrieved February 14, 2009.
7.^ Jump up to: a b c d Keast, James (February 6, 2009). "Pixar Reveals Early Look At Up". Exclaim!. Retrieved November 22, 2013.
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9.Jump up ^ "¿A quién se parece?" [Who is him like?]. Revista Semana (in Spanish). May 23, 2009. Retrieved June 14, 2009.
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33.Jump up ^ "Exclusive! First Look at 12 Big Movies Coming In 2009". Entertainment Weekly. Retrieved January 1, 2009.
34.Jump up ^ Edelstein, David (May 24, 2009). "Multidimensional". New York. "In search of a merit badge for assisting the elderly, Russell (voiced by Jordan Nagai), a roly-poly Asian-American wilderness explorer, gets caught on the porch when the house lifts off, then irritates the old man with his chatter."
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36.Jump up ^ Douglas, Edward (February 6, 2009). "A Sneak Preview of Pixar's Up". ComingSoon.net. Retrieved February 7, 2009.
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41.Jump up ^ "Golden Globes 2010 winners: 'Avatar' wins best picture, drama". Entertainment Weekly. Time Inc. January 17, 2010. Retrieved August 20, 2011.
42.Jump up ^ "BAFTA Winners 2010". British Academy Film Awards. British Academy of Film and Television Arts. January 21, 2010. Retrieved August 20, 2011.
43.Jump up ^ "Up at Disney's El Capitan Theatre in Hollywood w/ New Stage Show". Pixar Planet. April 22, 2009. Retrieved April 23, 2009.
44.Jump up ^ Ronnie del Carmen (March 15, 2009). "UP: My name is Dug". Ronnie del Carmen. Retrieved March 16, 2009.
45.Jump up ^ "Aflac Announces New Integrated Marketing Campaign" (Press release). Aflac. April 22, 2009. Retrieved April 23, 2009.
46.Jump up ^ "Aflac's Partnership with Up: NASCAR/TV Commercial". Pixar Planet. May 7, 2009. Retrieved May 7, 2009.
47.Jump up ^ "Up Two For One: Blimp Goes Up + New Up Still". Pixar Planet. May 7, 2009. Retrieved May 9, 2009.
48.Jump up ^ "Up Cluster Balloon Tour". Pixar Planet. April 23, 2009. Retrieved April 25, 2009.
49.Jump up ^ "Terminally Ill Colby Curtin Gets Final Wish: Girl, 10, Watches Disney/ Pixar Movie Hours Before Dying". yahoo voices. June 20, 2009. Retrieved September 18, 2013.
50.Jump up ^ Moring, Mark (May 26, 2009). "What's Up, Doc(ter)?". Christianity Today. Retrieved August 2, 2011.
51.Jump up ^ Yelhsa (March 15, 2009). "Pixar UPisodes". Teaser Trailer. Retrieved August 9, 2012.
52.Jump up ^ McLean, Thomas J. (August 10, 2009). "Up Comes Home; Monsters, Inc. Gets Blu-ray Upgrade". Animation Magazine. Retrieved September 3, 2011.
53.Jump up ^ Das, Lina (February 5, 2010). "From Dug the Dog to Pizza Planet, have you picked up on Pixar's in-jokes?". Daily Mail. Retrieved September 3, 2011.
54.Jump up ^ Sciretta, Peter (August 24, 2009). "Cool Stuff: Pixar’s Up Luxo Jr. Limited Edition Collector’s Set". /Film. Retrieved August 2, 2011.
55.Jump up ^ Josh Cooley. "George & A.J." (video). Pixar. Retrieved January 31, 2010.
56.Jump up ^ "Pixar Short: George and AJ". YouTube. November 20, 2009. Retrieved August 2, 2011.
57.Jump up ^ "Up – DVD Sales". The Numbers. Retrieved July 5, 2010.
58.Jump up ^ "Top-Selling DVDs of 2009". The Numbers. Retrieved April 26, 2010.
59.Jump up ^ Sciacca, John. "Want to rent 'Up?' No closed captions for you! | Sound and Vision Magazine". Soundandvisionmag.com. Retrieved February 1, 2012.
60.Jump up ^ By Anna on (November 18, 2009). "Dear Disney & Pixar: Closed Captioning and Audio Descriptions are not "special features"". Disabledfeminists.com. Retrieved February 1, 2012.
61.Jump up ^ Northrup, Laura (November 22, 2009). "Disney Claims "Up" DVD Missing Captions Were A Mistake". The Consumerist. Retrieved February 1, 2012.
62.Jump up ^ "Up". Rotten Tomatoes. Retrieved September 3, 2011.
63.Jump up ^ "Up". Metacritic. Retrieved September 3, 2011.
64.Jump up ^ Pamela McClintock, Emily Blank (August 12, 2011). "15 Movies That Made The Grade: A+ CinemaScore Posse". The Hollywood Reporter. Archived from the original on June 27, 2012. Retrieved June 27, 2012.
65.Jump up ^ Ebert, Roger (May 27, 2009). "Up". Chicago Sun-Times. Retrieved December 13, 2009.
66.Jump up ^ Ebert, Roger (May 11, 2009). "Cannes #1: Up, up and away, in my beautiful, my beautiful balloon". Chicago Sun-Times. Retrieved August 2, 2011.
67.Jump up ^ Rechtshaffen, Michael (May 12, 2009). "Up – Film Review". The Hollywood Reporter. Retrieved December 13, 2009.
68.Jump up ^ LaSalle, Mick (May 29, 2009). "Review: 'Up' soars on flights of fancy". San Francisco Chronicle. Retrieved December 13, 2009.
69.^ Jump up to: a b McCarthy, Todd (May 12, 2009). "Up Movie Review". Variety. Retrieved August 2, 2011.
70.Jump up ^ Taylor, Kate (May 28, 2009). "Forget the goofy glasses. This magic transcends technology". The Globe and Mail. Retrieved May 16, 2011.
71.Jump up ^ Bill Capodagli, Lynn Jackson (2009). Innovate the Pixar Way: Business Lessons from the World’s Most Creative Corporate Playground. McGraw-Hill Professional. ISBN 0071664378.
72.Jump up ^ Morgenstern, Joe (May 14, 2009). "Reaching for the Sky, 'Up' Fails to Soar". The Wall Street Journal.
73.^ Jump up to: a b Hornaday, Ann (May 29, 2009). "Up". The Washington Post. Retrieved August 2, 2011.
74.Jump up ^ Freer, Ian. "Empire's Up Movie Review". Empire. Retrieved August 28, 2010.
75.^ Jump up to: a b Schwarzbaum, Lisa (May 27, 2009). "Movie Review: Up (2009)". Entertainment Weekly. Retrieved August 2, 2011.
76.^ Jump up to: a b Corliss, Richard (May 28, 2009). "Up, Up and Away: Another New High for Pixar". TIME. Retrieved August 2, 2011.
77.Jump up ^ Foundas, Scott (May 28, 2009). "Movie Reviews: Burma VJ, Up, What Goes Up". LA Weekly. Retrieved August 2, 2011.
78.Jump up ^ Booker, M. Keith (2010). Disney, Pixar, and the Hidden Message of Children's Films. ABC-CLIO. ISBN 0313376727.
79.Jump up ^ Berardinelli, James (May 26, 2009). "Reelviews Movie Reviews". Reelviews. Retrieved August 2, 2011.
80.Jump up ^ Zacharek, Stephanie (May 29, 2009). "Up". Salon. Retrieved October 10, 2012.
81.Jump up ^ LaSalle, Mick (May 29, 2009). "Review: 'Up' soars on flights of fancy". The San Francisco Chronicle. Retrieved August 2, 2011.
82.Jump up ^ Burr, Ty (May 29, 2009). "Up". The Boston Globe. Retrieved August 2, 2011.
83.Jump up ^ Puig, Claudia (May 28, 2009). "Balloon-propelled 'Up' soars with delight, great visuals". USA Today. Retrieved August 2, 2011.
84.^ Jump up to: a b c d "EWP Honors Pixar Films And Jordan Nagai At 44th Anniversary Visionary Awards 4/19". BroadwayWorld.com. April 20, 2010. Retrieved September 16, 2013.
85.^ Jump up to: a b Hu, Alex (May 28, 2009). "Asians in Movie ‘Up’ and Others". AsianWeek.com. Retrieved September 16, 2013.
86.Jump up ^ "ASIAN AMERICAN MEDIA WATCHDOG GROUP PRAISES DISNEY/PIXAR'S "UP" FOR CREATING ASIAN AMERICAN PROTAGONIST". MANAA.org. June 2, 2009. Retrieved September 16, 2013.
87.Jump up ^ Yu, Phil (November 10, 2009). "OUT ON DVD: PIXAR'S UP". blog.angryasianman.com. Retrieved September 16, 2013.
88.Jump up ^ Martin, Michel (September 9, 2013). "Angry Asian Man Not So Angry". NPR.org. Retrieved September 16, 2013.
89.Jump up ^ "2009 WORLDWIDE GROSSES". Boxofficemojo.com. Retrieved August 9, 2012.
90.^ Jump up to: a b c "Pixar". Boxofficemojo.com. Retrieved August 9, 2012.
91.Jump up ^ Buena Vista All Time Box Office Results
92.Jump up ^ "3D Movies at the Box Office". Boxofficemojo.com. Retrieved August 9, 2012.
93.Jump up ^ "Animation". Boxofficemojo.com. Retrieved August 9, 2012.
94.Jump up ^ "2009 DOMESTIC GROSSES". Boxofficemojo.com. Retrieved August 9, 2012.
95.Jump up ^ O'Brien, Bob (June 1, 2009). "Yup, 'Up': Pixar's Latest Release Lifts Disney". Barrons. Retrieved April 17, 2010.
96.Jump up ^ "Pixar Movies Opening Weekends". Boxofficemojo.com. Retrieved August 9, 2012.
97.Jump up ^ Gray, Brandon (December 21, 2009). "Weekend Report: ‘Avatar’ Soars in Debut". Box Office Mojo. Retrieved June 27, 2012.
98.Jump up ^ Gray, Brandon (June 1, 2009). "Weekend Report: ‘Up’ Lifts Pixar to Tenth Smash". Box Office Mojo. Retrieved June 27, 2012.
99.Jump up ^ "Weekend Estimates: Up Conquers Impressive Hangover". The Numbers. June 7, 2009. Retrieved June 7, 2009.
100.Jump up ^ McClintock, Pamela (June 8, 2009). "'Hangover' Upsets 'Up'". Variety. Retrieved June 8, 2009.
101.Jump up ^ "All Time Worldwide Box Office Grosses". Boxofficemojo.com. Retrieved August 9, 2012.
102.Jump up ^ 2009 Overseas Total Yearly Box Office Results
103.Jump up ^ "Overseas Total Box Office Index for 2009". Boxofficemojo.com. Retrieved August 9, 2012.
104.Jump up ^ Up (2009) - International Box Office Results - Box Office Mojo
105.Jump up ^ "2009 Spain Yearly Box Office Results". Retrieved October 1, 2014.
106.Jump up ^ "2009 Australia Yearly Box Office Results". Retrieved October 1, 2014.
107.Jump up ^ "2009 South Korea Yearly Box Office Results". Retrieved October 1, 2014.
108.Jump up ^ "Golden Globes 2010 winners: 'Avatar' wins best picture, drama". Entertainment Weekly. Time Inc. January 17, 2010. Retrieved August 10, 2010.
109.Jump up ^ "37th Annual Annie Nominations and Awards Recipients". AnnieAwards.org. Retrieved February 7, 2010.
110.Jump up ^ "Rotten Tomatoes: 11th Annual Golden Tomatoes Awards". Rotten Tomatoes. Flixster Inc. Retrieved August 10, 2010.
111.Jump up ^ "Up Movie Reviews, Pictures". Rotten Tomatoes. Flixster Inc. Retrieved August 10, 2010.
112.Jump up ^ "Kids' Choice Awards Winners 2010". Kids' Choice Awards. MTV Networks. Retrieved August 11, 2010.
113.Jump up ^ "Pixar pooch picks Up Cannes prize". BBC News. May 22, 2009. Retrieved August 28, 2010.
114.Jump up ^ Narcisse, Evan (December 8, 2011). "Pixar Teams Up With Microsoft For Kinect Rush". Kotaku. Retrieved December 9, 2011.
External links[edit]
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Up (2009 film)
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Up
A house is hovering in the air, lifted by balloons. A dog, a boy, and an old man hang beneath on a garden hose. "UP" is written in the top right corner.
Theatrical release poster

Directed by
Pete Docter
Produced by
Jonas Rivera
Screenplay by
Bob Peterson
 Pete Docter
Story by
Pete Docter
 Bob Peterson
Thomas McCarthy
Starring
Ed Asner
Christopher Plummer
Jordan Nagai
 Bob Peterson
Music by
Michael Giacchino
Cinematography
Patrick Lin
 Jean-Claudie Kalache
Edited by
Kevin Nolting

Production
 company

Walt Disney Pictures
Pixar Animation Studios

Distributed by
Walt Disney Studios
 Motion Pictures

Release dates

May 29, 2009


Running time
 96 minutes
Country
United States
Language
English
Budget
$175 million[1]
Box office
$731.3 million[2]
Up is a 2009 American 3D computer-animated comedy-adventure film produced by Pixar Animation Studios and released by Walt Disney Pictures. Directed by Pete Docter, the film centers on an elderly widower named Carl Fredricksen (voiced by Edward Asner) and an earnest young Wilderness Explorer named Russell (Jordan Nagai). By tying thousands of balloons to his home, 78-year-old Carl sets out to fulfill his dream to see the wilds of South America and to complete a promise made to his late lifelong love. The film was co-directed by Bob Peterson, with music composed by Michael Giacchino.
Docter began working on the story in 2004, which was based on fantasies of escaping from life when it becomes too irritating. He and eleven other Pixar artists spent three days in Venezuela gathering research and inspiration. The designs of the characters were caricatured and stylized considerably, and animators were challenged with creating realistic cloth. The floating house is attached by a varying number between 10,000 and 20,000 balloons in the film's sequences. Up was Pixar's first film to be presented in Disney Digital 3-D.[3]
Up was released on May 29, 2009 and opened the 2009 Cannes Film Festival, becoming the first animated and 3D film to do so.[4] The film became a great financial success, accumulating over $731 million in its theatrical release. Up received critical acclaim, with most reviewers commending the humor and heart of the film. Edward Asner was praised for his portrayal of Carl, and a montage of Carl and his wife Ellie aging together was widely lauded. The film received five Academy Award nominations, including Best Picture, making it the second animated film in history to receive such a nomination (and Pixar's first Best Picture nomination), following Beauty and the Beast (1991).[5]


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Animation
3.2 Music
4 Release 4.1 UPisodes
4.2 Home media
5 Reception 5.1 Critical response
5.2 Box office
5.3 Accolades
6 Video games
7 See also
8 References
9 External links

Plot[edit]
In the late-1930s, Carl Fredricksen is a young 8-year old boy who idolizes famous explorer Charles F. Muntz. Muntz has been accused of fabricating the skeleton of a giant bird he says that he discovered in Paradise Falls and vows to return there to catch one alive. One day Carl befriends a girl named Ellie, who is also a Muntz fan. She confides to Carl her desire to move her "clubhouse" — an abandoned house in the neighborhood — to a cliff overlooking Paradise Falls. Carl and Ellie eventually get married and grow old together in the restored house. Though they planned to have children together, Ellie is diagnosed as infertile. Carl therefore wants to fulfill their promise of travel to South America, repeatedly pooling their savings for a trip to Paradise Falls. An elderly Carl finally arranges for the trip, but Ellie suddenly becomes ill and passes away.
Years later, Carl still lives in the house, when he accidentally injures a construction worker over damage to his mailbox, and a court orders him to move to a retirement home. However, Carl comes up with a scheme to keep his promise to Ellie—he turns his house into a makeshift airship, using thousands of helium balloons. Russell, a young Wilderness Explorer, becomes an accidental passenger in his effort to earn his final merit badge for assisting the elderly.
After surviving a thunderstorm, the flying house lands near a ravine facing Paradise Falls. Carl and Russell harness themselves to the still-buoyant house and begin to walk it around the ravine, hoping to reach the falls before all of the balloons deflate. They later befriend a tall, colorful flightless bird (whom Russell names "Kevin") trying to reach her chicks, followed a dog named Dug, who wears a special collar that allows him to speak.
Carl and Russell encounter a pack of dogs led by Alpha and are taken to Dug's master, who turns out to be an elderly Charles Muntz. Muntz invites Carl and Russell aboard his dirigible, the Spirit of Adventure, where he explains that he has spent years since his disgrace searching Paradise Falls for the giant bird. When Russell notes the bird's similarity to Kevin, Muntz then becomes hostile, mistankely believing them to have been attempting to steal the bird, prompting the pair to flee with Kevin and Dug. Muntz catches up with them and starts a fire beneath Carl's house, forcing the old man to choose between saving it or Kevin. Carl rushes to put out the fire, allowing Muntz to take the bird. He and Russell eventually reach the falls, though Russell is disappointed in Carl over his decision to abandon Kevin.
Settling into his home, Carl looks through Ellie's childhood scrapbook and finds photos of their happy marriage added into it, along with a note from Ellie thanking him for the "adventure" and encouraging him to go have a new one. Reinvigorated, he goes to find Russell, only to see him sailing off on some balloons to save Kevin. Carl empties the house of furniture and possessions, lightening it, and pursues him.
Russell is captured by Muntz, but Carl manages to board the dirigible in flight and free both Russell and Kevin. Dug defeats Alpha and become the dogs' new leader. Muntz pursues them around the airship, finally cornering Dug, Kevin, and Russell inside Carl's tethered house. Carl lures Kevin out through a window and back onto the airship with Dug and Russell clinging to her back, just as Muntz is about to close in. Muntz leaps after them, only to snag his foot on some balloon lines and fall to his death. The house then descends out of sight through the clouds.
Carl and Russell reunite Kevin with her chicks, then fly the dirigible back to the city. Carl presents Russell with his final badge: a grape soda cap that Ellie gave to Carl when they first met and made their promise. The two then enjoy some ice cream together. Meanwhile, Carl's house is shown to have landed on the cliff beside Paradise Falls, as promised to Ellie.
Cast[edit]



