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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]

Gay men over 40 have been watching themselves disappear from screens, from conversations, and from their own community's narrative for decades. Rich Burns got fed up and built the antidote. The Humanitas Prize-winning creator and star of "The Disappointments" turned personal professional failure, romantic wreckage, and the specific ache of gay male invisibility into a series with over 4 million views and a global audience that stretches far beyond the LGBTQ+ community. Rich and Rick go deep on why older gay men are still being erased, what it actually costs to tell the truth on screen, and why humor is not a coping mechanism but a weapon. Key Takeaways: Why gay men over 40 are still invisible in media and what one man did about itHow Rich used personal humiliation and career setbacks as creative rocket fuelThe financial reality most gay men live with that Hollywood keeps airbrushing outWhat 4 million views taught Rich about the universal power of gay male experienceWhy humor is not softening the blow but telling the whole truth About Rich Rich Burns is the writer, star and creator of the Humanitas Prize-winning digital series The Disappointments. He also created and serves as the head writer for the Netflix original series Mermaid Magic which debuted August 2024 at #1 on Netflix Kids, with a second season coming. He developed and wrote on the Netflix reboot of the animated series Winx Club - The Magic Is Back. He served as head writer on two other recent Netflix chart toppers: DreamWorks' Spirit Riding Free and She-Ra and the Princesses of Power. Additionally, Rich was a staff writer at Walt Disney Feature Animation, scripting successful sequels to Brother Bear (Annie Award-nominated for Best Feature - Screenplay), The Fox and The Hound and The Little Mermaid, among others. His screenplay The Dunes of Overveen, based on a true story about a gay artist in Amsterdam who led a resistance raid against the Nazis during WWII, won an Outfest Award. Connect With Rich & Watch The Disappointments Website Instgram - The Disappointments Instagram - Rich Hey Guys, Don't Forget! Join the 40 Plus: Gay Men Gay Talk, monthly chats. - Learn More! Also, join our Facebook Community - 40 Plus: Gay Men, Gay Talk Community

This week, we discuss the 2003 animated journey, Brother Bear, a story about first peoples and bears, brotherhood and parenthood, ecology and revenge, with a couple of moose thrown in.SPOILER ALERT We will be talking about this movie in its entirety, so if you plan on watching it, we strongly suggest you do so before listening to our takes.A Walt Disney Feature Animation production. Released on November 1, 2003. Directed by Aaron Blaise and Robert Walker. Written by Tab Murphy, Lorne Cameron, David Hoselton, Steve Bencich, and Ron J. Friedman. Featuring the voices of Joaquin Phoenix (Kenai), Jeremy Suarez (Koda), Rick Moranis (Rutt), Dave Thomas (Tuke), Jason Raize (Denahi), and D.B. Sweeney (Sitka). Edited by Tim Mertens. Score by Mark Mancina and Phil Collins. Songs by Phil Collins.

With Drew Taylor sidelined by a nasty case of the Christmas crud, Jim Hill flies solo for this end-of-year edition of Fine Tooning. After a bit of seasonal vamping, Jim dives into animation news before kicking off the first half of a deep-dive holiday history lesson. This week's episode sets the stage for a story that begins with a modest Disney featurette and ends up triggering one of the biggest upheavals in the history of Walt Disney Feature Animation. NEWS • Avatar: Fire & Ash dominates the global box office with a massive $345 million opening weekend. • Angel Studios' David surprises with a strong $22 million domestic debut, outperforming several major animated releases. • Zootopia 2 continues its historic run, crossing $1.27 billion worldwide and exceeding the original film by more than $200 million. • The Academy reveals its Best Animated Short shortlist, with notable inclusions and at least one eyebrow-raising omission. • Adult Swim renews Haha, You Clowns for two additional seasons after an initially underestimated debut. FEATURE • The origins of Disney's 1978 animated featurette The Small One and why the studio once believed it would become a perennial holiday classic. • How Charles Tazewell's mid-20th-century holiday stories caught Disney's attention and lingered in development for nearly 15 years. • Behind-the-scenes tensions at Walt Disney Feature Animation in the late 1970s, including the controversial decision to hand directing duties to Don Bluth. • Why this seemingly small production planted the seeds for a massive creative and personnel shakeup soon to come. HOSTS • Jim Hill - IG: @JimHillMedia | X: @JimHillMedia | Website: JimHillMedia.com • Drew Taylor - IG: @DrewTailored | X: @DrewTailored | Website: drewtaylor.work FOLLOW • Facebook: JimHillMediaNews • Instagram: JimHillMedia • TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - Strong Minded Agency SPONSOR Unlocked Magic helps you save on Walt Disney World and Universal Orlando tickets, sometimes up to 12 percent off. Plan ahead for your 2026 Central Florida trip by picking your dates, grabbing your tickets, and letting the savings add up at UnlockedMagic.com. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

With Drew Taylor sidelined by a nasty case of the Christmas crud, Jim Hill flies solo for this end-of-year edition of Fine Tooning. After a bit of seasonal vamping, Jim dives into animation news before kicking off the first half of a deep-dive holiday history lesson. This week's episode sets the stage for a story that begins with a modest Disney featurette and ends up triggering one of the biggest upheavals in the history of Walt Disney Feature Animation. NEWS • Avatar: Fire & Ash dominates the global box office with a massive $345 million opening weekend. • Angel Studios' David surprises with a strong $22 million domestic debut, outperforming several major animated releases. • Zootopia 2 continues its historic run, crossing $1.27 billion worldwide and exceeding the original film by more than $200 million. • The Academy reveals its Best Animated Short shortlist, with notable inclusions and at least one eyebrow-raising omission. • Adult Swim renews Haha, You Clowns for two additional seasons after an initially underestimated debut. FEATURE • The origins of Disney's 1978 animated featurette The Small One and why the studio once believed it would become a perennial holiday classic. • How Charles Tazewell's mid-20th-century holiday stories caught Disney's attention and lingered in development for nearly 15 years. • Behind-the-scenes tensions at Walt Disney Feature Animation in the late 1970s, including the controversial decision to hand directing duties to Don Bluth. • Why this seemingly small production planted the seeds for a massive creative and personnel shakeup soon to come. HOSTS • Jim Hill - IG: @JimHillMedia | X: @JimHillMedia | Website: JimHillMedia.com • Drew Taylor - IG: @DrewTailored | X: @DrewTailored | Website: drewtaylor.work FOLLOW • Facebook: JimHillMediaNews • Instagram: JimHillMedia • TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - Strong Minded Agency SPONSOR Unlocked Magic helps you save on Walt Disney World and Universal Orlando tickets, sometimes up to 12 percent off. Plan ahead for your 2026 Central Florida trip by picking your dates, grabbing your tickets, and letting the savings add up at UnlockedMagic.com. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we discuss Disney's ill-conceived animated Western, Home on the Range, which features a trio of dairy cows who turn into bounty hunters.SPOILER ALERT We will be talking about this movie in its entirety, so if you plan on watching it, we strongly suggest you do so before listening to our takes.A Walt Disney Feature Animation production. Released on April 2, 2004. Directed by Will Finn and John Sanford. Featuring the voices of Roseanne Barr (Maggie), Judi Dench (Mrs. Calloway), Jennifer Tilly (Grace), Cuba Gooding Jr. (Buck), and Randy Quaid (Alameda Slim). Music by Alan Menken.

This week, we discuss Disney's bizarre update of a classic fable, Chicken Little.SPOILER ALERT We will be talking about this movie in its entirety, so if you plan on watching it, we strongly suggest you do so before listening to our takes.A Walt Disney Pictures release from Walt Disney Feature Animation. Released on November 4, 2005. Directed by Mark Dindal. Screenplay by Steve Bencich, Ron J. Friedman, and Ron Anderson, based on a story by Dindal and Mark Kennedy, and the original fable. Featuring the voices of Zach Braff, Garry Marshall, Joan Cusack, Steve Zahn, and Dan Molina. Edited by Dan Molina. Score by John Debney.

