Podcast appearances and mentions of elvis mitchell

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

Send us a textWe are taking you behind the scenes at Sundance 2026 where we reunite with friends (looking at you, cousin Kamau!), celebrate Little Miss Sunshine's 20th anniversary (#TeamDano), shout "Cheers, Queers" with our friends from Frameline, discuss what makes Ethan Hawke's boots sexy, watch Alec Baldwin play chess in a mansion, stood on the red carpet with the icon/hero/original bad bitch BILLIE JEAN KING, and sooo much more. We cap it off with our "official" Bitch Talk Sundance Awards Ceremony, and give you a tease of what's to come in our 900th episode with friends of the show (and best friends in real life) Daveed Diggs and Rafael Casal!Support the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. Fuck ice. -- Support Bitch Talk here! Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram, Threads, and Substack Listen every Monday at 7 am on BFF.FM

“I think that love will never die. Once you know somebody, you can never unknow that person. And knowing is loving. So you never can get out of love.”The Dolls Pod Beatle Girl miniseries concludes! Part two of our “Oh Yoko!” episode focuses on her music, activism, and of course, we tell the ballad of Yoko and John.Also: car seats and nurseries and baby names, oh my! Emma is settling into her last few weeks before baby arrives. Join us for the emotional season two finale of the Dolls Podcast, available wherever you stream your podcasts ☁️Sources used for this episode:David Sheff, “Yoko” (2025)Jann Wenner, “Lennon Remembers” (2000)David Sheff, “The Playboy Interviews with John Lennon & Yoko Ono” (edited by G. Barry Golson, 1981)Cynthia Lennon, “John” (2005)May Pang with Henry Edwards, “Loving John” (1983)The Beatles, “Anthology” (2000)Alan Clayson, Barb Jungr, and Robb Johnson, “Woman: The Incredible Life of Yoko Ono” (2004)J. Hoberman, “Everything Is Now: The 1960s New York Avant-Garde - Primal Happenings, Underground Moves, Radical Pop” (2025)Elvis Mitchell, “Yoko Ono” Interview Magazine, 11/26/2013Lisa Carver, “Yoko Ono: A Reconsideration” The New York Times, 10/19/2012“One To One: John & Yoko” (dir. Kevin MacDonald and Sam Rice-Edwards, 2025)“Classic Albums: John Lennon - Plastic Ono Band” (dir. Matthew Longfellow, 2008)(Episode starts at 7:08)Songs used in this episode:Yoko Ono - “Yes, I'm A Witch” (2007)Plastic Ono Band - “Give Peace A Chance” (1969)Yoko Ono - “Don't Worry Kyoko” (1969)John Lennon - “Mother” (1970)John Lennon - “Imagine” (1971)“Glee End Credits Theme” (2009)
Yoko Ono - “Approximately Infinite Universe” (1973)John Lennon - “Beautiful Boy” (1980)John Lennon - “Just Like Starting Over” (1980)Yoko Ono - “Talking To The Universe” (1995)Fiona Apple - “I Want You To Love Me” (2020)Yoko Ono, Kim Gordon & Thurston Moore - “Mirror Mirror” (2012)Death Cab For Cutie - “Waiting For The Sunrise” (Yoko Ono Cover) [2022]John Lennon - “Oh Yoko!” (1971)With samples from Monday Night Football, 12/8/1980, and Yoko's Grammys acceptance speech, 2/24/1982Follow @thedollspod on Instagram for clips and photos from this episode!