 Actors dressed as the film's protagonists at the 66th Venice International Film FestivalEdward Asner as Carl Fredricksen (Jeremy Leary voiced Carl as a young boy). Docter and Rivera noted Asner's television alter ego, Lou Grant, had been helpful in writing for Carl, because it guided them in balancing likable and unlikable aspects of the curmudgeonly character.[6] When they met Asner and presented him with a model of his character, he joked, "I don't look anything like that." (The appearance of Carl is meant to resemble Spencer Tracy as he appeared in his final film, Guess Who's Coming to Dinner.[7]) They tailored his dialogue for him, with short sentences and more consonants, which "cemented the notion that Carl, post-Ellie, is a disgruntled bear that's been poked awake during hibernation".[8] In Colombia, unexpected publicity for the film was generated due to the uncanny similarity of Carl with Colombian ex-president Julio César Turbay Ayala.[9][10]
Christopher Plummer as Charles F. Muntz. Muntz is an old explorer looking for the Beast of Paradise Falls; he vowed not to return to North America until he had captured the creature. He uses a group of dogs to aid him in his hunt. The name of his airship, the Spirit of Adventure, may have been inspired by Charles Lindbergh's airplane, Spirit of St. Louis.[11] In various interviews, Pete Docter has mentioned Howard Hughes and real life adventurers Charles Lindbergh and Percy Fawcett as inspirations for Muntz.[12]
Jordan Nagai as Russell. On their journey, Russell makes several comments to Carl that suggest that Russell's father and mother are no longer together.[13] Russell's design was based on Pixar animator Peter Sohn.[14] Docter auditioned 400 boys in a nationwide casting call for the part.[15] Nagai, who is Japanese American,[16] showed up to an audition with his brother, who was actually the one auditioning. Docter realized Nagai behaved and spoke non-stop like Russell and chose him for the part.[17] Nagai was 8 years old when cast.[15] Docter encouraged Nagai to act physically as well as vocally when recording the role, lifting him upside down and tickling him for the scene where Russell encounters Kevin.[8] Asian Americans have positively noted Pixar's first casting of an Asian lead character,[18] in contrast to the common practice of casting non-Asians in Asian parts.[19]
Bob Peterson as Dug, a Golden Retriever who can communicate with humans through a device on his collar.[11] He is the misfit of a pack of talking dogs owned by Muntz. Peterson knew he would voice Dug when he wrote his line "I have just met you, and I love you," which was based on what a child told him when he was a camp counselor in the 1980s. The DVD release of the film features a short called Dug's Special Mission, which follows Dug just before his first meeting with Carl and Russell. Dug previously appeared in Ratatouille as a shadow on a wall that barks at Remy.[11] Peterson also voices Alpha, a talking Doberman Pinscher[11] and the leader of Muntz's pack of dogs. Pete Docter has stated that Alpha "thinks of himself as Clint Eastwood". Despite his menacing appearance, a frequent malfunction in Alpha's translating collar causes his voice to sound comically high-pitched and squeaky, as if he had been breathing helium. The normal voice for his translator is a resonant, intimidating bass. With both voices, Alpha has a roundabout speech pattern that causes his sentences to be longer than necessary.
Pete Docter as Kevin, the "Beast of Paradise Falls", which is actually just a large, colorful prehistoric bird. Other than voicing Kevin, Docter also voices Campmaster Strauch, Russell's camp master, seen at the end of the film.
Elizabeth Docter as Ellie Fredricksen as a younger child. The voice actor is the director's daughter,[20] who also provided some of the drawings shown by Ellie.[21]
Delroy Lindo as Beta, a Rottweiler[11] and one of Muntz's dogs.
Jerome Ranft as Gamma, a Bulldog[11] and one of Muntz's dogs.
John Ratzenberger as Tom, a construction worker who asks if Carl is ready to sell his house.[11]
David Kaye as the newsreel announcer.
Danny Mann as Steve, a construction worker who Carl injures because he accidentally wrecked his mailbox.
Production[edit]

Image of Spencer Tracy with white hair, wearing thick-rimmed glasses and looking grumpy.

 The main character Carl Fredricksen is partially based on Spencer Tracy[7]
Writing for Up first began in 2004 by director Pete Docter. The fantasy of a flying house was developed on the idea of escaping from life when it becomes too irritating,[12][15] which stemmed from his difficulty with social situations growing up.[22] Actor and writer Thomas McCarthy aided Docter and Bob Peterson in shaping the story for about three months.[17] Docter selected an old man for the main character after drawing a picture of a grumpy old man with smiling balloons.[17] The two men thought that an old man was a good idea for a protagonist because they felt that their experiences and the way that they affect their view of the world was a rich source of humor. Docter was not concerned with an elderly protagonist, stating that children would relate to Carl in the way that they relate to their grandparents.[12]
Docter noted that the film reflects his friendships with Disney veterans Frank Thomas, Ollie Johnston, and Joe Grant (who all died before the film's release and thus the film was dedicated to them). Grant gave the script his approval as well as some advice before his death in 2005.[23] Docter recalled that Grant would remind him that the audience needed an "emotional bedrock" because of how wacky the adventure would become; here it is Carl mourning for his wife.[17] Docter felt that Grant's personality influenced Carl's deceased wife Ellie more than the grouchy main character,[23] and Carl was primarily based on Spencer Tracy, Walter Matthau, James Whitmore, and their own grandparents, because there was "something sweet about these grumpy old guys".[7] Docter and Jonas Rivera noted Carl's charming nature in spite of his grumpiness derives from the elderly "hav[ing] this charm and almost this 'old man license' to say things that other people couldn't get away with [...] It's like how we would go to eat with Joe Grant and he would call the waitresses 'honey'. I wish I could call a waitress 'honey'."[24]
Docter revealed that the filmmakers' first story outline had Carl "just want[ing] to join his wife up in the sky. It was almost a kind of strange suicide mission or something. And obviously that's [a problem]. Once he gets airborne, then what? So we had to have some goal for him to achieve that he had not yet gotten."[20] As a result, they added the plot of going to South America. The location was chosen due to both Docter's love of tropical locations, but also in wanting a location that Carl could be stuck with a kid due to the inability to leave him with an authority such as a police officer or social worker. They implemented a child character as a way to help Carl stop being "stuck in his ways".[25]
Docter created Dug as he felt it would be refreshing to show what a dog thinks, rather than what people assume it thinks.[26] Knowledge of canine communication, body language and pack behaviors for the artists and animators to portray such thoughts came from consultant Dr. Ian Dunbar, veterinarian, dog behaviorist and trainer.[27] The idea for Alpha's voice derived from thinking about what would happen if someone broke a record player and it always played at a high pitch.[17] Russell was added to the story at a later date than Dug and Kevin;[17] his presence, as well as the construction workers, helped to make the story feel less "episodic".[20]
Carl's relationship with Russell reflects how "he's not really ready for the whirlwind that a kid is, as few of us are".[23] Docter added he saw Up as a "coming of age" tale and an "unfinished love story", with Carl still dealing with the loss of his wife.[28] He cited inspiration from Casablanca and A Christmas Carol, which are both "resurrection" stories about men who lose something, and regain purpose during their journey.[29] Docter and Rivera cited inspiration from the Muppets, Hayao Miyazaki, Dumbo, and Peter Pan. They also saw parallels to The Wizard of Oz and tried to make Up not feel too similar.[30] There is a scene where Carl and Russell haul the floating house through the jungle. A Pixar employee compared the scene to Fitzcarraldo, and Docter watched that film and The Mission for further inspiration.[31] The character Charles Muntz comes from Howard Hughes and Errol Flynn.[32]
Animation[edit]

A cascading view of several rock formations.

 Docter and eleven other Pixar artists visited tepuis in Venezuela in 2004 for research
Docter made Venezuela the film's setting after Ralph Eggleston gave him a video of the tepui mountains;[12][23] Venezuela and tepuis were already featured in a previous Disney film, Dinosaur. In 2004, Docter and eleven other Pixar artists spent three days reaching Monte Roraima by airplane, jeep, and helicopter.[11] They spent three nights there painting and sketching,[33] and encountering ants, mosquitoes, scorpions, frogs, and snakes. They also flew to Matawi Tepui and climbed to Angel Falls.[11] Docter felt "we couldn't use [the rocks and plants we saw]. Reality is so far out, if we put it in the movie you wouldn't believe it."[7] The film's creatures were also challenging to design because they had to fit in the surreal environment of the tepuis, but also be realistic because those mountains exist in real life.[23] The filmmakers visited Sacramento Zoo to observe a Himalayan Monal for Kevin's animation.[1] The animators designed Russell as an Asian-American, and modeled Russell after similar looking Peter Sohn, a Pixar storyboarder who voiced Emile in Ratatouille and directed the short Partly Cloudy, because of his energetic nature.[15][34]
While Pixar usually designs their characters to be caricatured, Carl was even more so, being only three heads high.[35] He was not given elderly features such as liver spots or hair in his ears to keep him appealing, yet giving him wrinkles, pockmarks on his nose, a hearing aid, and a cane to make him appear elderly. Docter wanted to push a stylized feel, particularly the way Carl's head is proportioned: he has a squarish appearance to symbolize his containment within his house, while Russell is rounded like a balloon.[8] The challenge on Up was making these stylized characters feel natural,[12] although Docter remarked the effect came across better than animating the realistic humans from Toy Story, who suffered from the "uncanny valley".[23] Cartoonists Al Hirschfeld, Hank Ketcham, and George Booth influenced the human designs.[17][29][36] Simulating realistic cloth on caricatured humans was harder than creating the 10,000 balloons flying the house.[22] New programs were made to simulate the cloth and for Kevin's iridescent feathers.[37] To animate old people, Pixar animators would study their own parents or grandparents and also watched footage of the Senior Olympics.[6] The directors had various rules for Carl's movements: he could not turn his head more than 15–20 degrees without turning his torso as well, nor could he raise his arms high. However, they also wanted him to grow more flexible near the end of the film, transforming into an "action hero".
A technical director worked out that to make Carl's house fly, he would require 23 million balloons, but Docter realized that number made the balloons look like small dots. Instead, the balloons created were made to be twice Carl's size. There are 10,927 balloons for shots of the house just flying, 20,622 balloons for the lift-off sequence, and a varying number in other scenes.[11]
Music[edit]
Main article: Up (film score)
Up is the third Pixar film to be scored by Michael Giacchino, after The Incredibles and Ratatouille. What Pete Docter wanted more importantly out of the music was the emotion, so Giacchino wrote a character theme-based score that producer Jonas Rivera thought enhanced the story. At the beginning of the movie, when young Carl is in the movie theater watching a newsreel about Muntz, the first piece of music heard is "Muntz's Theme", which starts out as a celebratory theme, and echoes through the film when Muntz reappears 70 years later. "Ellie's Theme" is first heard when she is introduced as a little kid and plays several times during the film in different versions; for instance, during the sequence where Carl lifts his house with the balloons, the theme is changed from a simple piano melody to a full orchestral arrangement. Giacchino has compared the film to opera since each character has a unique theme that changes during a particular moment in the story.[38]
The score was released as a digital download on May 26, 2009, three days before the film opened in theaters. It won the Academy Award for Best Original Score,[39] the Grammy Award for Best Score Soundtrack Album,[40] the Golden Globe Award for Best Original Score,[41] and the 2010 BAFTA Award for Best Film Music.[42] It is the first score for a Pixar film to win the Oscar (Randy Newman also won for Monsters, Inc. and Toy Story 3, but in the category of Best Original Song).
Release[edit]



George Lucas with the film's protagonists at the 66th Venice International Film Festival.
When the film screened at the El Capitan Theatre in Hollywood, California from May 29 to July 23, 2009, it was accompanied by Lighten Up!, a live show featuring Disney characters.[43] Other tie-ins included children's books such as My Name is Dug, illustrated by screenwriter Ronnie del Carmen.[44] Despite Pixar's track record, Target Corporation and Walmart stocked few Up items, while Pixar's regular collaborator Thinkway Toys did not produce merchandise, claiming its story is unusual and would be hard to promote. Disney acknowledged not every Pixar film would have to become a franchise.[1] Promotional partners include Aflac,[45] NASCAR, and Airship Ventures,[46][47] while Cluster Balloons promoted the film with a replica of Carl's couch lifted by hot air balloons for journalists to sit in.[48]
Before the film's worldwide release date, Pixar granted a wish from 10-year-old Colby Curtin to see the film before she died. Colby had been diagnosed with cancer and was too sick to go to a theater. A Pixar employee flew to the Curtin's house with a DVD of the finished film and screened it for her and her family. Curtin died seven hours later, after seeing the film.[49]

Three men all face forward and are smiling. Two of the men are extending their pointer fingers while the third man is giving a thumbs up gesture.

 Pete Docter (left), Jonas Rivera (right) in 2009 with KUSI-TV's Phil Konstantin
Director Pete Docter intended for audiences to take a specific point from the film, saying:

Basically, the message of the film is that the real adventure of life is the relationship we have with other people, and it's so easy to lose sight of the things we have and the people that are around us until they are gone. More often than not, I don't really realize how lucky I was to have known someone until they're either moved or passed away. So, if you can kind of wake up a little bit and go, "Wow, I've got some really cool stuff around me every day", then that's what the movie's about.[50]
UPisodes[edit]
Before its theatrical release, Disney Pixar created three small animated vignettes called UPisodes to promote its film UP on the internet.[51] These UPisodes chronicled Carl Fredricksen and Russell's journey through the jungle, not seen in the movie. Fans were able to view the vignettes on Apple iTunes movie trailer site and YouTube.
UPisode One: Animal Calls - in the first episode, Russell demonstrates his ability to mimic animal calls.
UPisode Two: First Aid - in the second episode, Russell tries to relieve a minor injury that Carl received.
UPisode Three: Snipe Trap - in the third episode, Russell attempts to capture the elusive snipe.
Home media[edit]
Up was released on Blu-ray Disc and DVD in North America on November 10, 2009,[52] and in the United Kingdom on February 15, 2010.[53] It features the film plus the theatrical short Partly Cloudy and the new short Dug's Special Mission, as well as an audio commentary by director Pete Docter, the documentary Adventure is Out There on the filmmakers' research journey to South America, The Many Endings of Muntz (an alternate ending of sorts), and a digital copy. The Blu-ray edition has a four-disc pack that adds Cine-Explore with BonusView, Global Guardian Badge and Geography games, eight documentaries, and BD-Live to the Deluxe DVD and digital copy platters. A Limited Edition is also available called the Luxo Jr. Premium Pack that includes a collectible lamp modeled after Pixar's bouncy short star that is designed to hold a complete Pixar Blu-ray collection.[54]
In addition, Pixar also created a short film titled George & A.J., written and directed by Up storyboard artist Josh Cooley, that shows what the two Shady Oaks retirement home workers did after Carl left with his house. It was initially available for purchase at the iTunes Store, and then was later posted to Disney·Pixar's Facebook and YouTube pages.[55][56]
In its first week it sold 3,969,792 units ($66,057,339). It eventually reached 10,811,453 units ($182,591,149),[57] becoming the best-selling DVD among those released in 2009, in units sold. It also became the third in sales revenue behind Transformers: Revenge of the Fallen and Twilight.[58]
The rental release of the film to Netflix, Blockbuster, and Redbox was controversial since it failed to include closed captioning.[59] Disney faced a consumer backlash over this[60] and quickly released a statement that this removal was an unfortunate error and that it was moving to correct the issue.[61]
Reception[edit]
Critical response[edit]
Up was met with universal critical acclaim. Rotten Tomatoes reports that 98% of critics have given the film a "Certified Fresh" positive review, based on 278 reviews, with an 8.6/10 review average. The site's consensus states: "Another masterful work of art from Pixar, Up is an exciting, hilarious, and heartfelt adventure impeccably crafted and told with wit and depth."[62] The film also holds a score of 88 on the review aggregator website Metacritic.[63] Audiences gave the film an "A+" CinemaScore.[64]
Film critic Roger Ebert gave the film four out of four stars and called it "a wonderful film."[65][66] The Hollywood Reporter lauded the film as "Winsome, touching and arguably the funniest Pixar effort ever, this gorgeously rendered, high-flying adventure is a tidy 90-minute distillation of all the signature touches that came before it."[67] Although the San Francisco Chronicle noted that the film "contains many boring stretches of mindless freneticism and bland character interaction," it also declared that there are scenes in Up of "such beauty, economy and poetic wisdom that they belong in any anthology of great movie moments...to watch Up with any attention is to be moved and astonished by the economy with which specific visuals are invested with emotion throughout [the film]..."[68] Variety enthused that "Up is an exceptionally refined picture; unlike so many animated films, it's not all about sensory bombardment and volume...Unsurprisingly, no one puts a foot wrong here. Vocal performances...exude a warm enthusiasm, and tech specifications could not be better. Michel Giacchino's full-bodied, traditional score is superlative..."[69] The Globe claimed that Up is "the kind of movie that leaves you asking 'How do people come up with this stuff?'" along with an overall positive review on the film, despite it being predictable.[70]
The character of Carl Fredricksen has received mostly positive reception. Bill Capodagli, author of Innovate the Pixar Way, praised Carl for his ability to be a jerk and likable at the same time.[71] Wall Street Journal editor Joe Morgenstern described Carl as gruff, comparing him to Buster Keaton, but adds that this begins to wear thin as the movie progresses.[72] He has been compared with Spencer Tracy, an influence on the character, by The Washington Post editor Ann Hornaday[73] and Empire Online editor Ian Freer, who describes him as similar to a "Guess Who's Coming to Dinner-era" Tracy.[74] Entertainment Weekly editor Lisa Schwarzbaum described his appearance as a cross between Tracy and an eccentric out of a George Booth cartoon.[75] TIME editor Richard Corliss also makes the comparison, calling him a "trash compacted version" of Tracy.[76] He has also been compared to Walter Matthau, another inspiration for the character's design, by LA Weekly editor Scott Foundas, suggesting that actor Ed Asner was channeling him while performing the role of Carl.[77] Variety editor Todd McCarthy described Carl as a combination of both Tracy and Matthau.[69]
The relationship between Carl and his wife Ellie has been praised in several media outlets. In his book Disney, Pixar, and the Hidden Message of Children's Films, author M. Keith Booker described the love between Carl and Ellie as touching. While also describing the scene of the two of them aging as a "masterpiece of its own kind," he was not sure how much children would appreciate the scene, commenting that his son was squirming in his seat during the scene.[78] Reelviews editor James Berardinelli praised their relationship, stating that it brought a tear to his eye in a way no animated film has done, including anything by famed anime director Hayao Miyazaki.[79] Ann Hornaday praised the prologue, describing it as "worthy of Chaplin in its heartbreaking poignancy."[73] Chicago Tribune editor Michael Phillips praised the scene, describing it as an emotional and cinematic powerhouse, and that he also was nearly moved to tears. However, Salon.com editor Stephanie Zacharek criticized the love between Carl and Ellie, describing their marriage as resembling a dental adhesive commercial more than a real relationship.[80]
Edward Asner was praised in several media outlets for his portrayal of Carl. San Francisco Chronicle editor Mick LaSalle praised Asner as a great choice due to having a grumpiness to his voice that is not truly grumpy, but rather coming from a protective stance.[81] Entertainment Weekly editor Lisa Schwarzbaum praised Asner's acting, stating that he has a "Lou Grant authority" to his voice.[75] Time editor Richard Corliss stated that Asner had the "gruffness and deadpan comic timing to bring Carl to life."[8] The Boston Globe editor Ty Burr concurred with this, stating that his Lou Grant-like voice had not diminished with time.[82] USA Today editor Claudia Puig praised Asner's delivery, describing it as superb.[83]
The formulation of Russell as an Asian American character, along with the casting of an Asian American in the role was met positively as well. Both Nagai and the film were awarded by the East West Players for the depiction of Russell.[84] EWP lauded Pixar for the creation of the character, stating, "We are proud to honor a very progressive film company like Pixar who cast an Asian American character alongside an elderly one to play the leads in a feature film."[84] The character is noted as Pixar's first lead Asian character,[85] and was further positively received within the added context of historical non-Asian castings for Asian roles in entertainment.[19][85] Asian American organizations and entertainment websites, such as media watchdog Media Action Network for Asian Americans (MANAA), Racebending.com, and Angry Asian Man praised the character and Pixar for its diverse character depictions, noting the general lack of Asian American lead characters and Asian actors cast in entertainment.[86][87] In an interview with NPR in 2013, Angry Asian Man's Phil Yu reflected on the character's lack of typical Asian stereotyping, stating, "You know, he just happens to be Asian and he's, you know, really adorable character. But that kid could've been of any ethnicity but they made the effort to make him Asian - just a little color, you know, and it's really wonderful when that kind of thing happens where they don't have to play that up and make it like a thing or a joke, which happens a lot."[88]
Box office[edit]
Up earned $293,004,164 in the United States and Canada, and $438,338,580 in other territories, for a worldwide total of $731,342,744.[2] Worldwide, it is the sixth highest-grossing film of 2009,[89] the fourth highest-grossing Pixar film,[90] the 55th highest-grossing film, and the 13th highest-grossing animated film.
In the United States and Canada, Up is the 49th highest-grossing film, the tenth highest-grossing Disney film,[91] the seventh highest-grossing 3-D film,[92] the sixth highest-grossing animated film,[93] the fifth highest-grossing film of 2009,[94] and the fourth highest-grossing Pixar film.[90] On its opening weekend, it performed stronger than analysts had been expecting, ranking number one with $68,108,790.[95] This is the fourth highest-grossing opening for Pixar[96] and the third largest post-Memorial Day opening. It set a record for opening weekend grosses originating from 3-D showings with $35.4 million (first surpassed by Avatar).[97] The opening weekend audience was 53% female and 47% under 17 years old.[98] The film experienced small drop-offs on subsequent weekends, but lost first place to The Hangover.[99][100]
Outside the US and Canada, it is the 43rd highest-grossing film,[101] the tenth highest-grossing animated film, the fifth highest-grossing film of 2009,[102] and the third highest-grossing Pixar film.[90] It was on top of the overseas box office for three consecutive weekends and four in total.[103] Its highest-grossing opening weekends were recorded in France and the Maghreb region ($8.88 million), the UK, Ireland and Malta, ($8.44 million) and Japan ($7.24 million). These three were also its highest-grossing countries in total earnings.[104] Among major countries, it was the highest-grossing animated film of 2009 only in Spain ($37.1 million),[105] Australia ($25.3 million)[106] and South Korea ($6.32 million).[107]
Accolades[edit]