    Today on the podcast, we're joined by John Schafer, producer of the upcoming animated film The Light of the World, and Tom Bancroft, veteran Disney animator behind classics like Mulan and The Lion King. Together, they're bringing a powerful, faith-filled story to life through stunning 2D animation. Let's dive into the heart and vision behind the film. John Schfer is an innovative storyteller, director, producer, and brand manager. John has produced for television and film productions for over 33 years. His work on the Daytime EMMY® nominated CG series, Superbook (65 episodes), has been seen by millions of people in over 123 countries and is translated in over 56 languages.  Tom Bancroft has almost 25 years of experience in the animation industry, most of which was for Walt Disney Feature Animation where he was an animator for 11 years. He has been nominated for Annie and Rueben awards, spoken at the Kennedy Center and awarded an entry into the Chicago Children's Film Festival. While at Disney, Bancroft had the opportunity to contribute his talents to 10 animated feature films, five animated shorts, and numerous special projects and commercials. Among the classic films on which he worked are, "Beauty and the Beast," "The Lion King," "Aladdin," "Mulan" and "Brother Bear." He was also a character designer and director for Big Idea Productions, makers of the family-friendly "Veggietales" video series.

Rob Edwards is a thirty-year veteran of movies and television who wrote and produced shows including The Fresh Prince of Bel-Air, Full House, and In Living Color before writing two classic animated films for Walt Disney Feature Animation: the Academy Awards and Golden Globe nominated The Princess and The Frog, and the Academy Awards nominated Treasure Planet. His new project is the graphic novel Defiant: The Story of Robert Smalls. Rob Edwards reflects on being creative for a living, the difference between tourists and pretenders and being a real professional, and how he feels obligated to both teach and entertain in his work. He also shares what it was like working on such iconic TV shows as Roc and The Fresh Prince of Bel-Air and managing the pressure and responsibility of being one of the few Black creative workers with his range and depth of experience in Hollywood. Rob Edwards also does some sharing about his approach to writing the new Marvel film Captain America: Brave New World and how Anthony Mackie's character “Sam Wilson” (who is now the new “Captain America”) reflects the much deeper history of the long Black Freedom Struggle and the pressure to always succeed in the face of the (near) impossible. On this special Memorial Day episode of the podcast, Chauncey DeVega continues with his annual tradition of reading an account of the first such remembrance day that took place at the end of the Civil War when now free Black Americans buried Union Army war dead in Charleston, South Carolina and honored their sacrifice and victory over the Confederacy with a huge parade. Chauncey also reads an account written by a member of the United States Colored Troops about his experience(s) in the Civil War and doing battle against the forces of the Confederacy who were determined to keep Black people in bondage. And Chauncey DeVega goes on a journey around his neighborhood and has a surreal series of experiences where he was lucky to not be shot by street pirates, learned from a wise honored elder on the bus, and then encountered a young man who claimed to be a time traveler. WHERE CAN YOU FIND ME? On Twitter: https://twitter.com/chaunceydevega On Facebook: https://www.facebook.com/chauncey.devega My email: chaunceydevega@gmail.com HOW CAN YOU SUPPORT THE CHAUNCEY DEVEGA SHOW? Via Paypal at ChaunceyDeVega.com: Patreon: https://www.patreon.com/thechaunceydevegashow   https://www.patreon.com/TheTruthReportPodcast

A director, writer & storyboard artist with an Academy Award nomination for Best Original Screenplay for Ratatouille. Jim is a ASIFA-Hollywood Annie Award winner for his short films Your Friend The Rat. He directed the critically-acclaimed end titles for Pixar's Wall•E.  After Mr. Capobianco graduated from California Institute of the Arts, he started in the story department at Walt Disney Feature Animation on The Lion King and then proceeded to have an influence on many of the stories at Pixar Animation, including Toy Story 2, Finding Nemo, UP and Inside Out. In 2009 Jim finished Leonardo a short film now in the permanent collection of the MoMA NYC. Has published children's books and is the voice of Gary Garbage on Netflix's GoGo Cory Carson. With Aerial Contrivance Workshop, Jim was the 2D animation sequence director for Walt Disney Motion Pictures', Mary Poppins Returns and wrote and directed the animated feature film The Inventor, a story about Leonardo da Vinci bringing the Renaissance to France and the future. 

Matthew Bannister on James Earl Jones, the versatile actor whose roles ranged from the voice of Darth Vader to Tennessee Williams and Shakespeare. Adrian Lester pays tribute. Dr. Helen Fisher, the biological anthropologist who researched the science behind romantic love. Sergio Mendes, who introduced the world to his unique style of Brazilian music. His friend Herb Alpert shares memories of creating classic albums together. Maureen Nicol who founded the National Housewives' Register to bring together homemaking women for stimulating conversation.Interviewee:- Adrian Lester Interviewee:- Dr Justin Garcia Interviewee:- Herb Alpert Interviewee:-Simon Nicols Interviewee:- Gill WignallProducer: Ed PrendevilleArchive used:Hardtalk 06/12/11; The Lion King, 1994, Directors Roger Allers & Rob Minkoff, Walt Disney Feature Animation; Star Wars: The Empire Strikes Back, 1980, Director Irvin Kirshner, LucasFilm Ltd; BBC Woman's Hour, BBC Radio 4, 18/03/2009; Episode 118: Helen Fisher - Understanding Why We Love, Keep Talking Podcast, YouTube upload 30/08/2024; The brain in Love – Helen Fisher, Ted Talk, YouTube Upload, 15/07/2008 ; The Jazz Show with Jamie Cullum , BBC Radio 2, 27/07/2010; BBC, SERGIO MENDES AND BRASIL '77 12/03/1974; J to Z , BBCRadio 3, 16/07/2022; Maureen Nicol 60th Anniversary, NWR, 21/02/2020; Woman's Hour, 19/08/1985

This week, Director/Animator Mark Kausler, sits down for part 1 of his interview discussing his roots in art and animating commercials on his road to working at Walt Disney Feature Animation. Aljon and Dave also talk about the latest pop culture and streaming news! Skull Rock Podcast is brought to you by the generosity of the following companies: Shure and their ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MV7 - Podcast Microphone Kit (shure.com)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sound Extraordinary | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Old Mill Press - “Publishing beautifully crafted books that illuminate our world.” To learn more visit theoldmillpress.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - and listeners like you. Follow us ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Skull Rock Podcast | Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠- ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Aljon Go (@aljongo) • Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠- Aljon's pop-culture podcasts - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Dining at Disney Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Sorcerer Radio - All Disney Music, All Day Long ⁠⁠⁠⁠⁠⁠SRSounds.com⁠⁠⁠⁠⁠⁠ - E-mail: aljon@skullrockpodcast.com || ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Dave Bossert (@dave_bossert) • Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠- dave@skullrockpodcast.com. For behind-the-scenes stories and articles visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠davidbossert.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Shop using our Amazon affiliate link - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://amzn.to/3uld8or⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Thanks to you, the Skull Rock Podcast is on the list of the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Best Disney Podcasts You Must Follow (feedspot.com)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. - Outro music "The Pirate King" composed by Jared Rehnquist/Untold Journey - Creative Commons Attribution 4.0 International License. LISTEN to Dave's ⁠⁠⁠⁠⁠⁠"Tunes Behind the Toons" segment on Sirius/XM's Disney Hits channel 133⁠⁠⁠⁠⁠⁠. --- Support this podcast: https://podcasters.spotify.com/pod/show/skullrockpodcast/support

Oo De Lally, this movie had a wild and winding history to its making! Robin Hood is arguably the cult sensation of the various Disney feature films, not nearly as big as the Silver Age and Rennaissance Age hits that sandwich its release, but still much adored by those who grew up with it. Linwood Knight joins James and Krissi to break down why the movie turned out as it did, especially with all that notorious recycled and traced over animation, and discuss what worked and what could have worked better.