“The average rating of our podcast is too high,” we lamented. “Let's incite a mob of one-star reviews just for covering Yoko Ono!” We giggled, as we rubbed our little hands together like flies.Season 2 of the Dolls Pod is going down screaming, or whatever you call those distinct vocal stylings. The fifth episode of our Beatle Girl miniseries is here, focusing primarily on Yoko Ono's life and art before meeting “JOOOOOHN!” If you hate Yoko, you will hate this episode. If you love Yoko, you will hate this episode. “Oh, Yoko!” is available now, wherever you stream your podcasts

This week on The Treatment, Elvis Mitchell speaks with Emmy winning actress Mariska Hargitay about her record-breaking run as Olivia Benson on Law & Order: Special Victims Unit and her new (and very personal) HBO documentary My Mom Jayne. Then, screenwriter Scott Z Burns stops by to talk about his new Audible Podcast series What Could Go Wrong? And on The Treat, Freaky Tales co-director Ryan Fleck hails a film that’s a warm slice of Big Apple life.

This week on The Treatment, Elvis Mitchell speaks with Emmy winning actress Mariska Hargitay about her record-breaking run as Olivia Benson on Law & Order: Special Victims Unit and her new (and very personal) HBO documentary My Mom Jayne. Then, screenwriter Scott Z Burns stops by to talk about his new Audible Podcast series What Could Go Wrong? And on The Treat, Freaky Tales co-director Ryan Fleck hails a film that's a warm slice of Big Apple life.

This week on The Treatment, Elvis Mitchell chats with Oscar-nominated screenwriter and director Tony Gilroy about the second season of the Disney+ epic Andor. Later, Elvis leads a conversation on the future impact of AI in the film industry with Range Media Partners' Peter Micelli, Google's Neil Parris, and Sean Douglas. And on The Treat, Kerry Washington gives a shout out to the places that ground her.

This week on The Treatment, Elvis Mitchell chats with Oscar-nominated screenwriter and director Tony Gilroy about the second season of the Disney+ epic Andor. Later, Elvis leads a conversation on the future impact of AI in the film industry with Range Media Partners' Peter Micelli, Google’s Neil Parris, and Sean Douglas. And on The Treat, Kerry Washington gives a shout out to the places that ground her.  

Oscar nominated actor Edward Norton sits down for an extended interview with Elvis Mitchell in front of a live audience at KCRW's Annenberg Performance Studio. Norton is up for his fourth Oscar for his portrayal of folk singer Pete Seeger in the biopic A Complete Unknown. He discusses his admiration for the late director David Lynch, why he decided not to meet Bob Dylan when he had the chance, and much more!

Oscar nominated actor Edward Norton sits down for an extended interview with Elvis Mitchell in front of a live audience at KCRW's Annenberg Performance Studio. Norton is up for his fourth Oscar for his portrayal of folk singer Pete Seeger in the biopic A Complete Unknown. He discusses his admiration for the late director David Lynch, why he decided not to meet Bob Dylan when he had the chance, and much more!

Food is never just food. That's the idea behind Omnivore, an Apple TV+ series that peels back the layers on eight common foodstuffs — coffee, corn, salt, rice, bananas, chilies, pork, and tuna.    Narrated by Noma chef Rene Redzepi, the show serves up gorgeous images and fascinating characters. But it goes way beyond that. Each episode explores the cultural, historical, and socioeconomic context of a single ingredient, whether that's the connection between coffee cultivation and the 1994 Rwandan genocide or the impact of climate change on rice cultivation in Kerala, India or how a family of Serbian pepper farmers grows peppers in an effort to make exceptional paprika.   Redzepi discusses the making of Omnivore with Elvis Mitchell on The Treatment. You can hear more episodes of The Treatment here.  

The third episode of our season on the awesome movie year of 2000 features the year's biggest flop, L. Ron Hubbard adaptation Battlefield Earth. Directed by Roger Christian from a screenplay by Corey Mandell and J.D. Shapiro and starring John Travolta, Barry Pepper, Forest Whitaker and Kim Coates, Battlefield Earth was a passion project for Scientology follower Travolta.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/battlefield-earth-2000), Rita Kempley in The Washington Post (https://www.washingtonpost.com/wp-srv/entertainment/movies/reviews/battlefieldearthkempley.htm), and Elvis Mitchell in The New York Times (https://www.nytimes.com/2000/05/12/movies/film-review-earth-capitulates-in-9-minutes-to-mean-entrepreneurs-from-space.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2000 installment, featuring the Cannes Film Festival Palme d'Or winner, Lars von Trier's Dancer in the Dark.