Main article: List of accolades received by Up
Up won two awards at the 82nd Academy Awards, for Best Animated Feature and Best Original Score.[76] It is the second of three animated features to have been nominated for the Academy Award for Best Picture. Beauty and the Beast and Toy Story 3 were also nominated for Best Picture in their respective years. Up also won Best Original Score and Best Animated Feature Film at the 67th Golden Globe Awards.[108] It was nominated for nine Annie Awards in eight categories, winning two awards for "Best Animated Feature" and "Best Directing in a Feature Production".[109] Up also received the Golden Tomato from Rotten Tomatoes for highest rating feature in 2009, and best reviewed animated film,[110] with an approval of 98 percent from film critics, based on 259 reviews.[111] At the 2010 Kids' Choice Awards the film won Favorite Animated Movie.[112] Jordan Nagai was awarded the Breakout Performance Award at the 44th East West Players 44th Anniversary Visionary Awards and Silent Auction for his role as Russell by the East West Players.[84] The organization also awarded the film with the EWP Visionary Award for its progressive casting of an Asian American lead.[84] Dug, the talking canine, was awarded the Palm Dog Award by the British film critics as the best canine performance at Cannes Film Festival, winning over the fox from Antichrist and the black poodle from Inglourious Basterds.[113]
Video games[edit]
Main article: Up (video game)
On May 26, 2009, a video game by the same name themed around the movie was released for multiple platforms.



A video game, Kinect Rush: A Disney-Pixar Adventure, was also released on March 20, 2012, for Xbox 360. It features characters from five of Pixar's films: Up, The Incredibles, Cars, Ratatouille, and Toy Story.[114]
See also[edit]

Portal icon Disney portal
Portal icon Film in the United States portal
Portal icon Animation portal
Portal icon 2000s portal
Cluster ballooning, the activity of flying using clusters of helium balloons



References[edit]
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42.Jump up ^ "BAFTA Winners 2010". British Academy Film Awards. British Academy of Film and Television Arts. January 21, 2010. Retrieved August 20, 2011.
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44.Jump up ^ Ronnie del Carmen (March 15, 2009). "UP: My name is Dug". Ronnie del Carmen. Retrieved March 16, 2009.
45.Jump up ^ "Aflac Announces New Integrated Marketing Campaign" (Press release). Aflac. April 22, 2009. Retrieved April 23, 2009.
46.Jump up ^ "Aflac's Partnership with Up: NASCAR/TV Commercial". Pixar Planet. May 7, 2009. Retrieved May 7, 2009.
47.Jump up ^ "Up Two For One: Blimp Goes Up + New Up Still". Pixar Planet. May 7, 2009. Retrieved May 9, 2009.
48.Jump up ^ "Up Cluster Balloon Tour". Pixar Planet. April 23, 2009. Retrieved April 25, 2009.
49.Jump up ^ "Terminally Ill Colby Curtin Gets Final Wish: Girl, 10, Watches Disney/ Pixar Movie Hours Before Dying". yahoo voices. June 20, 2009. Retrieved September 18, 2013.
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52.Jump up ^ McLean, Thomas J. (August 10, 2009). "Up Comes Home; Monsters, Inc. Gets Blu-ray Upgrade". Animation Magazine. Retrieved September 3, 2011.
53.Jump up ^ Das, Lina (February 5, 2010). "From Dug the Dog to Pizza Planet, have you picked up on Pixar's in-jokes?". Daily Mail. Retrieved September 3, 2011.
54.Jump up ^ Sciretta, Peter (August 24, 2009). "Cool Stuff: Pixar’s Up Luxo Jr. Limited Edition Collector’s Set". /Film. Retrieved August 2, 2011.
55.Jump up ^ Josh Cooley. "George & A.J." (video). Pixar. Retrieved January 31, 2010.
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59.Jump up ^ Sciacca, John. "Want to rent 'Up?' No closed captions for you! | Sound and Vision Magazine". Soundandvisionmag.com. Retrieved February 1, 2012.
60.Jump up ^ By Anna on (November 18, 2009). "Dear Disney & Pixar: Closed Captioning and Audio Descriptions are not "special features"". Disabledfeminists.com. Retrieved February 1, 2012.
61.Jump up ^ Northrup, Laura (November 22, 2009). "Disney Claims "Up" DVD Missing Captions Were A Mistake". The Consumerist. Retrieved February 1, 2012.
62.Jump up ^ "Up". Rotten Tomatoes. Retrieved September 3, 2011.
63.Jump up ^ "Up". Metacritic. Retrieved September 3, 2011.
64.Jump up ^ Pamela McClintock, Emily Blank (August 12, 2011). "15 Movies That Made The Grade: A+ CinemaScore Posse". The Hollywood Reporter. Archived from the original on June 27, 2012. Retrieved June 27, 2012.
65.Jump up ^ Ebert, Roger (May 27, 2009). "Up". Chicago Sun-Times. Retrieved December 13, 2009.
66.Jump up ^ Ebert, Roger (May 11, 2009). "Cannes #1: Up, up and away, in my beautiful, my beautiful balloon". Chicago Sun-Times. Retrieved August 2, 2011.
67.Jump up ^ Rechtshaffen, Michael (May 12, 2009). "Up – Film Review". The Hollywood Reporter. Retrieved December 13, 2009.
68.Jump up ^ LaSalle, Mick (May 29, 2009). "Review: 'Up' soars on flights of fancy". San Francisco Chronicle. Retrieved December 13, 2009.
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70.Jump up ^ Taylor, Kate (May 28, 2009). "Forget the goofy glasses. This magic transcends technology". The Globe and Mail. Retrieved May 16, 2011.
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82.Jump up ^ Burr, Ty (May 29, 2009). "Up". The Boston Globe. Retrieved August 2, 2011.
83.Jump up ^ Puig, Claudia (May 28, 2009). "Balloon-propelled 'Up' soars with delight, great visuals". USA Today. Retrieved August 2, 2011.
84.^ Jump up to: a b c d "EWP Honors Pixar Films And Jordan Nagai At 44th Anniversary Visionary Awards 4/19". BroadwayWorld.com. April 20, 2010. Retrieved September 16, 2013.
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86.Jump up ^ "ASIAN AMERICAN MEDIA WATCHDOG GROUP PRAISES DISNEY/PIXAR'S "UP" FOR CREATING ASIAN AMERICAN PROTAGONIST". MANAA.org. June 2, 2009. Retrieved September 16, 2013.
87.Jump up ^ Yu, Phil (November 10, 2009). "OUT ON DVD: PIXAR'S UP". blog.angryasianman.com. Retrieved September 16, 2013.
88.Jump up ^ Martin, Michel (September 9, 2013). "Angry Asian Man Not So Angry". NPR.org. Retrieved September 16, 2013.
89.Jump up ^ "2009 WORLDWIDE GROSSES". Boxofficemojo.com. Retrieved August 9, 2012.
90.^ Jump up to: a b c "Pixar". Boxofficemojo.com. Retrieved August 9, 2012.
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96.Jump up ^ "Pixar Movies Opening Weekends". Boxofficemojo.com. Retrieved August 9, 2012.
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98.Jump up ^ Gray, Brandon (June 1, 2009). "Weekend Report: ‘Up’ Lifts Pixar to Tenth Smash". Box Office Mojo. Retrieved June 27, 2012.
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101.Jump up ^ "All Time Worldwide Box Office Grosses". Boxofficemojo.com. Retrieved August 9, 2012.
102.Jump up ^ 2009 Overseas Total Yearly Box Office Results
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106.Jump up ^ "2009 Australia Yearly Box Office Results". Retrieved October 1, 2014.
107.Jump up ^ "2009 South Korea Yearly Box Office Results". Retrieved October 1, 2014.
108.Jump up ^ "Golden Globes 2010 winners: 'Avatar' wins best picture, drama". Entertainment Weekly. Time Inc. January 17, 2010. Retrieved August 10, 2010.
109.Jump up ^ "37th Annual Annie Nominations and Awards Recipients". AnnieAwards.org. Retrieved February 7, 2010.
110.Jump up ^ "Rotten Tomatoes: 11th Annual Golden Tomatoes Awards". Rotten Tomatoes. Flixster Inc. Retrieved August 10, 2010.
111.Jump up ^ "Up Movie Reviews, Pictures". Rotten Tomatoes. Flixster Inc. Retrieved August 10, 2010.
112.Jump up ^ "Kids' Choice Awards Winners 2010". Kids' Choice Awards. MTV Networks. Retrieved August 11, 2010.
113.Jump up ^ "Pixar pooch picks Up Cannes prize". BBC News. May 22, 2009. Retrieved August 28, 2010.
114.Jump up ^ Narcisse, Evan (December 8, 2011). "Pixar Teams Up With Microsoft For Kinect Rush". Kotaku. Retrieved December 9, 2011.
External links[edit]
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John Carter (film)
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John Carter
John carter poster.jpg
Theatrical release poster

Directed by
Andrew Stanton
Produced by
Jim Morris
Colin Wilson
 Lindsey Collins
Screenplay by
Andrew Stanton
Mark Andrews
Michael Chabon
Based on
A Princess of Mars
 by Edgar Rice Burroughs
Starring
Taylor Kitsch
Lynn Collins
Samantha Morton
Mark Strong
Ciarán Hinds
Dominic West
James Purefoy
Willem Dafoe
Music by
Michael Giacchino
Cinematography
Dan Mindel
Edited by
Eric Zumbrunnen

Production
 company

Walt Disney Pictures

Distributed by
Walt Disney Studios
 Motion Pictures

Release dates

March 7, 2012 (France[1])
March 9, 2012 (United States)


Running time
 132 minutes[2]
Country
United States
Language
English
Budget
$263.7 million[3]
Box office
$284.1 million[4]
John Carter is a 2012 American fantasy adventure film directed by Andrew Stanton and produced by Walt Disney Pictures. It is based on A Princess of Mars, the first book in the Barsoom series of novels by Edgar Rice Burroughs. The film chronicles the first interplanetary adventure of John Carter, portrayed by actor Taylor Kitsch.[5] The film marks the centennial of the character's first appearance.[5][6] The film is the live-action debut for writer and director Stanton; his previous directorial work includes the Pixar animated films Finding Nemo (2003) and WALL-E (2008).[7][8] Co-written by Stanton, Mark Andrews and Michael Chabon, it was produced by Jim Morris, Colin Wilson, and Lindsey Collins. The score was composed by Michael Giacchino and released by Walt Disney Records on March 6, 2012.[7][9][10] The ensemble cast also features Lynn Collins, Samantha Morton, Mark Strong, Ciarán Hinds, Thomas Haden Church, Dominic West, James Purefoy, and Willem Dafoe.
Filming began in November 2009 with principal photography underway in January 2010, wrapping seven months later in July 2010.[11][12] John Carter explores extraterrestrial life, science fiction and civil war.[13] Walt Disney Studios Motion Pictures released John Carter in the United States on March 9, 2012; the film was shown in regular 2D and in the Disney Digital 3D as well as IMAX 3D formats.[14][15][16]
Upon release, John Carter received a mixed critical reception and performed poorly at the domestic box office, although it did show strength overseas, particularly in Russia where it set box office records.[17] Disney attributed the $160 million swing from profit to loss in its Studio Entertainment division in the second 2012 fiscal quarter "primarily" to the performance of John Carter.[18] The film is considered a box office bomb, taking a $200 million writedown after the film only grossed $284 million against total production and marketing costs of $350 million.[19] Paul Dergarabedian, president of Hollywood.com noted, "John Carter’s bloated budget would have required it to generate worldwide tickets sales of more than $600 million to break even...a height reached by only 63 films in the history of moviemaking".[20]


Contents  [hide]
1 Plot
2 Cast
3 Development 3.1 Origins
3.2 Bob Clampett involvement
3.3 Disney progression
3.4 Paramount effort
3.5 Return to Disney, Stanton involvement
4 Production 4.1 Filming
4.2 Marketing
4.3 Music and soundtrack
5 Release 5.1 Theatrical run
5.2 Home media
6 Reception 6.1 Critical response
6.2 Box office
6.3 Accolades
7 Canceled sequels
8 See also
9 References
10 Suggested reading
11 External links