Welcome to "Say What's Reel," the podcast where we dive deep into the world of movies! This week, your hosts Dom Cruze, Q, and ILL take a nostalgic journey back to 1994 to review the animated classic, The Lion King.Join us as we discuss:The impact of "The Lion King" on our childhoodsMemorable characters like Simba, Mufasa, Scar, and more The timeless soundtrack by Elton John and Hans ZimmerIconic moments and quotes that have stood the test of timeBehind-the-scenes trivia and fun factsDon't forget to like, comment, and subscribe for more in-depth movie reviews and discussions. Let us know your favorite "The Lion King" moments in the comments belowThe Lion King is a 1994 American animated musical coming-of-age drama film[4][5] produced by Walt Disney Feature Animation and released by Buena Vista Pictures Distribution under the Walt Disney Pictures banner. The film was directed by Roger Allers and Rob Minkoff (in their feature directorial debuts) and produced by Don Hahn, from a screenplay written by Irene Mecchi, Jonathan Roberts, and Linda Woolverton. The film features an ensemble voice cast that includes Matthew Broderick, Moira Kelly, James Earl Jones, Jeremy Irons, Jonathan Taylor Thomas, Nathan Lane, Ernie Sabella, Whoopi Goldberg, Cheech Marin, Rowan Atkinson, Niketa Calame, and Robert Guillaume. Its original songs were written by composer Elton John and lyricist Tim Rice, with a score by Hans Zimmer. Inspired by African wildlife, the story is modelled primarily on William Shakespeare's stage play Hamlet with some influence from the Biblical stories of Joseph and Moses, and follows a young heir apparent who is forced to flee after his uncle kills his father and usurps the throne. After growing up in exile, the rightful king returns to challenge the usurper and end his tyrannical rule over the kingdom.Find the Say Whats Reel CrewSay Whats Reel Socials - https://linktr.ee/rmhproductionsDOM CRUZE Instagram: https://www.instagram.com/itzdomw/Q Twitter: https://twitter.com/King_QuisemoeInstagram: https://www.instagram.com/king_quisemoe/iLL - https://twitter.com/illest_thriller

Posted on YouTube May 31, 2024. Audio edited by Kiara Horowitz. At DrawingFORCE.com, Mike Mattesi, author of the FORCE drawing books and creator of the FORCE drawing theory teaches his drawing approach. Scott Wiser sat down with Mike at the Salt Lake Animation Expo for this challenging conversation about navigating the industry as an artist and about his love for animation and teaching! Mike Mattesi attended the School of Visual Arts in New York City to pursue a career in the comic book industry and found my way into Walt Disney Consumer Products and Walt Disney Feature Animation where Mike had the amazing fortune to work on "The Lion King." MikeI then moved to the west coast where he entered the video game industry and then returned to New York where he taught at SVA and many other studios and schools in the tri-state area. After many years teaching I decided to write a book called FORCE that would wrap up my teaching career. Mike launched a company called Contagious Concepts, an art resource company for the video game industry. This lead to work with Microsoft, Origin, Electronic Arts and other developers on many exciting titles. After starting a family, they all then moved to Los Angeles where Mike taught at Nickelodeon, Electronic Arts and Art Center. This lead Mike to opening his own art school, Entertainment Art Academy, the first of its kind in the world! After four challenging years Mike closed the Academy and moved to San Francisco where he reentered the video game industry and worked primarily as an Art Director across numerous game studios, Zynga my latest. Now Mike returns to teaching through DrawingFORCE.com, teaching at art colleges and entertainment companies in the Bay area such as , Pixar, The Academy of Art University, California College of the Arts, and Mike travels around the world hosting FORCE Drawing Workshops. Interviewer Scott Wiser is currently supervising at Steamroller Studios (supervising Lego Fortnite and animating on Spice Frontier) and has written and directed for Spacestation Animation. He is the creator of 15 deeply meaningful feature film pitches and counting. 3 of these are Kickstarted Books and one is a short film. Any producers or executives interested in collaborating or funding on Scott Wiser's projects can peruse these pitches through the application at: www.scottwiser.com/collaborate

Directed by John Musker and Ron Clements, Hercules is the animated musical fantasy film, loosely based on the legendary hero Heracles (known in the film by his Roman name, Hercules), a son of Zeus in Greek mythology. Luke and Jae journey back to the legendary times of Ancient Greece (also known as 1997) to revist this Walt Disney Feature Animation produced film. Hercules (Tate Donovan), a son of gods, was snatched as a baby by Hades (James Woods) and forced to live among mortals as a half-man, half-god. Now a teenager, Hercules needs to perform a rite of passage on Earth to prove himself worthy of living with the gods on Mount Olympus. With his plucky satyr sidekick, Philoctetes (Danny DeVito), along for the ride, Hercules must learn how to use his strength to defeat a series of evil creatures.

Former Disney animator, Davy Liu, and founder of Destiny Studios Meri Crouley, joins the program to share their plan to create a new wholesome family oriented animated motion picture to rival Disney and Pixar without the propaganda. Davy Liu is an experienced animator who has worked on the Lion King, Mulan and others. His team of former Disney and Dreamworks animators have the experience and talent to change Hollywood. They have teamed up with Meri Crouley and Destiny studio to make this dream a reality. Davy and Meri share the incredible story behind this movement to change Hollywood back to family oriented wholesomeness that parents everywhere expect. You can support their project by purchasing a ticket or by becoming an investor. Learn more at https://www.givesendgo.com/BeAHero/donate?Code=SARAH Learn more about Davy Liu's Films at Kendu Films Links Mentioned in show: Support and learn more about Destiny Studio at https://www.givesendgo.com/BeAHero/donate?Code=SARAH Turn back time with NuM8Trx, the world's most effective collagen building treatment. But now at https://purebellavita.com/pages/sarah-num8trx Learn more about Leela's Quantum Tech at https://bit.ly/3iVOMsZ or at https://SarahWestall.com/shop Consider subscribing: Follow on Twitter @Sarah_Westall Follow on my Substack at SarahWestall.Substack.com   See Important Proven Solutions to Keep Your from getting sick even if you had the mRNA Shot - Dr. Nieusma MUSIC CREDITS: “In Epic World” by Valentina Gribanova, licensed for broad internet media use, including video and audio       See on Bastyon | Bitchute | Brighteon | CloutHub | Odysee | Rumble | Youtube | Tube.Freedom.Buzz   Meri Crouley Bio Meri Crouley is an anointed speaker who operates with a strong prophetic anointing. She has traveled all across the United States and overseas where she has spoken at conferences and crusades to compel the body of Christ and prepare them for another great awakening. She is the President of Destiny Studios and is in development on several major motion pictures. She also hosts her own television program called “Now is the Time” which is broadcast around the world via satellite, various media outlets and on You Tube. Meri believes that there is another spirit of Renaissance which is being released where millions are going to enter the Kingdom of God through the creative arts and music. She also has founded a non-profit organization called Youthwave Explosion. It was established in 1996 and Youthwave has hosted many large outreach concerts where thousands of young people's lives have been impacted through music and the gospel. Meri has hosted many prophetic conferences and also been a featured speaker at churches, retreats, woman's conferences and youth outreaches around the nation and world. Her message is to challenge people to rise up, take action and find their destiny and purpose for their lives. Her first book was released a few years ago by Deeper Calling Media entitled “When God Speaks” and has sold thousands of copies. She also has produced many teaching CD's and DVD's for people's inspiration and encouragement to take action to achieve their lives destiny.   Davy Liu Bio Davy is a celebrated artist in the United States, China, and around the world. His artistic talent is most known for works he completed at Walt Disney Feature Animation, including Beauty and the Beast, Aladdin, Mulan, and The Lion King. He also worked for George Lucas at Industrial Light and Magic and for Warner Bros. Feature Animation. Davy founded Kendu Films in 2004 and has subsequently published the Invisible Tails series of picture books, namely “The Giant Leaf”,“Fire Fish”, “Jordan's Guest”,“The Royal Feast”and “Enchanted Tree”. Davy is also a dynamic speaker in North American and in Asia where he talks about creativity and pursuing your dreams. His biography was published in July of 2013 by Business Weekly in Taiw...