This week on The Treatment, Elvis welcomes Grammy winners Billie Eilish and Finneas, who talk about their Grammy nominated song “What Was I Made For?” from the 2023 blockbuster film Barbie. Then actor and director Benny Safdie stops by to talk about his role in the Showtime series The Curse. And on The Treat, our own Elvis Mitchell talks about some unconventional Christmas favorites.

Elvis Mitchell, filmmaker, critic, host, long time friend, on how and why he does what he does.

Elvis Mitchell, filmmaker, critic, host, long time friend, on how and why he does what he does. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Anton and BC discuss Africa Day, the musical film adaption of The Color Purple, and the Elvis Mitchell documentary, Is That Black Enough for You? **Comments from Elvis Mitchell were produced by the American Film Institute (AFI). You can follow them on Twitter @AmericanFilm, and learn more at https://www.afi.com.

Top Chef season 10 winner Kristen Kish's new National Geographic series takes viewers to restaurants in some of the planet's most remote corners.  Musician and activist Harry Belafonte, 96, died today from congestive heart failure at his New York home. KCRW's Elvis Mitchell gives a remembrance.  If Biden is reelected, he will be 86 years old at the end of his second term. How much does brain health matter? A geriatric psychiatrist weighs in.  Prosecutors dropped criminal charges against actor Alec Baldwin in the shooting case on the “Rust” film set. New evidence suggests the prop gun was modified. 

EPISODE #372-- We celebrate our second week of Black History Month with SHAFT'S BIG SCORE, the thrilling sequel to the unbeatable SHAFT. Directed by Gordon Parks and released in 1972 it tells the story of, what else? Shaft taking names, laying dames, and looking damn good doing it.  We also talk about THE THIRTY-NINE STEPS on HBO Max, 13 ASSASSINS, DANGER PAYS, MURDERVILLE on Netflix, THE LAST OF US currently on HBO Max, and IS THAT BLACK ENOUGH FOR YOU from Elvis Mitchell on Netflix. Donate to the cause at Patreon.com/Quality. Follow the show on Twitter @AQualityInterruption, and James on Twitter @kislingtwits, on Instagram @kislingwhatsit and @kislingkino on Tiktok. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, please leave us a review on iTunes or whatever podcatcher you listened to us on!

I believe the third time's the charm. I think Camilo and I are getting the hang of this in our third test run. We talk about Uber horror stories, American Movie, the Elvis Mitchell doc on Netflix, the freezing Texas weather, the service you get at fast-food places. '80s sitcoms, what to do during the holidays, and the Twin Peaks shirt I was wearing while we recorded this.

Filmmaker Elvis Mitchell joins the boys 12-16-22See omnystudio.com/listener for privacy information.

Bart, Justina, and John review and discuss Elvis Mitchell's film "is that Black Enough for You?"

Elvis Mitchell waited his entire life to make the new documentary Is That Black Enough For You?!? As a film critic, professor, chronicler of the entertainment business on his show The Treatment and, most importantly, a lifelong movie fan, everything prepared Elvis to write and direct an examination of Black Cinema, particularly the revolutionary films and artists from the 1970s. Elvis takes Marc through the entire journey, with plenty of stops along the way to talk about their favorite movies and performers. Hosted on Acast. See acast.com/privacy for more information.

Elvis Mitchell is an esteemed film critic and the director of Is That Black Enough For You?!? a fascinating Netflix doc about Black film history. Amazing convo about great Black films. Toure Show Episode 355
 Host & Writer: TouréExecutive Producers: Jennifer Brown and Ryan WoodhallAssociate Producer: Adell ColemanPhotographers: Chuck Marcus, Shanta Covington, and Nick KarpBooker: Claudia JeanThe House: DCP EntertainmentSupport the show: https://www.dcpofficial.com/toureshowSee omnystudio.com/listener for privacy information.