Plot[edit]
After the sudden death of John Carter (Taylor Kitsch), a former American Civil War Confederate Army captain, Carter's nephew, Edgar Rice Burroughs (Daryl Sabara), attends the funeral. As per Carter's instructions, the body is put in a tomb that can be unlocked only from the inside. His attorney hands over Carter's personal journal for Burroughs to read, in the hope of finding clues explaining Carter's cause of death.
The anecdote recounts back to the Arizona Territory, where Union Colonel Powell (Bryan Cranston) arrests Carter. Powell, knowing about Carter's military background, seeks his help in fighting the Apache, insisting that Carter owes it to his country. Carter refuses, stating that he paid any debt he had when he lost his family. Carter escapes his holding cell, but is pursued by Powell and his cavalry. After a run-in with a band of Apaches, Carter and a wounded Powell are chased until they take to hiding in a cave that turns out to be the object of Carter's earlier searching, the "Spider Cave of Gold". A mysterious being, called a Thern, appears in the cave at that moment; Carter kills him but accidentally activates the Thern's powerful medallion, and is unwittingly transported to a ruined and dying planet, Barsoom (Mars). Because of his different bone density and the planet's low gravity, Carter is able to jump high and perform feats of incredible strength. He is captured by the Green Martian clan, the Tharks and their Jeddak (chieftain) Tars Tarkas (Willem Dafoe). Tars instructs Sola (Samantha Morton) to watch over Carter which results in her feeding him a liquid that enables him to understand the Martian language.
Elsewhere on Barsoom, the Red Martian city of Helium led by Tardos Mors (Ciarán Hinds) and the mobile scavenger city of Zodanga led by the villainous Sab Than (Dominic West) have been at war for a thousand years. Sab Than, who wants to conquer Barsoom, is armed with a special weapon obtained from Matai Shang (Mark Strong), the leader of the Therns. He proposes a cease-fire and an end to the war by marrying the Princess of Helium Dejah Thoris (Lynn Collins). Disguised as a soldier, the Princess escapes in a Helium ship.
When Tarkus wants John Carter to show off his jumping abilities, a Thark states the sightings of one ship from Helium and one ship from Zodanga scattering the Tharks to their hiding place. John Carter takes action and saves Dejah from falling. He does manage to kill some Zodanga soldiers and have a brief fight with Sab Than. Following the fight, which leads to Sab Than's ship retreating, John Carter is hailed as Dotar Sojat (which roughly translates to "My Right Arms") by Tars Tarkas due to his strength and skill. Tarkus even has Dejah given to him as part of the Thark spoils. Sometime after that, Carter, accompanied by Dejah, tries to find a way to get back to Earth, and stumbles upon a temple ruin sacred to the Tharks where Sola encounters them and tries to stop them from entering, but fails. After discovering that an inscription stating a way back to Earth in the sacred river of Iss, Carter, Dejah, and Sola are caught by Sarkoja (Polly Walker) and Tal Hajus (Thomas Haden Church). The three of them are sentenced to death due to the Thark code, but they are helped to escape by Tars Tarkas, who reveals to Carter that Sola is his daughter. When Tal and Sarkoja find the prisoners gone, Tal states that Tarkas has betrayed them.
Carter, Dejah, Sola, and Woola (a Martian Calot - which is somewhat like a mixture of a lizard and a dog) embark on a quest to get to the end of a sacred river to find a way for Carter to get back home. They obtain information about the "ninth ray", a means of utilizing infinite energy and also the key to understanding how the medallion works. But they are later attacked by the Green Martian Clan of Warhoon, which were manipulated by Matai Shang to pursue them, as part of a new plan by Sab Than. After initially fleeing, Carter decides to buy the others time by fighting the horde himself as atonement for not being able to save his family. Though defeating many Warhoon, Carter is ultimately overpowered and is saved when a Helium ship intervenes. Sab Than is also in the company of Tardos Mors as he mentions that Sab came alone and stated that he organized the rescue party. The demoralized Dejah grudgingly agrees to marry Sab Than as Carter is taken to Zodanga to be healed.
When Carter awakens, he is guided to Dejah's room. After the servant girls leave, Dejah gives Carter his medallion and tells him to go back to Earth. As Dejah leaves with Sab Than, Carter is met by Matai Shang, who takes Carter for a walk around Zodanga. In different Zodangan forms, Shang explains to Carter the purpose of Therns and how they manipulate the civilizations of different planets into total self-destruction, also revealing Sab Than's secret plan that he will kill Dejah once he marries her and destroy Helium and rule Barsoom, at the same time completing the course the Therns have set for Barsoom (Shang also mentions that he and the Therns have been doing the same process for billions of years). Carter is able to make an escape thanks to Woola as he and Sola go back to the Tharks requesting their help. There, they discover Tarkas has been overthrown by Tal Hajus. Tarkas, Carter, and Sola are put on trial in a Colosseum battle with two enormous vicious creatures, the four-armed Great White-Apes. After defeating them and easily killing Hajus, Carter becomes the leader of the Tharks.
Carter and the Thark army charges on Helium and defeats the Zodangan army in a huge battle, killing Sab Than. Carter marries Dejah and becomes prince of Helium. On their first night, Carter decides to stay forever on Mars and throws away his medallion. Seizing this opportunity, Matai Shang, in the form of a Helium Guard, sends him back to Earth, before leaving Mars forever (he isn't seen again in the film after this scene). Carter embarks on a long quest, looking for clues of the Therns' presence on Earth and hoping to find one of their medallions; after several years he appears to die suddenly and asks for unusual funeral arrangements — consistent with his having found a medallion, since his return to Mars would leave his Earth body in a coma-like state. He makes Burroughs his protector, giving him clues about how to open the tomb.
The film reverts to the present, where Burroughs runs back to Carter's tomb and opens it, only to find it empty. A Thern, who had been following Carter over the ten years he'd returned in the form of a man with a bowler hat, appears holding a knife, having followed Burroughs. But as he prepares to kill Burroughs, both himself and Burroughs see the tomb as empty. Carter then appears and shoots the Thern, killing him. Carter then tells Burroughs that he never found a medallion. Instead, he devised a scheme to lure a Thern into revealing himself in order to get that Thern's medallion. After suggesting to Burroughs that he enjoy his life on Earth and to try writing books (alluding to the fact that Burroughs is the real-life author of the "Barsoom" novels), Carter takes the Thern's medallion, whispers the code, and is then transported back to Barsoom.
Cast[edit]
Taylor Kitsch as John Carter, a former Confederate Army captain in the American Civil War who is reluctantly drawn into a war conflict on Barsoom (Mars).
Lynn Collins as Dejah Thoris, a Princess of Helium and John Carter's love interest. In this film, she is also depicted as a scientist.
Samantha Morton as Sola, Tars Tarkas' daughter and John Carter's ally.
Willem Dafoe as Tars Tarkas, the Jeddak ("Emperor") of the Green Martian Tharks and John Carter's unlikely ally.
Thomas Haden Church as Tal Hajus, one of the Tharks and Tars Tarkas' rival.
Dominic West as Sab Than, the Jeddak of Zodanga, who wants to destroy Helium and rule all of Barsoom. He is the film's main antagonist.
Mark Strong as Matai Shang, the leader of the Therns ,Shang is the film's secondary antagonist .
Ciarán Hinds as Tardos Mors, the Jeddak of Helium and the father of Dejah Thoris.
James Purefoy as Kantos Kan, an officer of Helium.
Bryan Cranston as Colonel Powell, a Union Soldier who wants John to help them against the Apaches.
Polly Walker as Sarkoja, a Thark zealot.
Daryl Sabara as Edgar Rice Burroughs, the nephew of John Carter.
Nicholas Woodeson as Dalton, Carter's attorney.
Don Stark as Dix, a storekeeper in Arizona.
David Schwimmer as Young Thark Warrior
Jon Favreau as Thark Bookie, a Thark who collects the bets of the battles. Jon Favreau was once attached to direct the film when it was still a Paramount production.[21]
Art Malik as Zodangan General
Development[edit]
Origins[edit]
See also: Barsoom
The film is largely based on A Princess of Mars (1917), the first in a series of 11 novels to feature the interplanetary hero John Carter (and in later volumes the adventures of his children with Dejah Thoris). The story was originally serialized in six monthly installments (from February through to July 1912) in the pulp magazine The All-Story; those chapters, originally titled "Under the Moons of Mars," were then collected in hardcover five years later from publisher A. C. McClurg.
Bob Clampett involvement[edit]



 Cover of the first edition of A Princess of Mars by Burroughs, McClurg.
In 1931, Looney Tunes director Bob Clampett approached Edgar Rice Burroughs with the idea of adapting A Princess of Mars into a feature-length animated film. Burroughs responded enthusiastically, recognizing that a regular live-action feature would face various limitations to adapt accurately, so he advised Clampett to write an original animated adventure for John Carter.[22] Working with Burroughs' son John Coleman Burroughs in 1935, Clampett used rotoscope and other hand-drawn techniques to capture the action, tracing the motions of an athlete who performed John Carter's powerful movements in the reduced Martian gravity, and designed the green-skinned, 4-armed Tharks to give them a believable appearance. He then produced footage of them riding their eight-legged Thoats at a gallop, which had all of their eight legs moving in coordinated motion; he also produced footage of a fleet of rocketships emerging from a Martian volcano. MGM was to release the cartoons, and the studio heads were enthusiastic about the series.[23]
The test footage, produced by 1936,[24] received negative reactions from film exhibitors across the U.S., especially in small towns; many gave their opinion that the concept of an Earthman on Mars was just too outlandish an idea for midwestern American audiences to accept. The series was not given the go-ahead, and Clampett was instead encouraged to produce an animated Tarzan series, an offer which he later declined. Clampett recognized the irony in MGM's decision, as the Flash Gordon movie serial, released in the same year by Universal Studios, was highly successful. He speculated that MGM believed that serials were only played to children during Saturday matinees, whereas the John Carter tales were intended to be seen by adults during the evening. The footage that Clampett produced was believed lost for many years, until Burroughs' grandson, Danton Burroughs, in the early 1970s found some of the film tests in the Edgar Rice Burroughs Inc. archives.[23] Had A Princess of Mars been released, it might have preceded Walt Disney's Snow White and the Seven Dwarfs to become the first American feature-length animated film.[25]
Disney progression[edit]
During the late 1950s famed stop-motion animation effects director Ray Harryhausen expressed interest in filming the novels, but it was not until the 1980s that producers Mario Kassar and Andrew G. Vajna bought the rights for Walt Disney Pictures, with a view to creating a competitor to Star Wars and Conan the Barbarian. Ted Elliott and Terry Rossio were hired to write, while John McTiernan and Tom Cruise were approached to direct and star. The project collapsed because McTiernan realized that visual effects were not yet advanced enough to recreate Burroughs' vision of Barsoom. The project remained at Disney, and Jeffrey Katzenberg was a strong proponent of filming the novels, but the rights eventually returned to the Burroughs estate.[25]
Paramount effort[edit]
Producer James Jacks read Harry Knowles' autobiography, which lavishly praised the John Carter of Mars series. Having read the Burroughs' novels as a child, Jacks was moved to convince Paramount Pictures to acquire the film rights; a bidding war with Columbia Pictures followed. After Paramount and Jacks won the rights, Jacks contacted Knowles to become an adviser on the project and hired Mark Protosevich to write the screenplay. Robert Rodriguez signed on in 2004 to direct the film after his friend Knowles showed him the script. Recognizing that Knowles had been an adviser to many other filmmakers, Rodriguez asked him to be credited as a producer.[25]
Filming was set to begin in 2005, with Rodriguez planning to use the all-digital stages he was using for his production of Sin City, a film based on the graphic novel series by Frank Miller.[25] Rodriguez planned to hire Frank Frazetta, the popular Burroughs and fantasy illustrator, as a designer on the film.[26] Rodriguez had previously stirred-up film industry controversy owing to his decision to credit Sin City '​s artist/creator Frank Miller as co-director on the film adaptation; as a result of all the hoopla, Rodriguez decided to resign from the Directors Guild of America. In 2004, unable to employ a non-DGA filmmaker, Paramount assigned Kerry Conran to direct and Ehren Kruger to rewrite the John Carter script. The Australian Outback was scouted as a shooting location. Conran left the film for unknown reasons and was replaced in October 2005 by Jon Favreau.[25]
Favreau and screenwriter Mark Fergus wanted to make their script faithful to the Burroughs' novels, retaining John Carter's links to the American Civil War and ensuring that the Barsoomian Tharks were 15 feet tall (previous scripts had made them human-sized). Favreau argued that a modern-day soldier would not know how to fence or ride a horse like Carter, who had been a Confederate officer. The first film he envisioned would have adapted the first three novels in the Barsoom series: A Princess of Mars, The Gods of Mars, and The Warlord of Mars. Unlike Rodriguez and Conran, Favreau preferred using practical effects for his film and cited Planet of the Apes as his inspiration. He intended to use make-up, as well as CGI, to create the Tharks. In August 2006 Paramount chose not to renew the film rights, preferring instead to focus on its Star Trek franchise. Favreau and Fergus moved on to Marvel Studios' Iron Man.[25]
Return to Disney, Stanton involvement[edit]
Andrew Stanton, director of the animated Pixar hits WALL-E and Finding Nemo, lobbied the Walt Disney Studios to reacquire the rights from Burroughs' estate. "Since I'd read the books as a kid, I wanted to see somebody put it on the screen," he explained.[27]
He then lobbied Disney heavily for the chance to direct the film, pitching it as "Indiana Jones on Mars." The studio was initially skeptical. He had never directed a live-action film before, and wanted to make the film without any major stars whose names could guarantee an audience, at least on opening weekend. The screenplay was seen as confusing and difficult to follow. But since Stanton had overcome similar preproduction doubts to make WALL-E and Finding Nemo into hits, the studio approved him as director.[28] Stanton noted he was effectively being "loaned" to Walt Disney Pictures because Pixar is an all-ages brand and John Carter was rated PG-13 for "intense sequences of violence and action".[29] By 2008 they completed the first draft for Part One of a John Carter film trilogy; the first film is based only on the first novel.[30] In April 2009 author Michael Chabon confirmed he had been hired to revise the script.[8][31][32]
Following the completion of WALL-E, Stanton visited the archives of Edgar Rice Burroughs, Inc., in Tarzana, California, as part of his research.[25] Jim Morris, general manager of Pixar, said the film will have a unique look that is distinct from Frank Frazetta's illustrations, which they both found dated.[33] He also noted that although he had less time for pre-production than for any of his usual animated projects, the task was nevertheless relatively easy since he had read the Burroughs' novels as a child and had already visualized many of its scenes.[8]
Production[edit]
Filming[edit]



"On 'John Carter,' Stanton was crafting a complicated, inter-planetary story with live action period elements and more than 2,000 visual-effects shots delivered by four companies. The director said he coaxed Disney to adopt some of Pixar's iterative style ..."
—Columnists Dawn C. Chmielewski and Rebecca Keegan, writing in the Los Angeles Times[27]
Principal photography commenced at Longcross Studios, London, in January 2010 and ended in Kanab, Utah in July 2010.[12][34] Locations in Utah included Lake Powell and the counties of Grand, Wayne, and Kane.[35][36] A month-long reshoot took place in Playa Vista, Los Angeles.[37] The film was shot in the Panavision anamorphic format on Kodak 35 mm film.[37] Stanton denied assertions that he had gone over budget and stated that he had been allowed a longer reshoot because he had stayed on budget and on time.[38] However, he did admit to reshooting much of the movie twice, far more than is usually common in live action filmmaking. He attributed that to his animation background.[28] "The thing I had to explain to Disney was, 'You're asking a guy who's only known how to do it this way to suddenly do it with one reshoot.'" he explained later. "I said, 'I'm not gonna get it right the first time, I'll tell you that right now.'"[27] Stanton often sought advice from people he had worked with at Pixar on animated films (known as the Braintrust) instead of those with live-action experience working with him.[39][40] Stanton also was quoted as saying, "I said to my producers, ‘Is it just me, or do we actually know how to do this better than live-action crews do?’"[39] Rich Ross, Disney's chairman, successor to Dick Cook, who had originally approved the film for production, came from a television background and had no experience with feature films. The studio's new top marketing and production executives had little more.[28]
Marketing[edit]
Disney's head of marketing during the production was MT Carney, an industry outsider who previously ran a marketing boutique in New York.[41] Stanton often rejected marketing ideas from the studio, according to those who worked on the film.[42] Stanton's ideas were used instead, and he ignored criticism that using Led Zeppelin's "Kashmir", a song recorded in 1974, in the trailer would make it seem less current to the contemporary younger audiences the film sought. He also chose billboard imagery that failed to resonate with prospective audiences, and put together a preview reel that did not get a strong reception from a convention audience.[28] Stanton said, “My joy when I saw the first trailer for Star Wars is I saw a little bit of almost everything in the movie, and I had no idea how it connected, and I had to go see the movie. So the last thing I’m going to do is ruin that little kid’s experience.”[43] Following the death of Steve Jobs, Stanton dedicated the film in his memory.[44]
Although being based on the first book of the series, A Princess of Mars, the film was originally titled John Carter of Mars, but Stanton removed "of Mars" to make it more appealing to a broader audience, stating that the film is an "origin story. It's about a guy becoming John Carter of Mars."[45] Stanton plans to keep "Mars" in the title for future films in the series.[45] Kitsch said the title was changed to reflect the character's journey, as John Carter will become "of Mars" only in the last few minutes of the picture.[46] Former Disney marketing president MT Carney also has taken blame for suggesting the title change.[41] Another reported explanation for the name change was that Disney had suffered a significant loss in March 2011 with Mars Needs Moms, the studio reportedly conducted a study which noted recent movies with the word "Mars" in the title had not been commercially successful.[47] Earlier, two and a half years before the premiere of the film, on December 29, 2009, a low-budget film produced by the independent film company The Asylum, entitled Princess of Mars, was released direct-to-DVD in the United States. Stanton referred to the competing film as a "crappy knock-off".[48]
Music and soundtrack[edit]

John Carter: Original Soundtrack

Film score by Michael Giacchino

Released
March 6, 2012
Recorded
2011-12
Sony Scoring Stage (Culver City)
Length
1:13:56
Label
Walt Disney
Producer
Michael Giacchino

Professional ratings

Review scores

Source
Rating
Examiner.com 5/5 stars[49]
Film Music Magazine (A)[50]
Movie Music UK 4.5/5 stars[51]
Tracksounds (8/10)[52]
Walt Disney Records released the soundtrack on March 6, 2012, three days before the film's release. In February 2010, Michael Giacchino revealed in an interview he would be scoring the film.[10][53] Giacchino's score had been positively compared to the works of composer John Williams, and the music of traditional epic serial films which predate John Carter.[54][55]

No.
Title
Length

1. "A Thern for the Worse"   7:38
2. "Get Carter"   4:25
3. "Gravity of the Situation"   1:20
4. "Thark Side of Barsoom"   2:55
5. "Sab Than Pursues Princess"   5:33
6. "The Temple of Issus"   3:24
7. "Zodanga Happened"   4:01
8. "The Blue Light Special"   4:11
9. "Carter They Come, Carter They Fall"   3:55
10. "A Change of Heart"   3:04
11. "A Thern Warning"   4:04
12. "The Second Biggest Apes I've Seen This Month"   2:35
13. "The Right of Challenge"   2:22
14. "The Prize Is Barsoom"   4:29
15. "The Fight for Helium"   4:22
16. "Not Quite Finished"   2:06
17. "Thernabout"   1:18
18. "Ten Bitter Years"   3:12
19. "John Carter of Mars"   8:53
Total length:
 1:13:56 
Release[edit]
Theatrical run[edit]
Although the original film release date was June 8, 2012, in January 2011 Disney moved the release date to March 9, 2012.[14][56][57] A teaser trailer for the film premiered on July 14, 2011 and was shown in 3D and 2D with showings of Harry Potter and the Deathly Hallows – Part 2; the official trailer premiered on November 30, 2011. On February 5, 2012 an extended commercial promoting the movie aired during the Super Bowl,[58] and before the day of the game, Andrew Stanton, a Massachusetts native, held a special screening of the film for both the team members and families of the New England Patriots and New York Giants.[59]
Home media[edit]
Walt Disney Studios Home Entertainment released John Carter on Blu-ray, DVD, and digital download June 5, 2012. The home media release was made available in three different physical packages: a four-disc combo pack (1 disc Blu-ray 3D, 1-disc Blu-ray, 1 DVD, and 1-disc digital copy), a two-disc combo pack (1 disc Blu-ray, 1 disc DVD), and one-disc DVD. John Carter will also be made available in 3D High Definition, High Definition, and Standard Definition Digital.[clarification needed] Additionally, the home media edition will be available in an On-Demand format. The Blu-ray bonus features include Disney Second Screen functionality, "360 Degrees of John Carter", deleted scenes, and "Barsoom Bloopers". The DVD bonus features include "100 Years in the Making", and audio commentary with filmmakers. The High Definition Digital and Standard Definition Digital versions both include "Life by the Second: The Shanzam Unit", Disney Second Screen, "Barsoom Bloopers", and deleted scenes. The Digital 3D High Definition Digital copy does not include bonus features.[60] In mid-June, the movie topped sales on both Nielsen VideoScan First Alert sales chart, which tracks overall disc sales, and Nielsen’s dedicated Blu-ray Disc sales chart, with the DVD release selling 980,812 copies making $17,057,283 and Blu-ray and 3-D releases selling 965,275 copies making $19,295,847, with a combined total of $36,353,130 in its first week alone.[61][62]
Reception[edit]
Critical response[edit]
One week before the film's release, Disney removed an embargo on reviews of the film.[63] John Carter received mixed reviews from critics. It holds a 51% rating on the film-critics aggregate site Rotten Tomatoes based on 216 reviews; its consensus is, "While John Carter looks terrific and delivers its share of pulpy thrills, it also suffers from uneven pacing and occasionally incomprehensible plotting and characterization."[64] At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film holds a score of 51 based on 42 reviews, signifying "Mixed or average reviews".[65]
Todd McCarthy of The Hollywood Reporter wrote, "Derivative but charming and fun enough, Disney's mammoth scifier is both spectacular and a bit cheesy."[66] Glenn Kenny of MSN Movies rated the film 4 out of 5 stars, saying, "By the end of the adventure, even the initially befuddling double-frame story pays off, in spades. For me, this is the first movie of its kind in a very long time that I'd willingly sit through a second or even third time."[67] Roger Ebert of the Chicago Sun-Times rated the film 2.5 out of 4 stars, commenting that the movie "is intended to foster a franchise and will probably succeed. Does John Carter get the job done for the weekend action audience? Yes, I suppose it does."[68] Dan Jolin of Empire gave the film 3 stars out of 5, noting, "Stanton has built a fantastic world, but the action is unmemorable. Still, just about every sci-fi/fantasy/superhero adventure you ever loved is in here somewhere."[69] Joe Neumaier of the New York Daily News gave the film 3 out of 5 stars, calling the film "undeniably silly, sprawling and easy to make fun of, [but] also playful, genuinely epic and absolutely comfortable being what it is. In this genre, those are virtues as rare as a cave of gold."[70]