With over 30 years in the animation industry, Tony Bancroft has been creatively involved in almost every position making an animated film, video, commercial, or short film. His animation and directing skills have been sharpened and honed while working at Walt Disney Feature Animation, Sony Pictures, his own animation company, Toonacious Family Entertainment, and currently, as an independent contractor working with Disney, Warner Brothers, and many more.Bancroft was accepted into the exclusive California Institute of the Arts (Cal-Arts) in 1987, where he thrived artistically and developed a lifelong passion for animation. Soon after, he realized one of his childhood dreams as he was hired to animate for Walt Disney Animation Studios. During his 12-year career with Disney Studios, Bancroft helped create and animate Pumbaa, the lovable warthog in The Lion King; Kronk, the dim-witted sidekick in The Emperor's New Groove; Cogsworth the nervous clock from Beauty and the Beast; and Iago the pestering parrot in Aladdin.Bancroft's most notable accomplishments include being the co-director of Walt Disney's animated film, Mulan, for which he received the Annie Award for Director of the Year from ASIFA-International; and animation supervisor of Sony's 

We discuss our friendship since 1985, teaching at USC, the graphic novel “Defiant” about slave Robert Smalls who stole a southern ship and gave it to the north, Rob's analytical brain, being teamed with a monster, being fooled by a first meeting, insane show runners with guns on the table, being a black writer, the sunk cost fallacy, making The Princess & The Frog, Will Smith vs Martin Lawrence vs Chris Rock and the slap, AI asking, “What is art?”, wine lessons, and oxtail fried rice! Bio: ROB EDWARDS is a veteran of movies and television who wrote and produced shows including "The Fresh Prince", "Full House", and "In Living Color" before writing two classic animated films for WALT DISNEY FEATURE ANIMATION, the Academy Award, and Golden Globe-nominated THE PRINCESS AND THE FROG, and the Academy Award-nominated TREASURE PLANET. He consulted on TANGLED, WRECK-IT RALPH, and FROZEN. He also wrote and directed the award-winning animated short film THE PARK BENCH and is currently writing projects for LEGION M, SHOWTIME, SONY, MOFAC, Chris Rock, Lengi, and MARVEL STUDIOS. He is an adjunct professor of screenwriting at the Newhouse School at Syracuse University and the School of Cinematic Arts at USC.

As a writer, your primary job is to communicate. Most of us feel very comfortable communicating our ideas, stories, and other content in a variety of forms. If you write for clients, you probably feel right at home when you write in their style or voice. For some reason, though, many writers struggle when it comes to communicating about themselves! It's critical that we feel confident and assertive when it comes to talking about our work, our services, our value, and how we can help and serve others with our writing. That's why I'm excited to bring you this conversation with Lindsey Hughes. Known as the Pitchmaster, Lindsey loves helping people discover their superpower, create compelling content, and feel excited about pitching and networking. She teaches how to pitch like a boss, network like a VIP, and write like an Oscar winner. In her wide-ranging career as a Hollywood development executive, Lindsey has worked in everything from feature films, television movies, and TV series, to animation and live action. She began her career reading scripts for Robert Zemeckis and Kathryn Bigelow, worked under Michael Eisner at Walt Disney Feature Animation, and developed projects for John H. Williams, producer of the billion-dollar Shrek franchise. You can connect with Lindsey at her site, https://thepitchmaster.com, where you can also subscribe to her weekly newsletter for actionable creativity and career tips. In this conversation, Lindsey and I talk about ways we can improve our author bio, our branding, and various other means we use to communicate to people how we can serve them. This episode is going to be super valuable to every writer who wants to create more value for their ideas and services—that includes you as well! Lindsey is full of energy and insights, and you'll come away with lots of great ideas to boost your business profile. * * * Today's episode is sponsored by Karen Hunsanger, an incredible editor known as “The Word Wizard.” I've worked with Karen many times, and she is your secret weapon for crafting the highest-quality book possible. Visit the link above for a free sample edit.

The Black Cauldron is notorious for being one of Disney's darkest and scariest movies, and it is, but there's a beauty in its darkness that's unrivalled. The score does feel mismatched in places and the characters aren't very well-developed, but there's something truly ambitious there, and the animation has moments of sheer awe-inspiring brilliance. It really is a work of visual art.But you can see the behind-the-scenes troubles even in its animation - while some scenes are some of the most challenging and technically brilliant of all of Disney's hand-drawn output, others look almost amateur. The Black Cauldron was different, risky and slightly more mature in tone to average Disney fare. It's often accused of being the movie that almost killed Walt Disney Feature Animation, but there's always more to the story, and that includes the potential that The Black Cauldron had to change Disney's animated fortunes for the better...I would love to hear your thoughts on The Black Cauldron !CONTACT.... Twitter @verbaldiorama Instagram @verbaldiorama Facebook @verbaldiorama Letterboxd @verbaldiorama Email verbaldiorama [at] gmail [dot] com Website verbaldiorama.comSUPPORT VERBAL DIORAMA....Give this podcast a five-star Rate & Review Join the Patreon | Send a Tip | Buy Merch ABOUT VERBAL DIORAMAVerbal Diorama is hosted, produced, edited, researched, recorded and marketed by me, Em | This podcast is hosted by Captivate, try it yourself for free. Theme Music: Verbal Diorama Theme Song. Music by Chloe Enticott - Compositions by Chloe. Lyrics by Chloe Enticott (and me!) Production by Ellis Powell-Bevan of Ewenique StudioPatrons: Simon E, Sade, Claudia, Simon B, Laurel, Derek, Cat, Andy, Mike, Griff, Luke, Michael, Scott, Brendan, Lisa, Sam, Will, Jack, Dave, Chris, Stuart, Nicholas, Zo, Kev, Pete, Heather, Danny, Aly, Tyler, Stu, Brett, Philip, Michele and Xenos!

The Lion King is a 1994 American animated musical drama film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. The 32nd Disney animated feature film and the fifth produced during the Disney Renaissance, it is inspired by William Shakespeare's Hamlet with elements from the Biblical stories of Joseph and Moses and Disney's 1942 film Bambi. The film was directed by Roger Allers and Rob Minkoff (in their feature directorial debuts) and produced by Don Hahn, from a screenplay written by Irene Mecchi, Jonathan Roberts, and Linda Woolverton. The film features an ensemble voice cast that includes Matthew Broderick, James Earl Jones, Jeremy Irons, Jonathan Taylor Thomas, Nathan Lane, Ernie Sabella, Rowan Atkinson, and Robert Guillaume. Its original songs were written by composer Elton John and lyricist Tim Rice, with a score by Hans Zimmer.   The film has led to many derived works, such as a Broadway adaptation in 1997; two direct-to-video follow-ups—the sequel, The Lion King II: Simba's Pride (1998), and the prequel/parallel, The Lion King 1½ (2004); two television series, Timon and Pumbaa and The Lion Guard; and a photorealistic remake in 2019, which also became the highest-grossing animated film at the time of its release. In 2016, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".  The Lion King is the first Disney film to have been dubbed in Zulu, the only African language aside from Arabic to have been used for a feature-length Disney dub.     The Lion King is a 2019 American musical drama film directed and co-produced by Jon Favreau, written by Jeff Nathanson, and produced by Walt Disney Pictures and Fairview Entertainment. It is a photorealistic computer-animated remake of Disney's traditionally animated 1994 film of the same name. The film stars the voices of Donald Glover, Seth Rogen, Chiwetel Ejiofor, Alfre Woodard, Billy Eichner, John Kani, John Oliver, Florence Kasumba, Eric André, Keegan-Michael Key, JD McCrary, Shahadi Wright Joseph, with Beyoncé Knowles-Carter, and James Earl Jones reprising his role from the original film.   Plans for a remake of 1994's The Lion King were confirmed in September 2016 with Favreau attached to directed following box office successes for Disney remakes such as The Jungle Book (2016), which was also directed by Favreau. Disney hired Nathanson to write the screenplay in October 2016. Favreau was inspired by certain roles of characters in the Broadway adaptation and developed upon elements of the original film's story. Much of the main cast signed in early 2017, and principal photography began in mid-2017 on a blue screen stage in Los Angeles. The "virtual-reality tools" utilized in The Jungle Book's cinematography were used to a greater degree during filming of The Lion King. Composers Hans Zimmer, Elton John, and lyricist Tim Rice, all of whom worked on the original's soundtrack, returned to compose the score alongside Knowles-Carter, who assisted John in the reworking of the soundtrack and wrote a new song for the film, titled "Spirit", which she also performed. The film serves as the final credit for editor Mark Livolsi, and it is dedicated to his memory. With an estimated budget of around $260 million, The Lion King is one of the most expensive films ever made.   Opening Credits; Introduction (.37); Background History (1:02.08); The Lion King (19940 Trailer (1;05.30); The Original (1:06.41); Let's Rate (1:51.58); INTERMISSON:  (1:56.58) Introducing a Film (2:07.01); The Lion King (2019) Film Trailer (2:04.06); Lights, Camera, Action (2:05.51); How Many Stars (2:43.21); End Credits (2:58.34); Closing Credits (2:59.34)   Opening Credits– Epidemic Sound – Copyright . All rights reserved.   Intermission Music:  He Lives In You (Reprise) – Ensemble – The Lion King, Jason Raize and Tsidii Le Loka.  Taken from the album The Lion King, The Original Broadway Cast Album.  Copyright 1997 Walt Disney Records.  .   Closing Credits:  Shadowlands by Shadowland · Heather Headley · Tsidii Le Loka · Ensemble - The Lion King.  Taken from The Lion King, The Original Broadway Cast Album.  Copyright 1997 Walt Disney Records.  ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    Interval Music:  The Lion King Original Broadway Cast.  Copyright 1997 Walt Disney Records.   All rights reserved.  Used by Kind Permission.   All songs available through Amazon Music.