What we've been up to Ace Inside Job S2 The cuphead Show S3 Wednesday Transformers Rise Of The Beasts Guardians Special Guardians Trailer Indiana Jones Trailer Archer s 13 Rick and Morty 5-8 Blue lock Martin (anime & Manga) Lucifer and the Biscuit Hammer E17 Isekai Ojisan E8 Made in the Abyss S1 E1 Bleach: Thousand Year Blood War E9 Yowamushi Pedal Limit Break E8 Reincarnated as a Sword E10 (Fran is separated from her teacher, without him she can't cast spells or abilities) MHA S6 E10 Spy x Family S2 E10 (underground tennis tournament was so cool. Glad I got to see this animated. Shows us how athletic Twilight and Nightfall are) Superior Race Beast Tamer E10 Shinobi no Ittoki E9 Mobile Suit Gundam: The Witch from Mercury E9 The Eminence in Shadow E9 Mob Psycho 100 S3 E9 Peter Grill S2 E9 Chainsaw Man E8 To Your Eternity S2 E7 (E5 interesting episode where Kahaku asks Fushi to be his wife. Fushi has taken the appearance of Parona, whom Kahaku is infatuated with. Kahaku's ancestor killed Parona so it's interesting to see how he takes this news. Utada Hikaru sings the theme song, found out when listening to her latest album) Andor E10 Harlequin S2 E4 Inside Job S2 Trevor Noah: I Wish You Would (Netflix) Shaka (Netflix - short story about Shaka Zulu, 2021) Is That Black Enough For You? (2022, Culture critic and historian Elvis Mitchell traces the evolution — and revolution — of Black cinema from its origins to the impactful films of the 1970s) Wendell and Wild (Netflix, 2022) A Jazzman's Blues (Netflix, 2022) Rick and Morty S6 E8 Archer S13 E5 Blue Lock E9 TMNT 2 Secret of the Ooze Wednesday Addams

Emission New York 80 : On y cause du beau Armageddon Time dont la petite forme met James Gray en grande forme, de À la recherche de Garbo de Sidney Lumet enfin édité en blu ray par l'Atelier d'Images, ainsi que du passionnant documentaire Is That Black Enough For You?!? d'Elvis Mitchell dispo dans les tréfonds de Netflix.A vos agendas !Dimanche 4 décembre, Cinéma Arvor : Double Programme de Rohmer à Romero ( + Conconférence par Jules Topok)Mardi 13 décembre, Cinéma Arvor :MONUMENTAL La Reine Margot, le film d'horreur en alexandrin de Patrice ChéreauDImanche 18 décembre, Cinéma Arvor : Le Film du Dimanche Soir Aliens de James Cameron   

Larry is joined by writer and filmmaker Elvis Mitchell to discuss his new documentary on Netflix, 'Is That Black Enough For You?!?', which focuses on the unsung heroes of African-American cinema during the 1960s and '70s. They begin their conversation by talking about the genesis of the project and some of the legendary actors who serve as inspiration for the film's focus, particularly Sidney Poitier and Harry Belafonte. Next, they examine how the psychological dynamics and representation presented in films like 'Cotton Comes To Harlem', 'Night of the Living Dead', and 'Uptight' were flashpoints for the blaxploitation era and the mainstream popularity of movies like 'Superfly' and 'Shaft' (22:39). Next, they talk about the stigma of the Black cowboy in American culture and the power within films that can shape social narratives (). After the break, they dive into Pam Grier's potency as a screen icon and share anecdotes about growing up watching their favorite favorite films from the era. They end the pod by examining the importance and intersection of music in Black films from the 1970s, notably Curtis Mayfield's contributions to 'Superfly', and how the bevy of amazing footage was obtained for the project (53:17). Host: Larry Wilmore Guest: Elvis Mitchell Associate Producer: Chris Sutton Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, Amon journeys through James Gray's childhood memories as the pair chat ARMAGEDDON TIME (09:06). Meanwhile, the pod team make a wish on Disney+ sequel DISENCHANTED (27:00); take a break with Charlotte Wells' debut AFTERSUN (42:14); test their faith with Netflix's THE WONDER (56:48); and find Letitia Wright stuck between a rock and a hard place in immigration drama AISHA (01:11:54). Then Amon speaks to critic Elvis Mitchell about his sweeping film essay portrait of Black cinema in IS THAT BLACK ENOUGH FOR YOU?!? (01:25:21). And, in our HOT TAKE (01:52:30), would the death of Twitter also see the death of film criticism as we know it? If you'd like to join the conversation or suggest a Hot Take for the gang to discuss tweet us at @FadeToBlackPod Follow us: @amonwarmann, @clarisselou, @hannaflint If you like the show do subscribe, leave a review and rate us too!