"... the movie is more Western than science fiction. Even if we completely suspend our disbelief and accept the entire story at face value, isn't it underwhelming to spend so much time looking at hand-to-hand combat when there are so many neat toys and gadgets to play with?"
—Roger Ebert, writing for the Chicago Sun-Times[68]
Conversely, Peter Debruge of Variety gave a negative review, saying, "To watch John Carter is to wonder where in this jumbled space opera one might find the intuitive sense of wonderment and awe Stanton brought to Finding Nemo and WALL-E."[71] Owen Glieberman of Entertainment Weekly gave the film a D rating, feeling, "Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better."[72] Christy Lemire of The Boston Globe wrote that, "Except for a strong cast, a few striking visuals and some unexpected flashes of humor, John Carter is just a dreary, convoluted trudge – a soulless sprawl of computer-generated blippery converted to 3-D."[73] Michael Philips of the Chicago Tribune rated the film 2 out of 4 stars, saying the film "isn't much – or rather, it's too much and not enough in weird, clumpy combinations – but it is a curious sort of blur."[74] Andrew O'Herir of Salon.com called it "a profoundly flawed film, and arguably a terrible one on various levels. But if you’re willing to suspend not just disbelief but also all considerations of logic and intelligence and narrative coherence, it’s also a rip-roaring, fun adventure, fatefully balanced between high camp and boyish seriousness at almost every second."[75] Mick LaSelle of San Francisco Chronicle rated the film 1 star out of 4, noting, "John Carter is a movie designed to be long, epic and in 3-D, but that's as far as the design goes. It's designed to be a product, and it's a flimsy one."[76] A.O. Scott of The New York Times said, "John Carter tries to evoke, to reanimate, a fondly recalled universe of B-movies, pulp novels and boys’ adventure magazines. But it pursues this modest goal according to blockbuster logic, which buries the easy, scrappy pleasures of the old stuff in expensive excess. A bad movie should not look this good."[77]
In the UK, the film was savaged by Peter Bradshaw in The Guardian, gaining only 1 star out of 5 and described as a "giant, suffocating doughy feast of boredom".[78] The film garnered 2 out of 5 stars in The Daily Telegraph, described as "a technical marvel, but is also armrest-clawingly hammy and painfully dated".[79] BBC film critic Mark Kermode expressed his displeasure with the film commenting, "The story telling is incomprehensible, the characterisation is ludicrous, the story is two and a quarter hours long and it's a boring, boring, boring two and a quarter hours long."[80]
Box office[edit]
John Carter earned $73,078,100 in North America and $211,061,000 in other countries, for a worldwide total as of June 28, 2012 of $284,139,100.[81] It had a worldwide opening of $100.8 million.[82] In North America, it opened in first place on Friday, March 9, 2012 with $9.81 million.[83] However, by Sunday, it had grossed $30.2 million, falling to second place for the weekend, behind The Lorax.[84] Outside North America, it topped the weekend chart, opening with $70.6 million.[85] Its highest-grossing opening was in Russia and the CIS, where it broke the all-time opening-day record ($6.5 million)[86] and earned $16.5 million during the weekend.[87] The film also scored the second-best opening weekend for a Disney film in China[88] ($14.0 million).[89] It was in first place at the box office outside North America for two consecutive weekends.[90] Its highest-grossing areas after North America are China ($41.5 million),[91] Russia and the CIS ($33.4 million), and Mexico ($12.1 million).[92]
In the week following the John Carter's domestic release, movie industry analysts predicted that Disney would lose $100-to-150 million on the picture.[93] However, its box office strength outside North America led some analysts to speculate that the write-down would be significantly less than expected.[93][94][95] On May 8, 2012, the Walt Disney Company released a statement on its earnings which attributed the $161 million deterioration in the operating income of their Studio Entertainment division to a loss of $84 million in the quarter ending March 2012 "primarily" to the performance of John Carter and the associated cost write-down.[96]
The film's perceived failure led to the resignation of Rich Ross, the head of Walt Disney Studios, even though Ross had arrived there from his earlier success at the Disney Channel with John Carter already in development.[97] Ross theoretically could have stopped production on John Carter as he did with a planned remake of 20,000 Leagues Under the Sea, or minimize the budget as he did to The Lone Ranger starring Johnny Depp.[98] Instead, Stanton was given the production budget requested for John Carter, backed with an estimated $100 million marketing campaign that is typical for a tentpole movie but without significant merchandising or other ancillary tie-ins.[47] It was reported that Ross later sought to blame Pixar for John Carter, which prompted key Pixar executives to turn against Ross who already had alienated many within the studio.[99] The film rebounded at the domestic box office charts from No. 38 to No. 12 on the first weekend of May 2012 after drive-ins paired it with Disney's release of The Avengers which brought John Carter's domestic gross to about $70.8 million.[100] The 2013 book John Carter and the Gods of Hollywood cites many factors in the film's commercial failure, but author Michael D. Sellers insists the film tested very well with audiences and failed more because of marketing problems (which included not mentioning "Mars", "Barsoom", or "Edgar Rice Burroughs" on promotional posters, which meant that many fans of the Burroughs books were completely unaware of the film and its subject matter until after it bombed) and changing management at the studio.[101]
In September 2014, studio president Alan Bergman was asked at a conference if Disney had been able to partially recoup its losses on The Lone Ranger and John Carter through subsequent release windows or other monetization methods, and he responded: "I'm going to answer that question honestly and tell you no, it didn't get that much better. We did lose that much money on those movies."[102]
Accolades[edit]

Organization
Award category
Nominee(s)
Result
ASCAP Awards Top Box Office Films Michael Giacchino Won
Annie Awards[103] Best Animated Effects in a Live Action Production Sue Rowe, Simon Stanley-Clamp, Artemis Oikonomopoulou, Holger Voss, Nikki Makar and Catherine Elvidge Nominated
Nebula Awards Ray Bradbury Award for Outstanding Dramatic Presentation Andrew Stanton, Mark Andrews and Michael Chabon
Golden Trailer Awards[104] Golden Fleece Ignition Creative and Walt Disney Studios Motion Pictures
International Film Music Critics Association Awards Best Original Score for a Fantasy/Science Fiction/Horror Film Michael Giacchino Won
Film Music Composition of the Year - John Carter of Mars Nominated
Saturn Awards Best Special Effects Chris Corbould, Peter Chiang, Scott R. Fisher and Sue Rowe
Canceled sequels[edit]
Prior to the film's release, the filmmakers reported that John Carter was intended to be the first film of a trilogy.[105] Producers Jim Morris and Lindsey Collins began work on a sequel based on Burroughs' second novel, The Gods of Mars.[106] However, the film's poor box office performance put plans for sequels on hold.[107]
In June 2012 co-writer Mark Andrews said in interview that he, Stanton, and Chabon are still interested in doing sequels: "As soon as somebody from Disney says, 'We want John Carter 2 '​, we'd be right there."[108] Despite criticism and Disney's financial disappointment with the film, lead actors Taylor Kitsch and Willem Dafoe all showed strong support,[109][110][111] with Kitsch stating "I would do John Carter again tomorrow. I'm very proud of John Carter".[112]
However, in September 2012, Stanton announced that his next directorial effort would be Finding Dory, and that the plan to film a John Carter sequel "went away" and has been postponed.[113] Kitsch later stated he will not make another John Carter film, unless Stanton returns as director.[114] In a May 2014 interview, he added "I still talk to Lynn Collins almost daily. Those relationships that were born won’t be broken by people we never met. I miss the family. I miss Andrew Stanton. I know the second script was fucking awesome. We had to plant a grounding, so we could really take off in the second one. The second one was even more emotionally taxing, which was awesome."[115] Stanton tweeted both titles and logos for the sequels that would have been made with the titles being Gods of Mars as the sequel, and a third film, Warlord of Mars.[116][117]
On October 20, 2014, it was confirmed that Disney had allowed the film rights to the Barsoom novels to revert back to the Edgar Rice Burroughs Estate.[118]
See also[edit]

Portal icon United States portal
Portal icon Mars portal
Portal icon Film portal
Portal icon 2010s portal
2012 in film
Sword and planet
Mars in fiction
References[edit]
Footnotes
1.Jump up ^ "John Carter – released". disney.fr. Retrieved February 26, 2012.
2.Jump up ^ "John Carter". British Board of Film Classification. February 15, 2012. Retrieved February 22, 2012.
3.Jump up ^ Sylt, Christian (22 October 2014). "Revealed: The $307 Million Cost of Disney's John Carter". Forbes. Retrieved 7 December 2014. "The tax payment to John Carter gave the picture a net budget of $263.7 million which is far more than estimates predicted."
4.Jump up ^ "John Carter (2012)". Box Office Mojo. Retrieved June 26, 2012.
5.^ Jump up to: a b "John Carter – Teaser One Sheet Now Available". Jim Hill Media. June 16, 2011. Retrieved June 22, 2011.
6.Jump up ^ "John Carter Loses Mars". Coming Soon. May 23, 2011. Retrieved June 22, 2011.
7.^ Jump up to: a b Lambie, Ryan (June 19, 2011). "What We Know About John Carter". Den of Geek. Retrieved June 22, 2011.
8.^ Jump up to: a b c Sciretta, Peter (January 13, 2011). "John Carter of Mars to be Pixar's First Live Action Film, Bryan Cranston Joins Cast". SlashFilm. Retrieved June 22, 2011.
9.Jump up ^ Boucher, Geoff (June 16, 2011). "‘John Carter’: Andrew Stanton on Martian history, Comic-Con and … Monty Python?". Los Angeles Times. Retrieved June 22, 2011.
10.^ Jump up to: a b Tassi, Paul (March 11, 2010). "Michael Giacchino Scoring John Carter of Mars". JoBlo. Retrieved June 23, 2011.
11.Jump up ^ Blaber, Genevieve (June 12, 2009). "Utah is Beginning to Look Like Mars". Latino Review. Retrieved June 22, 2011.
12.^ Jump up to: a b "Disney wraps up Mars movie shooting in Utah". Standard-Examiner. August 2, 2010. Retrieved November 4, 2010.
13.Jump up ^ Andrew Stanton (Director). (2012). John Carter [Motion picture] Production Notes. United States: Walt Disney Studios Motion Pictures.
14.^ Jump up to: a b Fleming, Mike (January 19, 2011). "Disney Moves John Carter of Mars to Same Date as Fox's Prometheus". Deadline. Retrieved June 23, 2011.
15.Jump up ^ First Teaser Poster for Disney's 'John Carter' is Dark But Not Thrilling. FirstShowing.net. Retrieved September 4, 2012.
16.Jump up ^ McClintock, Pamela (January 19, 2011). "'John Carter of Mars,' 'Frankenweenie' Release Dates Changed". The Hollywood Reporter. Retrieved June 22, 2011.
17.Jump up ^ "'John Carter' Earns Soft $500,000 in Midnight Runs Domestically But Scores Big in Russia". The Hollywood Reporter. March 9, 2012. Retrieved April 22, 2012.
18.Jump up ^ "The Walt Disney Company Reports Second quarter Earnings". May 8, 2012. Retrieved 05/12/12. Check date values in: |accessdate= (help)
19.Jump up ^ Chmielewski, Dawn C. (March 20, 2012). "Disney expects $200-million loss on 'John Carter'". Los Angeles Times. Retrieved December 7, 2014.
20.Jump up ^ John Carter may set Guinness record for biggest box-office flop of all time. Arts.NationalPost.com. Retrieved September 19, 2012.
21.Jump up ^ "Why Jon Favreau is glad he’s not directing John Carter". Io9.com. July 27, 2011. Retrieved April 22, 2012.
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23.^ Jump up to: a b Glut, Donald F. (2002). The Frankenstein archive: Essays on the Monster, the Myth, the Movies, and More. McFarland. pp. 105–6. ISBN 0-7864-1353-0.
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26.Jump up ^ McWeeny, Drew (March 2, 2004). "Holy Crap!! Rodriguez Just Can't Stop!! First SIN CITY, And Now... PRINCESS OF MARS!!!". Ain't It Cool News. Retrieved December 26, 2011.
27.^ Jump up to: a b c Dawn C. Chmielewski; Rebecca Keegan (March 6, 2012). "The planets may not be aligned for 'John Carter'". The Los Angeles Times. Retrieved April 2, 2012.
28.^ Jump up to: a b c d Barnes, Brooks (March 12, 2012). "'Ishtar' Lands on Mars". The New York Times. Retrieved April 2, 2012.
29.Jump up ^ Topel, Fred (January 9, 2009). "WALL-E helmer Andrew Stanton talks John Carter of Mars". Sci Fi Wire. Retrieved January 13, 2009.
30.Jump up ^ Ditzian, Eric (January 13, 2009). "John Carter Of Mars To Be Perfect Definition Of Live-Action, CGI Hybrid". MTV Movies Blog. Retrieved January 18, 2009.
31.Jump up ^ "Chabon Revising John Carter of Mars Script". The Amazing Website of Kavalier & Clay. April 9, 2009. Retrieved April 9, 2009.
32.Jump up ^ Rappe, Elizabeth (April 15, 2009). "Michael Chabon Join's Pixar's John Carter of Mars". AOL Cinematical Blog. Retrieved June 23, 2011.
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35.Jump up ^ Horiuchi, Vince (June 12, 2009). "Utah will be stage for Mars in new Disney Pixar film". The Salt Lake Tribune. Retrieved June 15, 2009.
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37.^ Jump up to: a b Heuring, David (March 1, 2012). "War Lords". ICG Magazine. Retrieved April 4, 2012.
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39.^ Jump up to: a b Friend, Ted (October 17, 2011). "SECOND-ACT TWIST". The New Yorker. Retrieved April 22, 2012.
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42.Jump up ^ Brodesser-Akner, Claude. "The Inside Story of How John Carter Was Doomed by Its First Trailer". Vulture. New York Media LLC. Retrieved April 22, 2012.
43.Jump up ^ Vary, Adam (December 1, 2011). "'John Carter' trailer deep dive: Director Andrew Stanton on those green men, that frog dog, and why he HATES trailer spoilers". Entertainment Weekly. Retrieved April 27, 2012.
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49.Jump up ^ "The music of Mars, John Carter soundtrack review". Clarity Media Group. 
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52.Jump up ^ "John Carter by Michael Giacchino". Tracksounds: The Film Music Experience. Retrieved April 5, 2012.
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55.Jump up ^ Lochner, Jim. "CD Review: John Carter". Film Score Click Track. Retrieved April 5, 2012.
56.Jump up ^ Gallagher, Brian (January 19, 2011). "Frankenweenine and John Carter of Mars Change Release Dates". MovieWeb. Retrieved June 23, 2011.
57.Jump up ^ "Disney sets 'Frankenweenie,' 'John Carter of Mars' release dates". Heatvision.hollywoodreporter.com. August 9, 2010. Retrieved October 7, 2010.
58.Jump up ^ Chitwood, Adam (February 5, 2012). "Super Bowl Movie Commercials: THE AVENGERS, BATTLESHIP, JOHN CARTER, THE LORAX, G.I. JOE 2, THE DICTATOR and More". Collider. Retrieved February 7, 2012.
59.Jump up ^ "‘John Carter’ To Screen For The Giants and Patriots Before Super Bowl XLVI; Plus New Featurette | /Film". Slashfilm.com. February 3, 2012. Retrieved April 22, 2012.
60.Jump up ^ Wharton, David. "John Carter Conquers The Red Planet on Blu-Ray This June". Cinema Blend. Retrieved May 3, 2012.
61.Jump up ^ John Carter of Mars. The Numbers. Retrieved September 4, 2012.
62.Jump up ^ Blu-ray Sales: John Carter Acts Up. The Numbers. Retrieved September 4, 2012.
63.Jump up ^ "And the John Carter reviews are in, many of them positive". NerdReactor.com. March 2, 2012. Retrieved March 3, 2012.
64.Jump up ^ "John Carter". RottenTomatoes.com. March 4, 2012. Retrieved April 27, 2012.
65.Jump up ^ "John Carter". Metacritic. Retrieved April 27, 2012.
66.Jump up ^ McCarthy, Todd (March 6, 2012). "John Carter: Film Review". The Hollywood Reporter. Retrieved March 6, 2012.
67.Jump up ^ Kenny, Glenn. "John Carter:Critics' Reviews". MSN Movies. Retrieved March 7, 2012.
68.^ Jump up to: a b Ebert, Roger (March 8, 2012). "John Carter (PG-13)". Chicago Sun-Times via RogerEbert.com. Retrieved March 8, 2012.
69.Jump up ^ Jolin, Dan. "John Carter". Empire. Retrieved March 8, 2012.
70.Jump up ^ Neumaier, Joe (March 8, 2012). "‘John Carter’: Silly sci-fi fantasy isn't out of this world, but it can be playful and down-to-Earth". Daily News. New York City. Retrieved March 8, 2012.
71.Jump up ^ Debruge, Peter (March 6, 2012). "John Carter". Variety. Retrieved March 6, 2012.
72.Jump up ^ Owen Glieberman (March 7, 2012). "MOVIE REVIEW John Carter (2012)". Entertainment Weekly. Retrieved March 8, 2012.
73.Jump up ^ Lemire, Christy (March 7, 2012). "Review: Trip to Mars is no fun in 'John Carter'". Associated Press via The Boston Globe. Retrieved March 8, 2012.
74.Jump up ^ Philips, Michael (March 8, 2012). "There's fun to be had in 'John Carter,' but it's swamped by details ✭✭". Chicago Tribune. Retrieved March 8, 2012.
75.Jump up ^ O'Herir, Andrew (March 8, 2012). "Will 'John Carter' rank among the all-time bombs?". Salon.com. Retrieved March 9, 2012.
76.Jump up ^ LaSelle, Mick (March 8, 2012). "'John Carter' review: 1-dimensional plot in 3-D". San Francisco Chronicle. Retrieved March 9, 2012.
77.Jump up ^ Scott, A.O. (March 8, 2012). "The Wild, Wild West of a Certain Red Planet". The New York Times. Retrieved March 9, 2012.
78.Jump up ^ Bradshaw, Peter (March 8, 2012). "John Carter – review". The Guardian. Retrieved March 10, 2012.
79.Jump up ^ Collin, Robbie (March 8, 2012). "John Carter, review". The Daily Telegraph. Retrieved March 10, 2012.
80.Jump up ^ "John Carter flop to cost Walt Disney $200m". BBC News. March 20, 2012. Retrieved March 20, 2012.
81.Jump up ^ "John Carter". boxofficemojo.com. June 28, 2012. Retrieved June 30, 2012.
82.Jump up ^ "Worldwide Openings". Boxofficemojo.com. Retrieved April 22, 2012.
83.Jump up ^ Subers, Ray (March 10, 2012). "Friday Report: 'John Carter' Lands with a Thud". Box Office Mojo. Retrieved March 16, 2012.
84.Jump up ^ Subers, Ray (March 11, 2012). "Weekend Report: 'The Lorax' Defeats Disappointing 'John Carter'". Box Office Mojo. Retrieved March 16, 2012.
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86.Jump up ^ McClintock, Pamela (March 9, 2012). "'John Carter' Earns Soft $500,000 in Midnight Runs Domestically But Scores Big in Russia". The Hollywood Reporter. Archived from the original on March 16, 2012. Retrieved March 16, 2012.
87.Jump up ^ "Russia – CIS Box Office March 8–11, 2012". Boxofficemojo.com. Retrieved April 22, 2012.
88.Jump up ^ "'John Carter': China Box Office Surprisingly Strong". Huffington Post. March 29, 2012. Retrieved April 22, 2012.
89.Jump up ^ Xia, Yun (March 20, 2012). "China Weekly Box Office (03/12 – 03/18): John Carter was off to an excellent start". Box Office Follower. Archived from the original on April 13, 2012. Retrieved April 13, 2012.
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91.Jump up ^ Xia, Yun (April 16, 2012). "China Weekly Box Office (04/09 – 04/15): Titanic has arrived, and oh my, what an entrance!". Box Office Follower. Archived from the original on May 25, 2012. Retrieved May 25, 2012.
92.Jump up ^ John Carter (2012) – International Box Office Results. BoxOfficeMojo. Retrieved September 4, 2012.
93.^ Jump up to: a b Georg Szalai (March 14, 2012). "Analyst: Disney's 'John Carter' Write-Down 'May Not Be as Bad as Feared'". The Hollywood Reporter. Archived from the original on April 9, 2012. Retrieved April 2, 2012.
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95.Jump up ^ Blair, Elizabeth (March 21, 2012). "Disney's 'John Carter' Poised For Big Flop". NPR. Retrieved March 23, 2012.
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97.Jump up ^ Disney film boss Rich Ross resigns after John Carter flop, BBC News, April 20, 2012. Retrieved April 20, 2012.
98.Jump up ^ Chmielewski, Dawn (March 13, 2012). "Why did Disney's 'John Carter' flop?". Los Angeles Times. Retrieved April 25, 2012.
99.Jump up ^ Chmielewski, Dawn (April 21, 2012). "Rich Ross' departure sends aftershocks at Disney". Los Angeles Times. Retrieved April 22, 2012.
100.Jump up ^ Chmielewski, Dawn (May 8, 2012). "Box Office Report: 'Avengers' Gives 'John Carter' a Double-Feature Boost at Drive-Ins". The Hollywood Reporter. Retrieved May 8, 2012.
101.Jump up ^ "John Carter and the Gods of Hollywood," New York: Universal Media, 2013 [ISBN 0615682316]
102.Jump up ^ Bergman, Alan (17 September 2014). "Transcript: Bank of America Merrill Lynch 2014 Media and Entertainment Conference". The Walt Disney Company. Retrieved 10 November 2014.
103.Jump up ^ "Annie Award". The Hollywood Reporter. Retrieved December 5, 2012.
104.Jump up ^ "Awards". Internet Movie Database. Retrieved December 5, 2012.
105.Jump up ^ Smith, Damon (March 12, 2012). "'John Carter film review' – start of a trilogy". Chichester Observer. Retrieved March 13, 2012.
106.Jump up ^ Ford, Rebecca (March 8, 2012). "'John Carter' Producers Reveal Sequel Plans and Why They Cast Taylor Kitsch (Video)". The Hollywood Reporter. Retrieved March 10, 2012.
107.Jump up ^ Adam B. Vary (March 26, 2012). "Taylor Kitsch: 'I would do 'John Carter' again tomorrow'". CNN. Retrieved April 13, 2012.
108.Jump up ^ "Director Mark Andrews Talks Replacing Brenda Chapman On 'Brave,' The Future Of 'John Carter' & More". IndieWire. June 21, 2012. Retrieved July 6, 2012.
109.Jump up ^ "John Carter Sequel: Taylor Kitsch gives a shout out to "Best damn fans on Earth (and Mars)"". Thejohncarterfiles.com. April 13, 2012. Retrieved July 6, 2012.
110.Jump up ^ "Willem Dafoe disappointed that John Carter sequel scrapped". Coventry Telegraph. July 22, 2012. Retrieved August 5, 2012.
111.Jump up ^ "Willem Dafoe still perplexed by "John Carter" reception". ICF. June 4, 2012. Retrieved August 5, 2012.
112.Jump up ^ "Taylor Kitsch quotes". Brainy Quote. Retrieved July 6, 2012.
113.Jump up ^ Keegan, Rebecca (September 8, 2012). "Director Andrew Stanton looks back on 'John Carter's' rocky path". Los Angeles Times. Retrieved September 8, 2012.
114.Jump up ^ "Taylor Kitsch Says He Won’t Do ‘John Carter 2′ Unless Andrew Stanton Directs". slashfilm.com. Retrieved December 16, 2013.
115.Jump up ^ Setoodah, Ramin (May 23, 2014). "Taylor Kitsch on ‘The Normal Heart’ and Wanting to Direct". Variety. Retrieved June 9, 2014.
116.Jump up ^ [1]
117.Jump up ^ [2]
118.Jump up ^ Dornbush, Jonathon (October 22, 2014). "Disney loses 'John Carter' rights: What's next for the franchise?". Entertainment Weekly. Retrieved January 5, 2015.
Suggested reading[edit]
Sellers, Michael D. (2012). John Carter and the Gods of Hollywood. Lexington, Kentucky: Universal Media. ISBN 978-0-615-68231-0.
Sherman, Abraham (Autumn 2011). "John Carter of the Round Table: An Exploration of the Differences Between Edgar Rice Burroughs' Novel and Andrew Stanton’s Film". ERBzine (4399). Retrieved 2013-06-16.
External links[edit]
Official website
John Carter at the Internet Movie Database
John Carter at AllMovie
John Carter at Rotten Tomatoes
John Carter at Metacritic
John Carter at Box Office Mojo