Beauty and the Beast is a 1991 American animated musical romantic fantasy film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. The 30th Disney animated feature film and the third released during the Disney Renaissance period, it is based on the 1756 fairy tale of the same name by Jeanne-Marie Leprince de Beaumont (who was only credited in the French dub),[6] while also containing ideas from the 1946 French film of the same name directed by Jean Cocteau.[7] The film was directed by Gary Trousdale and Kirk Wise (in their feature directorial debuts) and produced by Don Hahn, from a screenplay by Linda Woolverton.   Beauty and the Beast is a 2017 American musical romantic fantasy film directed by Bill Condon from a screenplay by Stephen Chbosky and Evan Spiliotopoulos. Produced by Walt Disney Pictures and Mandeville Films, the film is a live-action adaptation of Disney's 1991 animated film of the same name, itself an adaptation of Jeanne-Marie Leprince de Beaumont's 1756 version of the fairy tale. Starring Emma Watson and Dan Stevens as the eponymous Belle and the Beast, the film features an ensemble and choir cast including Luke Evans, Kevin Kline, Josh Gad, Ewan McGregor, Stanley Tucci, Audra McDonald, Gugu Mbatha-Raw, Ian McKellen, and Emma Thompson.   Opening Credits; Introduction (2.27); Background History (15.24); Beauty and the Beast (1991) Trailer (19.47); Original Thoughts (21.27); Let's Rate (49.53); Introducing a Remake (53.54); Beauty and the Beast (2017) Trailer (56.29); Lights, Camera, Action (58.48); How Many Stars (1:48.23); End Credits (1:55.29); Closing Credits (1:56.54)   Opening Credits– Beauty and the Beast Prologue by Alan Menken.  Copyright 1991 Disney Records. All rights reserved   Closing Credits:  Beauty and the Beast by Marilyn Martin.  Taken from the self titled album Marilyn Martin.  Copyright 1986 Atlantic Records.  ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used by Kind Permission.   All songs available through Amazon Music.

Fantasia is a 1940 American animated musical anthology film produced and released by Walt Disney Productions, with story direction by Joe Grant and Dick Huemer and production supervision by Walt Disney and Ben Sharpsteen. The third Disney animated feature film, it consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski, seven of which are performed by the Philadelphia Orchestra. Music critic and composer Deems Taylor acts as the film's Master of Ceremonies who introduces each segment in live action.   Fantasia 2000 is a 1999 American animated musical anthology film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. Produced by Roy E. Disney and Donald W. Ernst, it is the 38th Disney animated feature film and sequel to 1940's Fantasia. Like its predecessor, Fantasia 2000 consists of animated segments set to pieces of classical music. Celebrities including Steve Martin, Itzhak Perlman, Quincy Jones, Bette Midler, James Earl Jones, Penn & Teller, James Levine, and Angela Lansbury introduce a segment in live action scenes directed by Don Hahn.   Opening Credits; Introduction (1.00); Background History (15.06); Fantasia (1940) Film Trailer (18.19); Opening Presentation (21.15); Let's Rate (41.33); Introducing Our Second Feature (43.40); Fantasia 2000 (1999) Film Trailer (46.11); Lights, Camera, Action (48.12); How Many Stars (1:19.57); End Credits (1:24.29); Closing Credits (1:25.46)   Opening Credits– Epidemic Sound – Copyright . All rights reserved   Closing Credits:  The Age of Not Believing  by Angela Lansbury.  From the album Bedknobs and Broomsticks Original Soundtrack.  Copyright 1971 Disney Records ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used by Kind Permission.   All songs available through Amazon Music.

The Little Mermaid is a literary fairy tale written by the Danish author Hans Christian Andersen, first published in 1837 as part of a collection of fairy tales for children. The story follows the journey of a young mermaid who is willing to give up her life in the sea as a mermaid to gain a human soul.   The original story has been a subject of multiple analyses by scholars such as Jacob Bøggild and Pernille Heegaard, as well as the folklorist Maria Tatar. These analyses cover various aspects of the story, from interpreting the themes to discussing why Andersen chose to write a tragic story with a happy ending. It has been adapted to various media, including musical theatre, anime, ballet, opera, and film. There is also a statue portraying the mermaid in Copenhagen, Denmark, where the story was written and first published.   The Little Mermaid is a 1989 American animated musical fantasy film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. The 28th Disney animated feature film, it is loosely based on the 1837 Danish fairy tale of the same name by Hans Christian Andersen. The film was written and directed by John Musker and Ron Clements and produced by Musker and Howard Ashman, who also wrote the film's songs with Alan Menken. Menken also composed the film's score. Featuring the voices of Jodi Benson, Christopher Daniel Barnes, Pat Carroll, Samuel E. Wright, Jason Marin, Kenneth Mars, and Buddy Hackett, The Little Mermaid tells the story of a teenage mermaid princess named Ariel, who dreams of becoming human and falls in love with a human prince named Eric, which leads her to make a magic deal with the sea witch, Ursula, to become human and be with him.   The Little Mermaid was released to theaters on November 17, 1989, to critical acclaim, earning praise for the animation, music, and characters. It was also a commercial success, garnering $84 million at the domestic box office during its initial release, and $235 million in total lifetime gross worldwide. Along with the major success of both Disney's 1986 animated film The Great Mouse Detective  and the 1988 Disney/Amblin live-action/animated film Who Framed Roger Rabbit, The Little Mermaid is given credit for breathing life back into the art of Disney animated feature films after some films produced by Disney were struggling. It also marked the start of the era known as the Disney Renaissance. The film won two Academy Awards for Best Original Score and Best Original Song ("Under the Sea").   Opening Credits; Introduction (1.19); Background History (14.13); The Little Mermaid Plot Synopsis (15.17); Book Thoughts (21.47); Introducing a Film (58.50); The Little Mermaid (1989) Film Trailer (1:02.28); Lights, Camera, Action (1:03.49); How Many Stars (1:50.42); End Credits (1:52.10); Closing Credits (1:53.48)   Opening Credits– Epidemic Sound – Copyright . All rights reserved   Closing Credits:  In Harmony by Jodi Benson.  Taken from the Little Mermaid Television Soundtrack.  Copyright 1992 Disney Records.  Kiss The Girl by Ashley Tidsdale.  Taken from The Little Mermaid Soundtrack  Copyright 2006 Disney Records. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used by Kind Permission.   All songs available through Amazon Music.  

Rob Edwards has written two classic animated films for WALT DISNEY FEATURE ANIMATION, the Academy Award-nominated Treasure Planet and the Academy Award and Golden Globe-nominated The Princess and the Frog. He also consulted on Tangled, Wreck-it Ralph, and Frozen. He penned AMULET for Warner Brothers and ANIMATED AMERICAN for Disney.Rob is currently writing projects for SHOWTIME, SONY, PARAMOUNT, and Chris Rock. Rob is also known for his work on the television shows "The Fresh Prince of Bel-Air," "Full House," "A Different World," "Roc," "In Living Color," and as the creator of "Out All Night." In 2012, Rob launched robedwards.net, where he shares the tools he has developed over 30 years of writing professionally.He has taught and/or lectured for UCLA, Tisch School of the Arts at NYU, Syracuse University, Boston University, Howard University, The Organization of Black Screenwriters, CTN Expo, LMU, Digital Hollywood, The Scriptwriters Network, The Writers Store, University of California Riverside, Le Moyne College and others.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2881148/advertisement