Film scholar and public radio fixture Elvis Mitchell speaks about directing "Is That Black Enough for You?!?" and why the 1970s were the greatest decade ever for Black film. Learn more about your ad choices. Visit megaphone.fm/adchoices

Erik Childress & Steve Prokopy have five movie reviews for you this week. A little calm before the end-of-the-year storm. They include one with a pair of acting legends, Dustin Hoffman and Sissy Spacek, paired with their acting children (Sam & Kate) and a documentary from Elvis Mitchell on the history of black film (Is That Black Enough For You?)  Will Ferrell and Ryan Reynolds team up for a new musical take on Dickens' A Christmas Carol (Spirited) and a feature debut from filmmaker Charlotte Wells has been blowing away critics left and right. That continues with Erik & Steve (Aftersun). Finally, Erik chimed in on a lot of thoughts with Erik Laws on the previous episode but Steve gets his chance to weigh in on Marvel's attempt to carry on without their fallen star (Black Panther: Wakanda Forever). 0:00 - Intro 1:33 – Sam & Kate 10:51 – Is That Black Enough For You? 25:15 – Spirited 41:18 - Aftersun 52:50 - Black Panther: Wakanda Forever 1:11:42 - Outro

It's a big week in Black cinema as Black Panther: Wakanda Forever hit theaters Friday. But on the same day, another film dropped that may be just as powerful in its message about Black moviemaking. Is This Black Enough For You? pays homage to the decades of creativity that made the celebrated Marvel movie possible – and deeply influenced cinema as we know it. Host Brittany Luse sits down with Elvis Mitchell, the longtime film critic who directed the documentary. They dig into the ingenuity of Black filmmakers through the 1960s and '70s, the overlooked contributions of Blaxploitation films and the one Black classic that led to the demise of an era.Then, Brittany talks about a different kind of homage with Bashir Salahuddin and Diallo Riddle – the brains behind the sitcom South Side and the variety show send-up Sherman's Showcase. The comedy duo reveal why writing jokes around specific references can appeal to all kinds of audiences, and how parody can be a form of love. You can follow us on Twitter @npritsbeenamin and email us at ibam@npr.org.

Elvis Mitchell, longtime host of KCRW's “The Treatment”, and producer of “The Black List”, joins Mike to discuss his new documentary “Is that Black Enough for You?”  The film recounts an explosion of Black Film which occurred mainly in the period of 1968-1978, placing it within the context of both the prior failure of Hollywood to provide real representation of Black characters, as well as a strand of chiefly independent African American-produced film that Elvis traces back to as early as the 1910s and 1920s.   Elvis tells Mike how the movies affected his grandmother's (literal) dreams, as well as how they drove the (figurative) dreams and fantasy life of his stellar cast.  Elvis explains to Mike his nuanced view of the legacies of such luminaries as Alfred Hitchcock, Laurence Olivier, and Orson Welles.  What role did Mohammed Ali play for Black filmmakers?  And how did Diane Sands embody the promise of this era?  Mike and Elvis also discuss his process–narration first, clips second–and why he passed on the declamatory “They call me Mr. Tibbs” moments in favor of clips which demonstrate the interiority and development of characters. And, of course, Elvis and Mike had to talk about the music:  Isaac Hayes; Earth, Wind & Fire; Curtis Mayfield… and Alessandro Alessandroni!? “Is the Black Enough for You” streams on Netflix starting Friday, November 11th.   Hidden Gem: Portrait of Jason   Follow on Twitter: @ElvisMitchell @topdocspod   The presenting sponsor of “Top Docs” is Netflix.