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John Carter (film)
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John Carter
John carter poster.jpg
Theatrical release poster

Directed by
Andrew Stanton
Produced by
Jim Morris
Colin Wilson
 Lindsey Collins
Screenplay by
Andrew Stanton
Mark Andrews
Michael Chabon
Based on
A Princess of Mars
 by Edgar Rice Burroughs
Starring
Taylor Kitsch
Lynn Collins
Samantha Morton
Mark Strong
Ciarán Hinds
Dominic West
James Purefoy
Willem Dafoe
Music by
Michael Giacchino
Cinematography
Dan Mindel
Edited by
Eric Zumbrunnen

Production
 company

Walt Disney Pictures

Distributed by
Walt Disney Studios
 Motion Pictures

Release dates

March 7, 2012 (France[1])
March 9, 2012 (United States)


Running time
 132 minutes[2]
Country
United States
Language
English
Budget
$263.7 million[3]
Box office
$284.1 million[4]
John Carter is a 2012 American fantasy adventure film directed by Andrew Stanton and produced by Walt Disney Pictures. It is based on A Princess of Mars, the first book in the Barsoom series of novels by Edgar Rice Burroughs. The film chronicles the first interplanetary adventure of John Carter, portrayed by actor Taylor Kitsch.[5] The film marks the centennial of the character's first appearance.[5][6] The film is the live-action debut for writer and director Stanton; his previous directorial work includes the Pixar animated films Finding Nemo (2003) and WALL-E (2008).[7][8] Co-written by Stanton, Mark Andrews and Michael Chabon, it was produced by Jim Morris, Colin Wilson, and Lindsey Collins. The score was composed by Michael Giacchino and released by Walt Disney Records on March 6, 2012.[7][9][10] The ensemble cast also features Lynn Collins, Samantha Morton, Mark Strong, Ciarán Hinds, Thomas Haden Church, Dominic West, James Purefoy, and Willem Dafoe.
Filming began in November 2009 with principal photography underway in January 2010, wrapping seven months later in July 2010.[11][12] John Carter explores extraterrestrial life, science fiction and civil war.[13] Walt Disney Studios Motion Pictures released John Carter in the United States on March 9, 2012; the film was shown in regular 2D and in the Disney Digital 3D as well as IMAX 3D formats.[14][15][16]
Upon release, John Carter received a mixed critical reception and performed poorly at the domestic box office, although it did show strength overseas, particularly in Russia where it set box office records.[17] Disney attributed the $160 million swing from profit to loss in its Studio Entertainment division in the second 2012 fiscal quarter "primarily" to the performance of John Carter.[18] The film is considered a box office bomb, taking a $200 million writedown after the film only grossed $284 million against total production and marketing costs of $350 million.[19] Paul Dergarabedian, president of Hollywood.com noted, "John Carter’s bloated budget would have required it to generate worldwide tickets sales of more than $600 million to break even...a height reached by only 63 films in the history of moviemaking".[20]


Contents  [hide]
1 Plot
2 Cast
3 Development 3.1 Origins
3.2 Bob Clampett involvement
3.3 Disney progression
3.4 Paramount effort
3.5 Return to Disney, Stanton involvement
4 Production 4.1 Filming
4.2 Marketing
4.3 Music and soundtrack
5 Release 5.1 Theatrical run
5.2 Home media
6 Reception 6.1 Critical response
6.2 Box office
6.3 Accolades
7 Canceled sequels
8 See also
9 References
10 Suggested reading
11 External links

Plot[edit]
After the sudden death of John Carter (Taylor Kitsch), a former American Civil War Confederate Army captain, Carter's nephew, Edgar Rice Burroughs (Daryl Sabara), attends the funeral. As per Carter's instructions, the body is put in a tomb that can be unlocked only from the inside. His attorney hands over Carter's personal journal for Burroughs to read, in the hope of finding clues explaining Carter's cause of death.
The anecdote recounts back to the Arizona Territory, where Union Colonel Powell (Bryan Cranston) arrests Carter. Powell, knowing about Carter's military background, seeks his help in fighting the Apache, insisting that Carter owes it to his country. Carter refuses, stating that he paid any debt he had when he lost his family. Carter escapes his holding cell, but is pursued by Powell and his cavalry. After a run-in with a band of Apaches, Carter and a wounded Powell are chased until they take to hiding in a cave that turns out to be the object of Carter's earlier searching, the "Spider Cave of Gold". A mysterious being, called a Thern, appears in the cave at that moment; Carter kills him but accidentally activates the Thern's powerful medallion, and is unwittingly transported to a ruined and dying planet, Barsoom (Mars). Because of his different bone density and the planet's low gravity, Carter is able to jump high and perform feats of incredible strength. He is captured by the Green Martian clan, the Tharks and their Jeddak (chieftain) Tars Tarkas (Willem Dafoe). Tars instructs Sola (Samantha Morton) to watch over Carter which results in her feeding him a liquid that enables him to understand the Martian language.
Elsewhere on Barsoom, the Red Martian city of Helium led by Tardos Mors (Ciarán Hinds) and the mobile scavenger city of Zodanga led by the villainous Sab Than (Dominic West) have been at war for a thousand years. Sab Than, who wants to conquer Barsoom, is armed with a special weapon obtained from Matai Shang (Mark Strong), the leader of the Therns. He proposes a cease-fire and an end to the war by marrying the Princess of Helium Dejah Thoris (Lynn Collins). Disguised as a soldier, the Princess escapes in a Helium ship.
When Tarkus wants John Carter to show off his jumping abilities, a Thark states the sightings of one ship from Helium and one ship from Zodanga scattering the Tharks to their hiding place. John Carter takes action and saves Dejah from falling. He does manage to kill some Zodanga soldiers and have a brief fight with Sab Than. Following the fight, which leads to Sab Than's ship retreating, John Carter is hailed as Dotar Sojat (which roughly translates to "My Right Arms") by Tars Tarkas due to his strength and skill. Tarkus even has Dejah given to him as part of the Thark spoils. Sometime after that, Carter, accompanied by Dejah, tries to find a way to get back to Earth, and stumbles upon a temple ruin sacred to the Tharks where Sola encounters them and tries to stop them from entering, but fails. After discovering that an inscription stating a way back to Earth in the sacred river of Iss, Carter, Dejah, and Sola are caught by Sarkoja (Polly Walker) and Tal Hajus (Thomas Haden Church). The three of them are sentenced to death due to the Thark code, but they are helped to escape by Tars Tarkas, who reveals to Carter that Sola is his daughter. When Tal and Sarkoja find the prisoners gone, Tal states that Tarkas has betrayed them.
Carter, Dejah, Sola, and Woola (a Martian Calot - which is somewhat like a mixture of a lizard and a dog) embark on a quest to get to the end of a sacred river to find a way for Carter to get back home. They obtain information about the "ninth ray", a means of utilizing infinite energy and also the key to understanding how the medallion works. But they are later attacked by the Green Martian Clan of Warhoon, which were manipulated by Matai Shang to pursue them, as part of a new plan by Sab Than. After initially fleeing, Carter decides to buy the others time by fighting the horde himself as atonement for not being able to save his family. Though defeating many Warhoon, Carter is ultimately overpowered and is saved when a Helium ship intervenes. Sab Than is also in the company of Tardos Mors as he mentions that Sab came alone and stated that he organized the rescue party. The demoralized Dejah grudgingly agrees to marry Sab Than as Carter is taken to Zodanga to be healed.
When Carter awakens, he is guided to Dejah's room. After the servant girls leave, Dejah gives Carter his medallion and tells him to go back to Earth. As Dejah leaves with Sab Than, Carter is met by Matai Shang, who takes Carter for a walk around Zodanga. In different Zodangan forms, Shang explains to Carter the purpose of Therns and how they manipulate the civilizations of different planets into total self-destruction, also revealing Sab Than's secret plan that he will kill Dejah once he marries her and destroy Helium and rule Barsoom, at the same time completing the course the Therns have set for Barsoom (Shang also mentions that he and the Therns have been doing the same process for billions of years). Carter is able to make an escape thanks to Woola as he and Sola go back to the Tharks requesting their help. There, they discover Tarkas has been overthrown by Tal Hajus. Tarkas, Carter, and Sola are put on trial in a Colosseum battle with two enormous vicious creatures, the four-armed Great White-Apes. After defeating them and easily killing Hajus, Carter becomes the leader of the Tharks.
Carter and the Thark army charges on Helium and defeats the Zodangan army in a huge battle, killing Sab Than. Carter marries Dejah and becomes prince of Helium. On their first night, Carter decides to stay forever on Mars and throws away his medallion. Seizing this opportunity, Matai Shang, in the form of a Helium Guard, sends him back to Earth, before leaving Mars forever (he isn't seen again in the film after this scene). Carter embarks on a long quest, looking for clues of the Therns' presence on Earth and hoping to find one of their medallions; after several years he appears to die suddenly and asks for unusual funeral arrangements — consistent with his having found a medallion, since his return to Mars would leave his Earth body in a coma-like state. He makes Burroughs his protector, giving him clues about how to open the tomb.
The film reverts to the present, where Burroughs runs back to Carter's tomb and opens it, only to find it empty. A Thern, who had been following Carter over the ten years he'd returned in the form of a man with a bowler hat, appears holding a knife, having followed Burroughs. But as he prepares to kill Burroughs, both himself and Burroughs see the tomb as empty. Carter then appears and shoots the Thern, killing him. Carter then tells Burroughs that he never found a medallion. Instead, he devised a scheme to lure a Thern into revealing himself in order to get that Thern's medallion. After suggesting to Burroughs that he enjoy his life on Earth and to try writing books (alluding to the fact that Burroughs is the real-life author of the "Barsoom" novels), Carter takes the Thern's medallion, whispers the code, and is then transported back to Barsoom.
Cast[edit]
Taylor Kitsch as John Carter, a former Confederate Army captain in the American Civil War who is reluctantly drawn into a war conflict on Barsoom (Mars).
Lynn Collins as Dejah Thoris, a Princess of Helium and John Carter's love interest. In this film, she is also depicted as a scientist.
Samantha Morton as Sola, Tars Tarkas' daughter and John Carter's ally.
Willem Dafoe as Tars Tarkas, the Jeddak ("Emperor") of the Green Martian Tharks and John Carter's unlikely ally.
Thomas Haden Church as Tal Hajus, one of the Tharks and Tars Tarkas' rival.
Dominic West as Sab Than, the Jeddak of Zodanga, who wants to destroy Helium and rule all of Barsoom. He is the film's main antagonist.
Mark Strong as Matai Shang, the leader of the Therns ,Shang is the film's secondary antagonist .
Ciarán Hinds as Tardos Mors, the Jeddak of Helium and the father of Dejah Thoris.
James Purefoy as Kantos Kan, an officer of Helium.
Bryan Cranston as Colonel Powell, a Union Soldier who wants John to help them against the Apaches.
Polly Walker as Sarkoja, a Thark zealot.
Daryl Sabara as Edgar Rice Burroughs, the nephew of John Carter.
Nicholas Woodeson as Dalton, Carter's attorney.
Don Stark as Dix, a storekeeper in Arizona.
David Schwimmer as Young Thark Warrior
Jon Favreau as Thark Bookie, a Thark who collects the bets of the battles. Jon Favreau was once attached to direct the film when it was still a Paramount production.[21]
Art Malik as Zodangan General
Development[edit]
Origins[edit]
See also: Barsoom
The film is largely based on A Princess of Mars (1917), the first in a series of 11 novels to feature the interplanetary hero John Carter (and in later volumes the adventures of his children with Dejah Thoris). The story was originally serialized in six monthly installments (from February through to July 1912) in the pulp magazine The All-Story; those chapters, originally titled "Under the Moons of Mars," were then collected in hardcover five years later from publisher A. C. McClurg.
Bob Clampett involvement[edit]