Peilin Chou and Anthony Stacchi discuss their parenthood journey with me. We talk about the values they looked to instill into their kids. In addition they share life lessons they have learned from their kids. After that we talk about their new movie, The Monkey King. Peilin and Anthony share the inspiration of the film, casting and the style of animation they used for the film. Lastly, we finish the interview with the Fatherhood Quick Five.  About Peilin Chou  Peilin Chou is an Academy Award-nominated Producer with background as a creative executive in feature films as well as content creation in television and theater. Prior to The Monkey King, she produced Over the Moon. Chou produced Abominable while serving as the Chief Creative Officer of Pearl Studio. She started her career in feature films at the Walt Disney Studios as a Creative Executive at Walt Disney Feature Animation and Touchstone Pictures. In those roles, she developed and oversaw dozens of feature film projects, of which two of her favorites are Mulan and Romy & Michele's High School Reunion. She currently resides in New York City with her husband Eric and their two boys Hayden and Bailey. Follow Peilin on Instagram at @peilinchou. Make sure you check out The Monkey King on Netflix.  About Anthony Stacchi Prior to his work on The Monkey King, Anthony Stacchi served as the Academy Award, Golden Globe and BAFTA nominated director of The Boxtrolls. Stacchi was also co-director and an original story writer on Open Season and has storyboarded on films including Antz, Spirit, Astro Boy, Curious George, Missing Link, and Guillermo del Toro's Pinocchio, among others. He also worked as an effects artist on the action films Ghost and Hook, and as an animator on The Rocketeer and two Back to the Future films. Anthony has one son. Follow Anthony on Instagram at @afstacchi.  About The Monkey King  The Monkey King is an action-packed family comedy that follows a rebellious and charismatic Monkey and his magical fighting Stick on an epic quest for victory over 100 demons, an eccentric Dragon King, and Monkey's greatest foe of all —his own ego! Along the way, a young village girl challenges his self-centered attitude and shows him that even the smallest pebble can have a big effect on the world. https://www.youtube.com/watch?v=-Ao79QJNE-s About The Art of Fatherhood Podcast  The Art of Fatherhood Podcast follows the journey of fatherhood. Your host, Art Eddy talks with fantastic dads from all around the world where they share their thoughts on fatherhood. You get a unique perspective on fatherhood from guests like Joe Montana, Kevin Smith, Danny Trejo, Jerry Rice, Jeff Foxworthy, Patrick Warburton, Jeff Kinney, Paul Sun-Hyung Lee, Kyle Busch, Dennis Quaid, Dwight Freeney and many more.

Vi har klasket et stort fedt spoilermærkat på denne episode, da vi skal snakke om de mest chokerende dødsfald i TV-serier gennem tiden (eller i hvert fald tiden, mens vi har været i live)! Det bliver nogle melankolske værter, der kniber en lille tåre i ny og næ, når de skal snakke tragedie i Game of Thrones, Mad Men, ER, LOST, How I Met Your Mother og mange flere. Find lommetørklæderne frem! Til din næse! Vi høres på åen. Forresten... Vi er på Twitter - og Instagram-mediet: @streamaaen Og også Facebook: www.facebook.com/streamaaen. Kontakt os gerne: streamaaen@gmail.com. Bag podcasten står Peter Vistisen, Tobias Iskov Thomsen og Anders Zimmer Hansen - alle tidligere døde karakterer i LOST. Citat fra film/TV i episoden: The Land Before Time (Amblin Entertainment, Sullivan Bluth Studios, Universal Pictures), The Lion King (Walt Disney Pictures, Walt Disney Feature Animation, Buena Vista Pictures Distribution), Angel (Mutant Enemy Productions, Greenwolf Corp, David Greenwalt Productions, Kuzui Enterprises, Sandollar Television, 20th Century Fox Television, The WB), 24 (Imagine Television, Real Time Productions, Teakwood Lane Productions, 20th Century Fox Television, Fox), ER (Constant C Productions, Amblin Television, Warner Bros. Television, NBC), NYPD Blue (Steven Bocho Productions, 20th Century Fox Television, ABC), Beverly Hills, 90210 (Propaganda Films, Spelling Entertainment / Spelling Television, Fox), Game of Thrones (HBO Entertainment, Television 360, Grok! Television, Generator Entertainment, Startling Television, Bighead Littlehead, HBO), LOST (Bad Robot Productions, Touchstone Television, ABC Studios, ABC), Mad Men (Weiner Bros. Productions, Lionsgate Television, AMC Original Productions, AMC), The Walking Dead (Idiot Box Productions, Circle of Confusion, Skybound Entertainment, Valhalla Entertainment, AMC Studios, AMC), Breaking Bad (High Bridge Entertainment, Gran Via Productions, Sony Pictures Television, AMC), Better Call Saul (High Bridge Productions, Crystal Diner, Gran Via Productions, Sony Pictures Television Studios, AMC), How I Met Your Mother (Bays & Thomas Productions, 20th Century Fox Television, CBS), House of Cards (MRC, Trigger Street Productions, Wade/Thomas Productions, Knight Takes King Productions, Netflix)

In this week's podcast, we are live talking about acting, movies and the Writer's Guild Strike with Rob Edwards. Rob wrote and produced shows including "The Fresh Prince", "Full House", and "In Living Color" before writing two classic animated films for WALT DISNEY FEATURE ANIMATION, the Academy Award, and Golden Globe-nominated THE PRINCESS AND THE FROG, and the Academy Award- nominated TREASURE PLANET.  He consulted on TANGLED, WRECK-IT RALPH, and FROZEN. He also wrote and directed the award-winning animated short film THE PARK BENCH and is currently writing projects for LEGION M, SHOWTIME, SONY, MOFAC, Chris Rock, Lengi, and MARVEL STUDIOS.Watch the Podcast on YouTube | Read the DiariesHost, Author of Diary of an Actress,. Executive Producer: Rachel BailitEditor, Producer : Max BugrovYouTube: @diaryofanactresspodcastInstagram: diaryofanactresspodcastTikTok: @diaryofanactresspodcastFacebook: diaryofanactress

Rob Edwards has written two classic animated films for WALT DISNEY FEATURE ANIMATION, the Academy Award nominated Treasure Planet and the Academy Award and Golden Globe nominated The Princess and the Frog. He also consulted on Tangled, Wreck-it Ralph and Frozen. He penned AMULET for Warner Brother's and ANIMATED AMERICAN for Disney.Rob is currently writing projects for SHOWTIME, SONY, PARAMOUNT, and Chris Rock. Rob is also known for his work on the television shows "The Fresh Prince of Bel-Air", "Full House", "A Different World", "Roc", "In Living Color" and as the creator of "Out All Night." In 2012, Rob launched robedwards.net where he shares the tools he has developed over 30 years of writing professionally. He has taught and/or lectured for UCLA, Tisch School of the Arts at NYU, Syracuse University, Boston University, Howard University, The Organization of Black Screenwriters, CTN Expo, LMU, Digital Hollywood, The Scriptwriters Network, The Writers Store, University of California Riverside, Le Moyne College and others.

Um clássico do Renascimento da Disney, O Rei Leão foi lançado no momento que a Walt Disney Feature Animation experimentava novos picos de popularidade, com o estúdio vivendo o período mais prolífico de produção, expansão e inovação desde a década de 1930. Com tantos projetos em andamento, nem todos pareciam tão animados com uma história ainda sem foco ambientada no mundo animal. Eu sou Júlia Gavillan e esse é o Mais Que um Filme. Catarse Mais Que um Filme: https://www.catarse.me/juliagavillan Pix Mais Que um Filme: julia.gavillan@gmail.com

Charlie Fink is a Forbes columnist, podcast host, and author of AR-enabled books on the metaverse. He teaches XR and Metaverse Studies at Chapman University and has had a 40-year career at the intersection of popular culture and technology, including work at Walt Disney Feature Animation, Virtual World Entertainment, and AOL. Fink gives keynotes on the Metaverse globally and consults for tech companies to help them tell their stories.Taylor Hack, a tech investor, marketing expert, and real estate industry leader, hosts a podcast featuring thought leaders and innovators to discuss industry challenges, disruptions and strategies for success. By sharing the stories of leadership, from the perspective of leaders, Taylor strives to help you develop your Leadership Line of Sight.