Louis Armstrong's Black & Blues. Would Babe Ruth be a bum in today's game? Dan Le Batard respects nobody in radio/podcasting. Will Adnan say yes to any podcast request? Author Shawn Levy joins us to discuss his book, "The Castle on Sunset: Life, Death, Love, Art, and Scandal at Hollywood's Chateau Marmont". Adam Amin's career makes Chris feel like a failure. McCabe & Mrs. Miller. Will Chris' mom be on next week's episode? Film critic and director, Elvis Mitchell joins us to discuss his new documentary "Is That Black Enough for You?!?". The real reason The Dan Le Batard Show left ESPN. Learn more about your ad choices. Visit megaphone.fm/adchoices

Louis Armstrong's Black & Blues. Would Babe Ruth be a bum in today's game? Dan Le Batard respects nobody in radio/podcasting. Will Adnan say yes to any podcast request? Author Shawn Levy joins us to discuss his book, "The Castle on Sunset: Life, Death, Love, Art, and Scandal at Hollywood's Chateau Marmont". Adam Amin's career makes Chris feel like a failure. McCabe & Mrs. Miller. Will Chris' mom be on next week's episode? Film critic and director, Elvis Mitchell joins us to discuss his new documentary "Is That Black Enough for You?!?". The real reason The Dan Le Batard Show left ESPN. Learn more about your ad choices. Visit megaphone.fm/adchoices

A new documentary film from radio host and cultural critic Elvis Mitchell looks at the history of Black cinema, especially the explosion of films in the 1970's. He joins to discuss, "Is that Black Enough For You?!?"

Ep. 145: Elvis Mitchell on Is That Black Enough for You?!? Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. Elvis Mitchell is a critic I read early on in my career, and with this episode, I was delighted to talk with him about his new movie, Is That Black Enough for You?!? Mitchell's essay film is a rich and multilayered history of Black cinema, full of insights on micro and macro levels. We talked about the movie and follow the threads of his inspirations and ideas, which trace influences across film and music and crosscurrents in society and culture. He also relates encounters with Harry Belafonte and other luminaries that influenced his thinking. Our conversation took place during the New York Film Festival, where his film premiered, and at times reminded me of the flow of the movie itself. Is That Black Enough for You?!? starts streaming on November 11 on Netflix. Elvis Mitchell has been the host of KCRW's The Treatment since its creation in 1996. During that time, he has served as a film critic for the Fort Worth Star-Telegram and The New York Times, and hosted the TV series "Elvis Goes There" on Epix and "Elvis Goes There" for Turner Classic Movies. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Taking its title from a poem by Bertolt Brecht, this talk explores the role of critique and criticism in the arts and beyond. Does critique represent a negative attitude to the world, or is it in fact an optimistic practice, one that allows us to imagine and work toward alternative and better realities? (Brecht, again: “Criticizing the course of a river means improving it, correcting it.”) Is criticism always a response to art, or can it be a form of art-making in itself? Can one effectively critique an institution or system while also living within it? Film Comment editors Devika Girish and Clinton Krute delved into these questions with a roundtable of directors—Laura Poitras (All the Beauty and the Bloodshed), Elvis Mitchell (Is That Black Enough for You?!?), and Tiffany Sia (What Rules the Invisible)—whose films from the NYFF60 lineup are as stunning as works of art as they are incisive as critiques—whether of history, society, or art itself.