 Cover of the first edition of A Princess of Mars by Burroughs, McClurg.
In 1931, Looney Tunes director Bob Clampett approached Edgar Rice Burroughs with the idea of adapting A Princess of Mars into a feature-length animated film. Burroughs responded enthusiastically, recognizing that a regular live-action feature would face various limitations to adapt accurately, so he advised Clampett to write an original animated adventure for John Carter.[22] Working with Burroughs' son John Coleman Burroughs in 1935, Clampett used rotoscope and other hand-drawn techniques to capture the action, tracing the motions of an athlete who performed John Carter's powerful movements in the reduced Martian gravity, and designed the green-skinned, 4-armed Tharks to give them a believable appearance. He then produced footage of them riding their eight-legged Thoats at a gallop, which had all of their eight legs moving in coordinated motion; he also produced footage of a fleet of rocketships emerging from a Martian volcano. MGM was to release the cartoons, and the studio heads were enthusiastic about the series.[23]
The test footage, produced by 1936,[24] received negative reactions from film exhibitors across the U.S., especially in small towns; many gave their opinion that the concept of an Earthman on Mars was just too outlandish an idea for midwestern American audiences to accept. The series was not given the go-ahead, and Clampett was instead encouraged to produce an animated Tarzan series, an offer which he later declined. Clampett recognized the irony in MGM's decision, as the Flash Gordon movie serial, released in the same year by Universal Studios, was highly successful. He speculated that MGM believed that serials were only played to children during Saturday matinees, whereas the John Carter tales were intended to be seen by adults during the evening. The footage that Clampett produced was believed lost for many years, until Burroughs' grandson, Danton Burroughs, in the early 1970s found some of the film tests in the Edgar Rice Burroughs Inc. archives.[23] Had A Princess of Mars been released, it might have preceded Walt Disney's Snow White and the Seven Dwarfs to become the first American feature-length animated film.[25]
Disney progression[edit]
During the late 1950s famed stop-motion animation effects director Ray Harryhausen expressed interest in filming the novels, but it was not until the 1980s that producers Mario Kassar and Andrew G. Vajna bought the rights for Walt Disney Pictures, with a view to creating a competitor to Star Wars and Conan the Barbarian. Ted Elliott and Terry Rossio were hired to write, while John McTiernan and Tom Cruise were approached to direct and star. The project collapsed because McTiernan realized that visual effects were not yet advanced enough to recreate Burroughs' vision of Barsoom. The project remained at Disney, and Jeffrey Katzenberg was a strong proponent of filming the novels, but the rights eventually returned to the Burroughs estate.[25]
Paramount effort[edit]
Producer James Jacks read Harry Knowles' autobiography, which lavishly praised the John Carter of Mars series. Having read the Burroughs' novels as a child, Jacks was moved to convince Paramount Pictures to acquire the film rights; a bidding war with Columbia Pictures followed. After Paramount and Jacks won the rights, Jacks contacted Knowles to become an adviser on the project and hired Mark Protosevich to write the screenplay. Robert Rodriguez signed on in 2004 to direct the film after his friend Knowles showed him the script. Recognizing that Knowles had been an adviser to many other filmmakers, Rodriguez asked him to be credited as a producer.[25]
Filming was set to begin in 2005, with Rodriguez planning to use the all-digital stages he was using for his production of Sin City, a film based on the graphic novel series by Frank Miller.[25] Rodriguez planned to hire Frank Frazetta, the popular Burroughs and fantasy illustrator, as a designer on the film.[26] Rodriguez had previously stirred-up film industry controversy owing to his decision to credit Sin City '​s artist/creator Frank Miller as co-director on the film adaptation; as a result of all the hoopla, Rodriguez decided to resign from the Directors Guild of America. In 2004, unable to employ a non-DGA filmmaker, Paramount assigned Kerry Conran to direct and Ehren Kruger to rewrite the John Carter script. The Australian Outback was scouted as a shooting location. Conran left the film for unknown reasons and was replaced in October 2005 by Jon Favreau.[25]
Favreau and screenwriter Mark Fergus wanted to make their script faithful to the Burroughs' novels, retaining John Carter's links to the American Civil War and ensuring that the Barsoomian Tharks were 15 feet tall (previous scripts had made them human-sized). Favreau argued that a modern-day soldier would not know how to fence or ride a horse like Carter, who had been a Confederate officer. The first film he envisioned would have adapted the first three novels in the Barsoom series: A Princess of Mars, The Gods of Mars, and The Warlord of Mars. Unlike Rodriguez and Conran, Favreau preferred using practical effects for his film and cited Planet of the Apes as his inspiration. He intended to use make-up, as well as CGI, to create the Tharks. In August 2006 Paramount chose not to renew the film rights, preferring instead to focus on its Star Trek franchise. Favreau and Fergus moved on to Marvel Studios' Iron Man.[25]
Return to Disney, Stanton involvement[edit]
Andrew Stanton, director of the animated Pixar hits WALL-E and Finding Nemo, lobbied the Walt Disney Studios to reacquire the rights from Burroughs' estate. "Since I'd read the books as a kid, I wanted to see somebody put it on the screen," he explained.[27]
He then lobbied Disney heavily for the chance to direct the film, pitching it as "Indiana Jones on Mars." The studio was initially skeptical. He had never directed a live-action film before, and wanted to make the film without any major stars whose names could guarantee an audience, at least on opening weekend. The screenplay was seen as confusing and difficult to follow. But since Stanton had overcome similar preproduction doubts to make WALL-E and Finding Nemo into hits, the studio approved him as director.[28] Stanton noted he was effectively being "loaned" to Walt Disney Pictures because Pixar is an all-ages brand and John Carter was rated PG-13 for "intense sequences of violence and action".[29] By 2008 they completed the first draft for Part One of a John Carter film trilogy; the first film is based only on the first novel.[30] In April 2009 author Michael Chabon confirmed he had been hired to revise the script.[8][31][32]
Following the completion of WALL-E, Stanton visited the archives of Edgar Rice Burroughs, Inc., in Tarzana, California, as part of his research.[25] Jim Morris, general manager of Pixar, said the film will have a unique look that is distinct from Frank Frazetta's illustrations, which they both found dated.[33] He also noted that although he had less time for pre-production than for any of his usual animated projects, the task was nevertheless relatively easy since he had read the Burroughs' novels as a child and had already visualized many of its scenes.[8]
Production[edit]
Filming[edit]



"On 'John Carter,' Stanton was crafting a complicated, inter-planetary story with live action period elements and more than 2,000 visual-effects shots delivered by four companies. The director said he coaxed Disney to adopt some of Pixar's iterative style ..."
—Columnists Dawn C. Chmielewski and Rebecca Keegan, writing in the Los Angeles Times[27]
Principal photography commenced at Longcross Studios, London, in January 2010 and ended in Kanab, Utah in July 2010.[12][34] Locations in Utah included Lake Powell and the counties of Grand, Wayne, and Kane.[35][36] A month-long reshoot took place in Playa Vista, Los Angeles.[37] The film was shot in the Panavision anamorphic format on Kodak 35 mm film.[37] Stanton denied assertions that he had gone over budget and stated that he had been allowed a longer reshoot because he had stayed on budget and on time.[38] However, he did admit to reshooting much of the movie twice, far more than is usually common in live action filmmaking. He attributed that to his animation background.[28] "The thing I had to explain to Disney was, 'You're asking a guy who's only known how to do it this way to suddenly do it with one reshoot.'" he explained later. "I said, 'I'm not gonna get it right the first time, I'll tell you that right now.'"[27] Stanton often sought advice from people he had worked with at Pixar on animated films (known as the Braintrust) instead of those with live-action experience working with him.[39][40] Stanton also was quoted as saying, "I said to my producers, ‘Is it just me, or do we actually know how to do this better than live-action crews do?’"[39] Rich Ross, Disney's chairman, successor to Dick Cook, who had originally approved the film for production, came from a television background and had no experience with feature films. The studio's new top marketing and production executives had little more.[28]
Marketing[edit]
Disney's head of marketing during the production was MT Carney, an industry outsider who previously ran a marketing boutique in New York.[41] Stanton often rejected marketing ideas from the studio, according to those who worked on the film.[42] Stanton's ideas were used instead, and he ignored criticism that using Led Zeppelin's "Kashmir", a song recorded in 1974, in the trailer would make it seem less current to the contemporary younger audiences the film sought. He also chose billboard imagery that failed to resonate with prospective audiences, and put together a preview reel that did not get a strong reception from a convention audience.[28] Stanton said, “My joy when I saw the first trailer for Star Wars is I saw a little bit of almost everything in the movie, and I had no idea how it connected, and I had to go see the movie. So the last thing I’m going to do is ruin that little kid’s experience.”[43] Following the death of Steve Jobs, Stanton dedicated the film in his memory.[44]
Although being based on the first book of the series, A Princess of Mars, the film was originally titled John Carter of Mars, but Stanton removed "of Mars" to make it more appealing to a broader audience, stating that the film is an "origin story. It's about a guy becoming John Carter of Mars."[45] Stanton plans to keep "Mars" in the title for future films in the series.[45] Kitsch said the title was changed to reflect the character's journey, as John Carter will become "of Mars" only in the last few minutes of the picture.[46] Former Disney marketing president MT Carney also has taken blame for suggesting the title change.[41] Another reported explanation for the name change was that Disney had suffered a significant loss in March 2011 with Mars Needs Moms, the studio reportedly conducted a study which noted recent movies with the word "Mars" in the title had not been commercially successful.[47] Earlier, two and a half years before the premiere of the film, on December 29, 2009, a low-budget film produced by the independent film company The Asylum, entitled Princess of Mars, was released direct-to-DVD in the United States. Stanton referred to the competing film as a "crappy knock-off".[48]
Music and soundtrack[edit]

John Carter: Original Soundtrack

Film score by Michael Giacchino

Released
March 6, 2012
Recorded
2011-12
Sony Scoring Stage (Culver City)
Length
1:13:56
Label
Walt Disney
Producer
Michael Giacchino

Professional ratings

Review scores

Source
Rating
Examiner.com 5/5 stars[49]
Film Music Magazine (A)[50]
Movie Music UK 4.5/5 stars[51]
Tracksounds (8/10)[52]
Walt Disney Records released the soundtrack on March 6, 2012, three days before the film's release. In February 2010, Michael Giacchino revealed in an interview he would be scoring the film.[10][53] Giacchino's score had been positively compared to the works of composer John Williams, and the music of traditional epic serial films which predate John Carter.[54][55]

No.
Title
Length

1. "A Thern for the Worse"   7:38
2. "Get Carter"   4:25
3. "Gravity of the Situation"   1:20
4. "Thark Side of Barsoom"   2:55
5. "Sab Than Pursues Princess"   5:33
6. "The Temple of Issus"   3:24
7. "Zodanga Happened"   4:01
8. "The Blue Light Special"   4:11
9. "Carter They Come, Carter They Fall"   3:55
10. "A Change of Heart"   3:04
11. "A Thern Warning"   4:04
12. "The Second Biggest Apes I've Seen This Month"   2:35
13. "The Right of Challenge"   2:22
14. "The Prize Is Barsoom"   4:29
15. "The Fight for Helium"   4:22
16. "Not Quite Finished"   2:06
17. "Thernabout"   1:18
18. "Ten Bitter Years"   3:12
19. "John Carter of Mars"   8:53
Total length:
 1:13:56 
Release[edit]
Theatrical run[edit]
Although the original film release date was June 8, 2012, in January 2011 Disney moved the release date to March 9, 2012.[14][56][57] A teaser trailer for the film premiered on July 14, 2011 and was shown in 3D and 2D with showings of Harry Potter and the Deathly Hallows – Part 2; the official trailer premiered on November 30, 2011. On February 5, 2012 an extended commercial promoting the movie aired during the Super Bowl,[58] and before the day of the game, Andrew Stanton, a Massachusetts native, held a special screening of the film for both the team members and families of the New England Patriots and New York Giants.[59]
Home media[edit]
Walt Disney Studios Home Entertainment released John Carter on Blu-ray, DVD, and digital download June 5, 2012. The home media release was made available in three different physical packages: a four-disc combo pack (1 disc Blu-ray 3D, 1-disc Blu-ray, 1 DVD, and 1-disc digital copy), a two-disc combo pack (1 disc Blu-ray, 1 disc DVD), and one-disc DVD. John Carter will also be made available in 3D High Definition, High Definition, and Standard Definition Digital.[clarification needed] Additionally, the home media edition will be available in an On-Demand format. The Blu-ray bonus features include Disney Second Screen functionality, "360 Degrees of John Carter", deleted scenes, and "Barsoom Bloopers". The DVD bonus features include "100 Years in the Making", and audio commentary with filmmakers. The High Definition Digital and Standard Definition Digital versions both include "Life by the Second: The Shanzam Unit", Disney Second Screen, "Barsoom Bloopers", and deleted scenes. The Digital 3D High Definition Digital copy does not include bonus features.[60] In mid-June, the movie topped sales on both Nielsen VideoScan First Alert sales chart, which tracks overall disc sales, and Nielsen’s dedicated Blu-ray Disc sales chart, with the DVD release selling 980,812 copies making $17,057,283 and Blu-ray and 3-D releases selling 965,275 copies making $19,295,847, with a combined total of $36,353,130 in its first week alone.[61][62]
Reception[edit]
Critical response[edit]
One week before the film's release, Disney removed an embargo on reviews of the film.[63] John Carter received mixed reviews from critics. It holds a 51% rating on the film-critics aggregate site Rotten Tomatoes based on 216 reviews; its consensus is, "While John Carter looks terrific and delivers its share of pulpy thrills, it also suffers from uneven pacing and occasionally incomprehensible plotting and characterization."[64] At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film holds a score of 51 based on 42 reviews, signifying "Mixed or average reviews".[65]
Todd McCarthy of The Hollywood Reporter wrote, "Derivative but charming and fun enough, Disney's mammoth scifier is both spectacular and a bit cheesy."[66] Glenn Kenny of MSN Movies rated the film 4 out of 5 stars, saying, "By the end of the adventure, even the initially befuddling double-frame story pays off, in spades. For me, this is the first movie of its kind in a very long time that I'd willingly sit through a second or even third time."[67] Roger Ebert of the Chicago Sun-Times rated the film 2.5 out of 4 stars, commenting that the movie "is intended to foster a franchise and will probably succeed. Does John Carter get the job done for the weekend action audience? Yes, I suppose it does."[68] Dan Jolin of Empire gave the film 3 stars out of 5, noting, "Stanton has built a fantastic world, but the action is unmemorable. Still, just about every sci-fi/fantasy/superhero adventure you ever loved is in here somewhere."[69] Joe Neumaier of the New York Daily News gave the film 3 out of 5 stars, calling the film "undeniably silly, sprawling and easy to make fun of, [but] also playful, genuinely epic and absolutely comfortable being what it is. In this genre, those are virtues as rare as a cave of gold."[70]