Tim Albaugh is a writer and producer. He has taught screenwriting at UCLA, UC Irvine, Hollins University, Pixar Animation Studios, and Walt Disney Feature Animation. He bad been a featured presenter at numerous film festivals, institutes and private screenwriting groups. He also moderates annual panels at the Austin Film Festival, leads the monthly MetaReads at The Metaphor Club in Los Angeles, and mentors for the CineStory Foundation. Tim's students and private clients have sold features to all the major studios and has had films produced including ALL EYEZ ON ME and the Christian Bale film THE MACHINIST. Their work in TV includes THE ROOKIE, TWO DOPE QUEENS, and 13 REASONS WHY. He is currently a partner and Executive Producer for Royal Viking Entertainment where he discovers talent and works with them to develop material. He also helped create the film and T.V. consultancy PROPATH SCREENWRITING, which offers coverage, script notes, seminars, workshops and ongoing consultations. His clients have won the prestigious Nicholl Screenwriting competition, and optioned or sold scripts to various studios. Tim splits his time between L.A., San Francisco, Las Vegas and the east coast and somehow still houses an army of rescue cats and lives with the knowledge that any day more rescues may appear. He believes in writing with intention and purpose, commanding the read from the first word, and in creating not just the stories we know, but the emotional journeys we live. --- Send in a voice message: https://anchor.fm/cutting-for-sign/message Support this podcast: https://anchor.fm/cutting-for-sign/support

For the first episode of 2023, Chris and Alex are back into the world of Disney Feature Animation, following up earlier discussions of The Emperor's New Groove (Mark Dindal, 2000) and Treasure Planet (Ron Clements & John Musker, 2002) with Episode 111, which looks at the studio's 2001 feature film Atlantis the Lost Empire (Gary Trousdale & Kirk Wise, 2001), a science-fiction adventure that draws inspiration from Jules Verne's Twenty Thousand Leagues Under the Sea (1870). Joining them as their very special guest is the film's co-director, Gary Trousdale, who was part of the celebrated Disney Renaissance and together with Kirk Wise also directed the Disney features Beauty and the Beast (1991) and The Hunchback of Notre Dame (1996). Gary was first hired by Walt Disney Feature Animation back in 1984 as an effects animator on The Black Cauldron (Ted Berman & Richard Rich, 1985). He then moved onto story for Oliver & Company (George Scribner, 1988) and worked as a Storyboard Artist for The Little Mermaid (Ron Clements & John Musker, 1989), before finally taking up directorial duties on Beauty and the Beast that was nominated for an Academy Award for Best Picture. Gary later moved to DreamWorks and, more recently, is credited as creative consultant for the 2017 reimagining of Beauty and the Beast (Bill Condon, 2017). Listen as they discuss the Disney Renaissance as a period of industrial and creative renewal via the studio's return to a Golden Age sensibility; the siting of Atlantis: The Lost Empire within Disney's post-2000 era of narrative and stylistic heterogeneity; the 1914 setting of the Verne-inspired film, and how its images of war bear the influence of advancements in early twentieth-century technology; the formal connection between animated musical numbers and action sequences; and what the adventure narrative of Atlantis: The Lost Empire and its application of CGI has to say about Hollywood animation's own technological frontier. **Fantasy/Animation theme tune composed by Francisca Araujo**

On this week's PreserveCast, we are talking with Christopher Oakley from UNC Asheville about his research behind solving the number 1 question guests at the Gettysburg National Cemetery ask. “Where did Lincoln stand [during the Gettysburg Address]?” Join us while Oakley takes us through the intense analysis of 19thcentury photographs with today's technology & 3D modelling software. Christopher Oakley is an associate professor of New Media and teaches courses in animation and the history of animation at the University of North Carolina in Asheville. Christopher is also an animator and director with over 25 years of experience in the film, television, commercial and game industries. After several years working as a stop motion animator and director on commercials and CBS' Pee-wee's Playhouse, Christopher was recruited by Walt Disney Feature Animation to work on their pioneering computer-generated film Dinosaur and other projects. After moving to Asheville, NC, Christopher animated "Into the Groove" for Madonna's Sticky and Sweet world tour. Christopher has a life-long passion for history and has spent much of that time researching Abraham Lincoln. In 2013, Christopher launched an undergraduate research endeavor titled "The Virtual Lincoln Project." Together with his students, Christopher created a photo-real, digital Abraham Lincoln and brought him to life delivering the Gettysburg Address. The discovery was featured in Smithsonian Magazine ("Will the Real Abraham Lincoln Please Stand Up") and went viral worldwide. In addition, Christopher's blending of 19th Century analog materials with 21st Century digital technology has helped him pinpoint the size, shape, and location of the speaker's stand from which Lincoln delivered his Gettysburg Address. Christopher's reveal of that location at a recent gathering of The Lincoln Forum in Gettysburg was featured on the front-page of the New York Times. Christopher received his BFA in Theatre from Lawrence University in Appleton, Wisconsin and his MFA in Film from Columbia University in New York City. Learn more: www.christopheroakley.com      

 Drew Taylor & Jim Hill start off this week's show by sharing their thoughts on the “Spider-Man: Across the Spider-Verse” teaser trailer. They then take a look at which animated feature is now leading the pack as we head into the 2023 awards season. Learn more about your ad choices. Visit megaphone.fm/adchoices

 Drew Taylor & Jim Hill start off this week's show by sharing their thoughts on the “Spider-Man: Across the Spider-Verse” teaser trailer. They then take a look at which animated feature is now leading the pack as we head into the 2023 awards season. Learn more about your ad choices. Visit megaphone.fm/adchoices

Film Florida Podcast Episode 100- Rob Hill is a post production audio mixer with decades of film and television experience and he's the audio editor for the Film Florida Podcast. Rob talks about his start in the industry, how post audio has evolved over the last 40 years, finding his way to Central Florida, working on projects with The Muppets, Walt Disney Feature Animation, working at the Disney-MGM Studios, Skywalker Ranch, his thoughts on a few of the 100 episodes of the Film Florida Podcast and more. Audio editing by Rob Hill.

Tom Bancroft, the supervising animator of Mushu, explains his 25 year career in animation! We go through everything from his time at Walt Disney Feature Animation to his new company: Pencilish Animation Studios! Pencilish's YouTube Channel: https://www.youtube.com/c/PencilishStudios OUR TRAVEL AGENCY ✈️ If the magic of a Disney vacation is calling you, we're here to help! Start planning: http://imaginativetravelagency.com OUR PATREON

Our guest on The XR MAG Show today is Eric Hanson, The CEO, and Founder of Blueplanet VR. Eric Hanson is a faculty member at the USC School of Cinematic Arts. Eric is a visual effects designer who has worked with leading visual effects houses such as Digital Domain, Sony Imageworks, and Walt Disney Feature Animation. His film work can be seen in “The Day After Tomorrow”, “Cast Away”, “Fantasia 2000”, and “The Fifth Element”, among others. Blueplanet VR was formed in 2018 by Eric Hanson, previously of xRez Studio, a formative VR practice specializing in 360 capture technology, cultural heritage, and science visualization content. With a background in design, architecture, photography, and visual effects, Eric finds enormous potential in volumetric VR for creating important and meaningful experiences. I'm glad Eric Hanson agreed to take some time out of his schedule to talk and share his experience on the XR Magazine show! In this episode, you will learn : What are photogrammetry and good practices for it Why creating visual imagery in VR works better to experience the places like IRL. What is the process to create an XR experience to travel around the world The main hurdle that most artists are facing in the XR field Please let me know if you have any questions about this episode or what guests you would like me to bring next!

“Beauty and the Beast” was adapted from a fairy tale written by French novelist Gabrielle-Suzanne Barbot de Villeneuve and published in 1740. Her lengthy version was abridged, rewritten, and published by Jeanne-Marie Leprince de Beaumont in 1756 to produce the version most commonly retold. Later, Andrew Lang retold the story in Blue Fairy Book, a part of the Fairy Book series, in 1889. In 1991, Beauty and the Beast was produced by Walt Disney Feature Animation as a feature film. Beauty and the Beast is the 30th Disney animated feature film. The meaning of the story behind Beauty and the Beast is a tale as old as time. By choosing to let her go, the Beast is letting go of the importance he places on physical beauty. Not only is he letting go of the most beautiful person he's ever seen (and literally letting go of “beauty”, the meaning of her name), but also letting go of his own chance of ever being outwardly beautiful again. Bedtime Stories for Children is produced by Magic Monorail #Disney #Beauty

This month Jolene sits down with costume designer Christine Burchett Butler. Christine Burchett Butler is a costume designer, artist and cosplayer. She most recently worked for The Walt Disney Company for 9 years working on projects for Lucasfilm, Marvel, Walt Disney Feature Animation and Disney Live Entertainment. We chat about Christine's time at Disney and the projects she got to design within her time there. We also talk about some of Christine's favorite cosplays she's done, her love of Jaws, and a whole lot of Ecto Cooler! Follow the podcast! IG: @HangingByAThreadBTS Twitter: @Hanging_BTS Logo by Jenn Pinkos @JennPinkosDesigns Music By: CJ Dunieff --- Send in a voice message: https://podcasters.spotify.com/pod/show/hangingbyathreadbts/message