On today's episode of our daily NYFF60 edition, director Elvis Mitchell and executive producer Steven Soderbergh discuss Is That Black Enough For You?!?, a Spotlight selection of this year's festival, with NYFF Executive Director Eugene Hernandez. American film critic Elvis Mitchell's kaleidoscopic documentary creates a definitive narrative of the Black revolution in 1970s cinema, from genre films to social realism, from the making of new superstars to the craft of rising auteurs. With Is That Black Enough for You?!? (the title referencing a recurring line from Ossie Davis's 1970 benchmark Cotton Comes to Harlem), Mitchell takes a personal and panoramic approach, expressing his own experiences as a viewer while detailing the cinematic and political histories that led to this extraordinary flowering of a newly ascendant Black heroism. The Learning Tree, Watermelon Man, Shaft, Sweet Sweetback's Baadasssss Song, Cool Breeze, Sounder, Super Fly, Coffy, The Spook Who Sat by the Door, Claudine, Uptown Saturday Night, Cornbread, Earl and Me, Killer of Sheep, and dozens more are analyzed with Mitchell's customary verve and perspicacity. This is a work of painstaking scholarship that's also thoroughly entertaining, an essential archival document and testament to a period of American film history unlikely to be repeated. Featuring interviews with Margaret Avery, Harry Belafonte, Charles Burnett, Laurence Fishburne, Whoopi Goldberg, Samuel L. Jackson, Suzanne de Passe, Glynn Turman, Billy Dee Williams, Zendaya, and more. A Netflix release. To learn more and get tickets for this year's NYFF, taking place through October 16 in all five boroughs of NYC, visit filmlinc.org/tix.

Remember The Alamo (...sorry; we had to) -- 2004's "featureless sphere of re-consideration" of one of the country's most notorious battles starring Dennis Quaid as Sam Houston? If you do, our condolences, although despite a bloated runtime, racist music cues, a script that makes the dad from The Conjuring recycle cannonballs, and a misapprehension of what's actually still interesting about this chapter of history, we didn't end up with a super-low overall rating. DQ, however, doesn't seem to know how to play this particular C-plus person, and his reverting to Sling Blade voice in scenes with Billy Bob Thornton is a choice that doesn't work out for him. Slap on some $100 million sideburns, grab a copyright-compliant cutlass, and jump in a hole: it's an all-new Quaid In Full. Overall score: 5.5 QQQ score: 3.25 Days since a lost Kuffs accident: 14 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) Ebert's review (https://www.rogerebert.com/reviews/the-alamo-2004) Desson Thomson's for WaPo (https://www.washingtonpost.com/archive/lifestyle/2004/04/09/alamo-an-army-cant-save-this/9db9efb8-1ab4-49b4-b522-13287f52ae5e/) David Edelstein's for Slate (https://slate.com/culture/2004/04/disney-s-ahistoric-alamo.html) Elvis Mitchell's for NYT (https://www.nytimes.com/2004/04/09/movies/film-review-a-mythic-last-stand-stripped-of-fantasy.html) Phil Collins's Alamo-iana (https://www.texasmonthly.com/being-texan/next-battle-of-alamo/)