"... the movie is more Western than science fiction. Even if we completely suspend our disbelief and accept the entire story at face value, isn't it underwhelming to spend so much time looking at hand-to-hand combat when there are so many neat toys and gadgets to play with?"
—Roger Ebert, writing for the Chicago Sun-Times[68]
Conversely, Peter Debruge of Variety gave a negative review, saying, "To watch John Carter is to wonder where in this jumbled space opera one might find the intuitive sense of wonderment and awe Stanton brought to Finding Nemo and WALL-E."[71] Owen Glieberman of Entertainment Weekly gave the film a D rating, feeling, "Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better."[72] Christy Lemire of The Boston Globe wrote that, "Except for a strong cast, a few striking visuals and some unexpected flashes of humor, John Carter is just a dreary, convoluted trudge – a soulless sprawl of computer-generated blippery converted to 3-D."[73] Michael Philips of the Chicago Tribune rated the film 2 out of 4 stars, saying the film "isn't much – or rather, it's too much and not enough in weird, clumpy combinations – but it is a curious sort of blur."[74] Andrew O'Herir of Salon.com called it "a profoundly flawed film, and arguably a terrible one on various levels. But if you’re willing to suspend not just disbelief but also all considerations of logic and intelligence and narrative coherence, it’s also a rip-roaring, fun adventure, fatefully balanced between high camp and boyish seriousness at almost every second."[75] Mick LaSelle of San Francisco Chronicle rated the film 1 star out of 4, noting, "John Carter is a movie designed to be long, epic and in 3-D, but that's as far as the design goes. It's designed to be a product, and it's a flimsy one."[76] A.O. Scott of The New York Times said, "John Carter tries to evoke, to reanimate, a fondly recalled universe of B-movies, pulp novels and boys’ adventure magazines. But it pursues this modest goal according to blockbuster logic, which buries the easy, scrappy pleasures of the old stuff in expensive excess. A bad movie should not look this good."[77]
In the UK, the film was savaged by Peter Bradshaw in The Guardian, gaining only 1 star out of 5 and described as a "giant, suffocating doughy feast of boredom".[78] The film garnered 2 out of 5 stars in The Daily Telegraph, described as "a technical marvel, but is also armrest-clawingly hammy and painfully dated".[79] BBC film critic Mark Kermode expressed his displeasure with the film commenting, "The story telling is incomprehensible, the characterisation is ludicrous, the story is two and a quarter hours long and it's a boring, boring, boring two and a quarter hours long."[80]
Box office[edit]
John Carter earned $73,078,100 in North America and $211,061,000 in other countries, for a worldwide total as of June 28, 2012 of $284,139,100.[81] It had a worldwide opening of $100.8 million.[82] In North America, it opened in first place on Friday, March 9, 2012 with $9.81 million.[83] However, by Sunday, it had grossed $30.2 million, falling to second place for the weekend, behind The Lorax.[84] Outside North America, it topped the weekend chart, opening with $70.6 million.[85] Its highest-grossing opening was in Russia and the CIS, where it broke the all-time opening-day record ($6.5 million)[86] and earned $16.5 million during the weekend.[87] The film also scored the second-best opening weekend for a Disney film in China[88] ($14.0 million).[89] It was in first place at the box office outside North America for two consecutive weekends.[90] Its highest-grossing areas after North America are China ($41.5 million),[91] Russia and the CIS ($33.4 million), and Mexico ($12.1 million).[92]
In the week following the John Carter's domestic release, movie industry analysts predicted that Disney would lose $100-to-150 million on the picture.[93] However, its box office strength outside North America led some analysts to speculate that the write-down would be significantly less than expected.[93][94][95] On May 8, 2012, the Walt Disney Company released a statement on its earnings which attributed the $161 million deterioration in the operating income of their Studio Entertainment division to a loss of $84 million in the quarter ending March 2012 "primarily" to the performance of John Carter and the associated cost write-down.[96]
The film's perceived failure led to the resignation of Rich Ross, the head of Walt Disney Studios, even though Ross had arrived there from his earlier success at the Disney Channel with John Carter already in development.[97] Ross theoretically could have stopped production on John Carter as he did with a planned remake of 20,000 Leagues Under the Sea, or minimize the budget as he did to The Lone Ranger starring Johnny Depp.[98] Instead, Stanton was given the production budget requested for John Carter, backed with an estimated $100 million marketing campaign that is typical for a tentpole movie but without significant merchandising or other ancillary tie-ins.[47] It was reported that Ross later sought to blame Pixar for John Carter, which prompted key Pixar executives to turn against Ross who already had alienated many within the studio.[99] The film rebounded at the domestic box office charts from No. 38 to No. 12 on the first weekend of May 2012 after drive-ins paired it with Disney's release of The Avengers which brought John Carter's domestic gross to about $70.8 million.[100] The 2013 book John Carter and the Gods of Hollywood cites many factors in the film's commercial failure, but author Michael D. Sellers insists the film tested very well with audiences and failed more because of marketing problems (which included not mentioning "Mars", "Barsoom", or "Edgar Rice Burroughs" on promotional posters, which meant that many fans of the Burroughs books were completely unaware of the film and its subject matter until after it bombed) and changing management at the studio.[101]
In September 2014, studio president Alan Bergman was asked at a conference if Disney had been able to partially recoup its losses on The Lone Ranger and John Carter through subsequent release windows or other monetization methods, and he responded: "I'm going to answer that question honestly and tell you no, it didn't get that much better. We did lose that much money on those movies."[102]
Accolades[edit]

Organization
Award category
Nominee(s)
Result
ASCAP Awards Top Box Office Films Michael Giacchino Won
Annie Awards[103] Best Animated Effects in a Live Action Production Sue Rowe, Simon Stanley-Clamp, Artemis Oikonomopoulou, Holger Voss, Nikki Makar and Catherine Elvidge Nominated
Nebula Awards Ray Bradbury Award for Outstanding Dramatic Presentation Andrew Stanton, Mark Andrews and Michael Chabon
Golden Trailer Awards[104] Golden Fleece Ignition Creative and Walt Disney Studios Motion Pictures
International Film Music Critics Association Awards Best Original Score for a Fantasy/Science Fiction/Horror Film Michael Giacchino Won
Film Music Composition of the Year - John Carter of Mars Nominated
Saturn Awards Best Special Effects Chris Corbould, Peter Chiang, Scott R. Fisher and Sue Rowe
Canceled sequels[edit]
Prior to the film's release, the filmmakers reported that John Carter was intended to be the first film of a trilogy.[105] Producers Jim Morris and Lindsey Collins began work on a sequel based on Burroughs' second novel, The Gods of Mars.[106] However, the film's poor box office performance put plans for sequels on hold.[107]
In June 2012 co-writer Mark Andrews said in interview that he, Stanton, and Chabon are still interested in doing sequels: "As soon as somebody from Disney says, 'We want John Carter 2 '​, we'd be right there."[108] Despite criticism and Disney's financial disappointment with the film, lead actors Taylor Kitsch and Willem Dafoe all showed strong support,[109][110][111] with Kitsch stating "I would do John Carter again tomorrow. I'm very proud of John Carter".[112]
However, in September 2012, Stanton announced that his next directorial effort would be Finding Dory, and that the plan to film a John Carter sequel "went away" and has been postponed.[113] Kitsch later stated he will not make another John Carter film, unless Stanton returns as director.[114] In a May 2014 interview, he added "I still talk to Lynn Collins almost daily. Those relationships that were born won’t be broken by people we never met. I miss the family. I miss Andrew Stanton. I know the second script was fucking awesome. We had to plant a grounding, so we could really take off in the second one. The second one was even more emotionally taxing, which was awesome."[115] Stanton tweeted both titles and logos for the sequels that would have been made with the titles being Gods of Mars as the sequel, and a third film, Warlord of Mars.[116][117]
On October 20, 2014, it was confirmed that Disney had allowed the film rights to the Barsoom novels to revert back to the Edgar Rice Burroughs Estate.[118]
See also[edit]

Portal icon United States portal
Portal icon Mars portal
Portal icon Film portal
Portal icon 2010s portal
2012 in film
Sword and planet
Mars in fiction
References[edit]
Footnotes
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2.Jump up ^ "John Carter". British Board of Film Classification. February 15, 2012. Retrieved February 22, 2012.
3.Jump up ^ Sylt, Christian (22 October 2014). "Revealed: The $307 Million Cost of Disney's John Carter". Forbes. Retrieved 7 December 2014. "The tax payment to John Carter gave the picture a net budget of $263.7 million which is far more than estimates predicted."
4.Jump up ^ "John Carter (2012)". Box Office Mojo. Retrieved June 26, 2012.
5.^ Jump up to: a b "John Carter – Teaser One Sheet Now Available". Jim Hill Media. June 16, 2011. Retrieved June 22, 2011.
6.Jump up ^ "John Carter Loses Mars". Coming Soon. May 23, 2011. Retrieved June 22, 2011.
7.^ Jump up to: a b Lambie, Ryan (June 19, 2011). "What We Know About John Carter". Den of Geek. Retrieved June 22, 2011.
8.^ Jump up to: a b c Sciretta, Peter (January 13, 2011). "John Carter of Mars to be Pixar's First Live Action Film, Bryan Cranston Joins Cast". SlashFilm. Retrieved June 22, 2011.
9.Jump up ^ Boucher, Geoff (June 16, 2011). "‘John Carter’: Andrew Stanton on Martian history, Comic-Con and … Monty Python?". Los Angeles Times. Retrieved June 22, 2011.
10.^ Jump up to: a b Tassi, Paul (March 11, 2010). "Michael Giacchino Scoring John Carter of Mars". JoBlo. Retrieved June 23, 2011.
11.Jump up ^ Blaber, Genevieve (June 12, 2009). "Utah is Beginning to Look Like Mars". Latino Review. Retrieved June 22, 2011.
12.^ Jump up to: a b "Disney wraps up Mars movie shooting in Utah". Standard-Examiner. August 2, 2010. Retrieved November 4, 2010.
13.Jump up ^ Andrew Stanton (Director). (2012). John Carter [Motion picture] Production Notes. United States: Walt Disney Studios Motion Pictures.
14.^ Jump up to: a b Fleming, Mike (January 19, 2011). "Disney Moves John Carter of Mars to Same Date as Fox's Prometheus". Deadline. Retrieved June 23, 2011.
15.Jump up ^ First Teaser Poster for Disney's 'John Carter' is Dark But Not Thrilling. FirstShowing.net. Retrieved September 4, 2012.
16.Jump up ^ McClintock, Pamela (January 19, 2011). "'John Carter of Mars,' 'Frankenweenie' Release Dates Changed". The Hollywood Reporter. Retrieved June 22, 2011.
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18.Jump up ^ "The Walt Disney Company Reports Second quarter Earnings". May 8, 2012. Retrieved 05/12/12. Check date values in: |accessdate= (help)
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59.Jump up ^ "‘John Carter’ To Screen For The Giants and Patriots Before Super Bowl XLVI; Plus New Featurette | /Film". Slashfilm.com. February 3, 2012. Retrieved April 22, 2012.
60.Jump up ^ Wharton, David. "John Carter Conquers The Red Planet on Blu-Ray This June". Cinema Blend. Retrieved May 3, 2012.
61.Jump up ^ John Carter of Mars. The Numbers. Retrieved September 4, 2012.
62.Jump up ^ Blu-ray Sales: John Carter Acts Up. The Numbers. Retrieved September 4, 2012.
63.Jump up ^ "And the John Carter reviews are in, many of them positive". NerdReactor.com. March 2, 2012. Retrieved March 3, 2012.
64.Jump up ^ "John Carter". RottenTomatoes.com. March 4, 2012. Retrieved April 27, 2012.
65.Jump up ^ "John Carter". Metacritic. Retrieved April 27, 2012.
66.Jump up ^ McCarthy, Todd (March 6, 2012). "John Carter: Film Review". The Hollywood Reporter. Retrieved March 6, 2012.
67.Jump up ^ Kenny, Glenn. "John Carter:Critics' Reviews". MSN Movies. Retrieved March 7, 2012.
68.^ Jump up to: a b Ebert, Roger (March 8, 2012). "John Carter (PG-13)". Chicago Sun-Times via RogerEbert.com. Retrieved March 8, 2012.
69.Jump up ^ Jolin, Dan. "John Carter". Empire. Retrieved March 8, 2012.
70.Jump up ^ Neumaier, Joe (March 8, 2012). "‘John Carter’: Silly sci-fi fantasy isn't out of this world, but it can be playful and down-to-Earth". Daily News. New York City. Retrieved March 8, 2012.
71.Jump up ^ Debruge, Peter (March 6, 2012). "John Carter". Variety. Retrieved March 6, 2012.
72.Jump up ^ Owen Glieberman (March 7, 2012). "MOVIE REVIEW John Carter (2012)". Entertainment Weekly. Retrieved March 8, 2012.
73.Jump up ^ Lemire, Christy (March 7, 2012). "Review: Trip to Mars is no fun in 'John Carter'". Associated Press via The Boston Globe. Retrieved March 8, 2012.
74.Jump up ^ Philips, Michael (March 8, 2012). "There's fun to be had in 'John Carter,' but it's swamped by details ✭✭". Chicago Tribune. Retrieved March 8, 2012.
75.Jump up ^ O'Herir, Andrew (March 8, 2012). "Will 'John Carter' rank among the all-time bombs?". Salon.com. Retrieved March 9, 2012.
76.Jump up ^ LaSelle, Mick (March 8, 2012). "'John Carter' review: 1-dimensional plot in 3-D". San Francisco Chronicle. Retrieved March 9, 2012.
77.Jump up ^ Scott, A.O. (March 8, 2012). "The Wild, Wild West of a Certain Red Planet". The New York Times. Retrieved March 9, 2012.
78.Jump up ^ Bradshaw, Peter (March 8, 2012). "John Carter – review". The Guardian. Retrieved March 10, 2012.
79.Jump up ^ Collin, Robbie (March 8, 2012). "John Carter, review". The Daily Telegraph. Retrieved March 10, 2012.
80.Jump up ^ "John Carter flop to cost Walt Disney $200m". BBC News. March 20, 2012. Retrieved March 20, 2012.
81.Jump up ^ "John Carter". boxofficemojo.com. June 28, 2012. Retrieved June 30, 2012.
82.Jump up ^ "Worldwide Openings". Boxofficemojo.com. Retrieved April 22, 2012.
83.Jump up ^ Subers, Ray (March 10, 2012). "Friday Report: 'John Carter' Lands with a Thud". Box Office Mojo. Retrieved March 16, 2012.
84.Jump up ^ Subers, Ray (March 11, 2012). "Weekend Report: 'The Lorax' Defeats Disappointing 'John Carter'". Box Office Mojo. Retrieved March 16, 2012.
85.Jump up ^ Subers, Ray (March 11, 2012). "Around-the-World Roundup: 'John Carter' Shows Some Strength Overseas". Box Office Mojo. Retrieved March 16, 2012.
86.Jump up ^ McClintock, Pamela (March 9, 2012). "'John Carter' Earns Soft $500,000 in Midnight Runs Domestically But Scores Big in Russia". The Hollywood Reporter. Archived from the original on March 16, 2012. Retrieved March 16, 2012.
87.Jump up ^ "Russia – CIS Box Office March 8–11, 2012". Boxofficemojo.com. Retrieved April 22, 2012.
88.Jump up ^ "'John Carter': China Box Office Surprisingly Strong". Huffington Post. March 29, 2012. Retrieved April 22, 2012.
89.Jump up ^ Xia, Yun (March 20, 2012). "China Weekly Box Office (03/12 – 03/18): John Carter was off to an excellent start". Box Office Follower. Archived from the original on April 13, 2012. Retrieved April 13, 2012.
90.Jump up ^ Subers, Ray (March 20, 2012). "Around-the-World Roundup: 'John Carter' Leads Again Overseas". Box Office Mojo. Retrieved April 9, 2012.
91.Jump up ^ Xia, Yun (April 16, 2012). "China Weekly Box Office (04/09 – 04/15): Titanic has arrived, and oh my, what an entrance!". Box Office Follower. Archived from the original on May 25, 2012. Retrieved May 25, 2012.
92.Jump up ^ John Carter (2012) – International Box Office Results. BoxOfficeMojo. Retrieved September 4, 2012.
93.^ Jump up to: a b Georg Szalai (March 14, 2012). "Analyst: Disney's 'John Carter' Write-Down 'May Not Be as Bad as Feared'". The Hollywood Reporter. Archived from the original on April 9, 2012. Retrieved April 2, 2012.
94.Jump up ^ David Olive (March 23, 2012). "John Carter syndrome: Why big budget Hollywood movies are financial busts". Toronto Star (Star Media Group). Retrieved March 23, 2012.
95.Jump up ^ Blair, Elizabeth (March 21, 2012). "Disney's 'John Carter' Poised For Big Flop". NPR. Retrieved March 23, 2012.
96.Jump up ^ The Walt Disney Company Reports Second quarter Earnings. The Walt Disney Company. Retrieved May 12, 2012.
97.Jump up ^ Disney film boss Rich Ross resigns after John Carter flop, BBC News, April 20, 2012. Retrieved April 20, 2012.
98.Jump up ^ Chmielewski, Dawn (March 13, 2012). "Why did Disney's 'John Carter' flop?". Los Angeles Times. Retrieved April 25, 2012.
99.Jump up ^ Chmielewski, Dawn (April 21, 2012). "Rich Ross' departure sends aftershocks at Disney". Los Angeles Times. Retrieved April 22, 2012.
100.Jump up ^ Chmielewski, Dawn (May 8, 2012). "Box Office Report: 'Avengers' Gives 'John Carter' a Double-Feature Boost at Drive-Ins". The Hollywood Reporter. Retrieved May 8, 2012.
101.Jump up ^ "John Carter and the Gods of Hollywood," New York: Universal Media, 2013 [ISBN 0615682316]
102.Jump up ^ Bergman, Alan (17 September 2014). "Transcript: Bank of America Merrill Lynch 2014 Media and Entertainment Conference". The Walt Disney Company. Retrieved 10 November 2014.
103.Jump up ^ "Annie Award". The Hollywood Reporter. Retrieved December 5, 2012.
104.Jump up ^ "Awards". Internet Movie Database. Retrieved December 5, 2012.
105.Jump up ^ Smith, Damon (March 12, 2012). "'John Carter film review' – start of a trilogy". Chichester Observer. Retrieved March 13, 2012.
106.Jump up ^ Ford, Rebecca (March 8, 2012). "'John Carter' Producers Reveal Sequel Plans and Why They Cast Taylor Kitsch (Video)". The Hollywood Reporter. Retrieved March 10, 2012.
107.Jump up ^ Adam B. Vary (March 26, 2012). "Taylor Kitsch: 'I would do 'John Carter' again tomorrow'". CNN. Retrieved April 13, 2012.
108.Jump up ^ "Director Mark Andrews Talks Replacing Brenda Chapman On 'Brave,' The Future Of 'John Carter' & More". IndieWire. June 21, 2012. Retrieved July 6, 2012.
109.Jump up ^ "John Carter Sequel: Taylor Kitsch gives a shout out to "Best damn fans on Earth (and Mars)"". Thejohncarterfiles.com. April 13, 2012. Retrieved July 6, 2012.
110.Jump up ^ "Willem Dafoe disappointed that John Carter sequel scrapped". Coventry Telegraph. July 22, 2012. Retrieved August 5, 2012.
111.Jump up ^ "Willem Dafoe still perplexed by "John Carter" reception". ICF. June 4, 2012. Retrieved August 5, 2012.
112.Jump up ^ "Taylor Kitsch quotes". Brainy Quote. Retrieved July 6, 2012.
113.Jump up ^ Keegan, Rebecca (September 8, 2012). "Director Andrew Stanton looks back on 'John Carter's' rocky path". Los Angeles Times. Retrieved September 8, 2012.
114.Jump up ^ "Taylor Kitsch Says He Won’t Do ‘John Carter 2′ Unless Andrew Stanton Directs". slashfilm.com. Retrieved December 16, 2013.
115.Jump up ^ Setoodah, Ramin (May 23, 2014). "Taylor Kitsch on ‘The Normal Heart’ and Wanting to Direct". Variety. Retrieved June 9, 2014.
116.Jump up ^ [1]
117.Jump up ^ [2]
118.Jump up ^ Dornbush, Jonathon (October 22, 2014). "Disney loses 'John Carter' rights: What's next for the franchise?". Entertainment Weekly. Retrieved January 5, 2015.
Suggested reading[edit]
Sellers, Michael D. (2012). John Carter and the Gods of Hollywood. Lexington, Kentucky: Universal Media. ISBN 978-0-615-68231-0.
Sherman, Abraham (Autumn 2011). "John Carter of the Round Table: An Exploration of the Differences Between Edgar Rice Burroughs' Novel and Andrew Stanton’s Film". ERBzine (4399). Retrieved 2013-06-16.
External links[edit]
Official website
John Carter at the Internet Movie Database
John Carter at AllMovie
John Carter at Rotten Tomatoes
John Carter at Metacritic
John Carter at Box Office Mojo


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