You may not recognize his name, but you will for sure recognize his work. Davy has illustrated films such as Lion King,  Beauty and The Beast,  Aladdin, Mulan and Star Wars.⠀⠀"The founder of Kendu Films, Davy Liu, was born in Taiwan, the son of a prominent baker. As he later entered school, he earned poor grades in his academic studies resulting in very low self-esteem. He struggled with making straight A's but was gifted in drawing straight lines.⠀⠀His family immigrated to the United States in 1982 where he met his 8th grade art teacher Poppy Kincaid. She discovered Davy's talent and encouraged him with the words “You can do it”. That following year, Davy was selected as a top 20-award winner in a U.S. national art competition⠀⠀This instilled a confidence and passion in Davy that encouraged him to pursue art and later became a fine animator and production designer for Walt Disney Feature Animation, Warner Brother Feature Animation, and Industrial Light and Magic. Davy often recalls what his art teacher told him, “You can do it”. Therefore, Kendu Films hopes to create inspirational and wholesome content that encourages children and families everywhere to have a “Can Do” spirit.”⠀⠀Topic Discussed:⠀⠀•Teaching Michael Jackson how to draw Simba from Lion King⠀•The importance of thinking about legacy⠀•How encouragement can completely transform someone's life⠀⠀Links:⠀Web: https://kendufilms.com/⠀FB: https://www.facebook.com/Kendu-Films-Fan-Club-296124302591/⠀⠀This podcast was interviewed, produced and edited by Maxwell Frost | @maxwelljfrost | at @wolfzillaproductions.

Rounding out his trilogy of 90s Disney screenplays, Tab Murphy joins the show once again to discuss his work on the 1999 animated classic Tarzan. We learn how Tab drew inspiration from the original novels, how the film moved from direct-to-video to a feature release, and how the film evolved once he left the production to work on Atlantis: The Lost Empire. As a bonus, we dip into his work on the 2003 film Brother Bear. Tab talks about working on an original story, discusses the opening act's unique tone, and reflects on a decade of working with Walt Disney Feature Animation. We hope you enjoy this exclusive chat with one of our favorite screenwriters! --- Send in a voice message: https://anchor.fm/90sdisney/message Support this podcast: https://anchor.fm/90sdisney/support

Pop Culturist, Aljon Go, and Filmmaker/Author/Animator, Dave Bossert discuss chat with Animator/Storyboard Artist, Mark Pudleiner about his career in Animation. The duo also discusses the latest Disney+ and streaming content, films, movie trailers, and pop-culture news. Mark Pudleiner began his career at Nelvana. From there he moved on to Don Bluth Studios, Walt Disney Feature Animation, Dreamworks, and many other studios. His film credit list includes Ewoks, An American Tail, The Land Before Time, The Hunchback of Notre Dame, Hercules, Mulan, Tarzan, Fantastia 2000, The Emperor's New Groove, Shrek 2, Meet the Robinsons and many more. Follow the team! Skull Rock Podcast | Facebook - Aljon Go (@aljongo) • Instagram & Dave Bossert (@dave_bossert) • Instagram - Email us: aljon@skullrockpodcast.com | dave@skullrockpodcast.com. Thanks to you, the Skull Rock Podcast is on the list of the Best Disney Podcasts You Must Follow (feedspot.com). Outro music "The Pirate King" composed by Jared Rehnquist/Untold Journey - Creative Commons Attribution 4.0 International License. --- Send in a voice message: https://anchor.fm/skullrockpodcast/message Support this podcast: https://anchor.fm/skullrockpodcast/support

WDW Radio # 636 - The Voice of the PeopleMover, Mike Brassell I sit down with Mike Brassell, the voice of the Tomorrowland Transit Authority PeopleMover and Living with the Land attractions in Walt Disney World to discuss the process (and pressure) of being the voice of beloved attractions in the parks. We also discuss his career at Walt Disney Feature Animation, working with Roy Disney, his cameo appearance in the Disney animated short film “John Henry,” and working at The Magic of Animation building at Disney-MGM Studios. Mike also talks about composing the musical score for Space Mountain in Tomorrowland, alongside Michael Giacchino's score for Disneyland's version. ---------------------------------- WDWRadio.com - Visit the site and blog! WDWRadio.com/Clubhouse - Join the community and conversation on Facebook WDWRadioNATION - Get monthly rewards, and help support the show WDWRadioLIVE.com - Watch and chat Wednesdays at 7:30pm ET on Facebook LIVE WDWRadio.com/Events - WDW Radio Disney meets, events, cruises, and more! WDWRadio.com/Shirts - Disney, Marvel, Star Wars, logo gear and more! WDWRadio.com/Podcasts - Show notes, links and photos 407-900-9391 - Call the voicemail with a question, comment or "Hello!" from the parks THANK YOU for your support by voting WDW Radio Best Travel Podcast for 9 consecutive years! Sit back, relax, and enjoy this week's episode of the WDW Radio show. Thanks for listening! Be sure to tune in next week! - Lou Mongello ---------------------------------- LouMongello.com - Let me help you turn what you love into what you do with one-on-one mentoring, mastermind groups, and my Momentum Workshop in Walt Disney World. I can also speak at your event, conference, business, or school. ---------------------------------- LET'S CONNECT! Facebook.com/WDWRadio WDWRadio.com/Community Instagram.com/LouMongello Twitter.com/LouMongello YouTube.com/WDWRadio Pinterest.com/LouMongello LinkedIn.com/in/LouMongello

Mr. Mulligan's work is represented in galleries internationally and collected by everyone from Hugh Hefner (where his work was recently featured in Mr. Hefner‘s lifetime estate auction) and Johnny Depp to Dick VanDyke, Richard Sherman (half of the Oscar-winning songwriting duo of Mary Poppins) and Roger Daltrey. An artist with a career-long relationship with the Walt Disney Company, spanning over two decades, projects include Animazement, Light Magic, Haunted Mansion Holiday, and newly revitalized classics from Walt Disney Feature Animation. His design, fine art, and gallery work include Playboy, Coca-Cola, the Magic Castle in Hollywood, Fox, Dreamworks, Warner Brothers, the Chuck Jones Family, Marvel, DC, Lexus, and the Elvis Presley Estate (where his solo art show at the Bellagio in Las Vegas, shattered all previous records). His corporate, comic convention and artist appearances have taken him to the ends of the earth, with destinations such as Dubai, London, Kuwait, Berlin, and Singapore (and every spot in between). Also a popular social media influencer, his behind-the-scenes and slice of life stories have proven to be a phenomenon, with approx 200,000 pairs of eyes participating in his adventures daily across multiple platforms. When not galavanting off across the globe to ride camels or rappel down waterfalls, Mr. Mulligan can be found having ice cream on his local pier with his kids, stopping to pet stranger's dogs, or practicing ukulele.

Rod & Jess kick off a new year with two of the biggest animated films of 1988! Our hosts explore the technical and artistic marvels of Robert Zemeckis' Who Framed Roger Rabbit, and they formerly introduce Walt Disney Feature Animation with Oliver & Company! Get ready for a lot of cartoon love in this episode! Follow us on Twitter: @MediaMadeShow Follow us on Instagram: @mediamadeshow

In today's podcast 3D animator Nicole Ridgwell shares her experiences working as an animation intern at both Walt Disney Feature Animation and Pixar, and how those internships paved the way for her animation career at studios like Nickelodeon and The Third Floor. She also shares the importance of continuing your … Continue reading

This week on the show, we welcome phenomenal artist Aaron Blaise. Aaron is a veteran of Walt Disney Feature Animation, where he worked as an animator and supervising animator on The Rescuers Down Under, Beauty and the Beast, Aladdin, The Lion King, Pocahontas, and Mulan. He was also co-director of the underappreciated Brother Bear, which earned him an Academy Award nomination for Best Animated Feature Film. On this episode, we chat with Aaron about his years with Disney, the legacy of Brother Bear, his move toward illustration and teaching, what drives him creatively, working digitally, and where he's going next.