“The movie does feel so dated…and yet, there’s a part of me that can relate to traveling across the world, landing somewhere, finding yourself surrounded by what's all too familiar, and wanting something more. I think that sort of theme is still probably as relevant as ever.” – Jim Benning This episode of Deviate focuses on the 2000 Leonardo DiCaprio movie that was based on Alex Garland’s book, The Beach. Rolf begins by reading his essay Storming the Beach (6:00), followed by a discussion with Jim Benning on post-modern travel and the differences between the book and movie (42:00); the impact of social media, and previously, Lonely Planet, on travel (1:08:00); and authenticity of travel in 2019 (1:35:00). Jim Benning (@jimbenning) is a travel writer and co-founder of the online travel magazine World Hum, which eventually was acquired by the Travel Channel. His work has appeared in such publications as The Washington Post, The Los Angeles Times, BBC.com, and National Geographic Adventure. Jim now serves as editor-in-chief of Texas Journey and as a features editor of Westways for AAA publishing. For more about Jim, check out http://www.jimbenning.net. Notable Links: Marco Polo Didn't Go There, by Rolf Potts (collection of travel stories) A spy on “The Beach”, by Rolf Potts (travel dispatch) Live from the trans-global Beach Nation, by Rolf Potts (travel dispatch) The Significance of Salon Travel, by Jim Benning (article) Bill Bryson (author) Salon (online magazine) Don George (writer and editor) Alex Garland (writer and director) Andrew Macdonald (film producer) Lonely Planet (guide book publisher) DiCaprio Swims With the Plankton in Paradise, by Elvis Mitchell (film review) Khao San Road (Bangkok backpacker ghetto) The Place to Disappear, by Susan Orlean (article) The Same River Twice: Bangkok in Three Acts (Rolf on Khao San Road in 2010) Thailand bay made popular by ‘The Beach’ to remain closed for two more years (article) Banana Pancake Trail (travel route) Legend (Bob Marley and the Wailers album) Henry Rollins (musician)   Six random insights from Henry Rollins' 2018 Travel Slideshow Tamarindo, Costa Rica (beach town) Endless Summer II (movie) This episode of Deviate is brought to you by Tortuga Backpacks, which set the standard for the best, most durable, organized, and comfortable travel backpacks. Tortuga products also include daypacks, duffels, and other travel accessories, which are all made with the traveler in mind and have been featured by Wirecutter, The New York Times, Travel + Leisure, Business Insider, Carryology, and many other industry outlets. This episode of Deviate is also brought to you by AirTreks, an industry leader in multi-stop international travel. If you've ever planned a trip with multiple stops, you know that finding the right flights can be difficult. Between balancing travel logistics and cost, it often becomes impossible to build an itinerary that matches your travel goals.  AirTreks is a distributed travel company with employees working from all corners of the world to help with your flight planning, specializing in complex routes with up to 25 stops. The AirTreks website offers suggested pre-planned travel itineraries to help you get started, but can customize to fit your journey. The Deviate theme music comes from the title track of Cedar Van Tassel’s 2017 album Lumber. Note: We don't host a “comments” section, but we’re happy to hear your questions and insights via email, at deviate@rolfpotts.com.

Elvis Mitchell in conversation with Trent Reznor and Atticus Ross, taped live at Neuehouse Hollywood.

Comedian Jordan Peele joins Elvis Mitchell to discuss his directorial debut Get Out. (REPEAT)

Esquire editor in Chief Jay Fielden joins Elvis Mitchell to discuss establishing his version of the famed lifestyle publication.

Men's clothing designer John Elliott joins Elvis Mitchell to discuss making his mark with the "Villain" sweatshirt.

Director Jane Campion joins Elvis Mitchell to discuss success with her Top of the Lake series.

Black-ish creator Kenya Barris joins Elvis Mitchell to discuss utilizing his show as a conversation starter. (Repeat)

Actor and drag queen extraordinaire, RuPaul joins Elvis Mitchell to discuss mainstream success of RuPaul's Drag Race.

Writer Lena Waithe joins Elvis Mitchell to discuss inserting her point of view into Master of None.

Director Ernest Dickerson joins Elvis Mitchell to celebrate the 25th anniversary of his first film starring Tupac Shakur, Juice.

EXCLUSIVE PODCAST: Filmmaker Miles Joris-Peyrafitte joins Elvis Mitchell to discuss the realism of coming of age in As You Are.

Directors Gina Prince and Reggie “Rock” Bythewood join Elvis Mitchell to discuss examining US police activity and corruption from all angles in Shots Fired.