Is a story that makes me incredibly sad. The film was released on November 27th, 2002. It was in development for almost two decades, nursed between two visionary and creative minds, John Musker and Ron Clements, legendary animation directors at Disney who first pitched the film in 1985. As told in James B. Stewart’s book “DisneyWar, ” CEO Michael Eisner hosted one of his infamous gong shows within the animation studio. A man hellbent on efficiency and profit, he’d judge rapid pitches with a simple “yes” or “gong, ” sometimes offering barely a sentence as an explanation for a rebuttal. This meeting landed Musker and Clements the green light for
Was always their North Star, the dream project they strived for. No matter the excellence of the films delivered, no matter how much they excelled under the turbulent reign of Eisner and Katzenberg throughout the Renaissance,
Was always opposed. It wasn’t until they took their petition to Roy E. Disney, the head of animation in 1995, that their wish was granted. Upon
Ways Atlantis Is The Most Underrated Disney Movie (& 5 Why It's Treasure Planet)
Long sought-after approval and its ultimate release. The latter half of the 1990s saw increasingly diminishing returns from the Disney Renaissance, both critically and commercially. Principal animation didn’t even fully begin until the year 2000, where things really took a turn for the worse. The massive
Crew of more than 1, 000 were completing the movie in between massive box office failures in several mediums, severe cost-cutting in the form of studio closures and layoffs, and incredibly contentious corporate struggles between executives. All of this is without mentioning just how different animation, and different entertainment itself, felt in a post-9/11 America.
On the whole, pop culture was outgrowing the childlike earnestness that encapsulated the Disney brand. Musker and Clements specifically served as primary architects of the Renaissance. They imbued the decade with their sincerity and levity, never really falling into the traps of tonal dissonance that plagued other films of the time that grappled with heavier material. Audiences, meanwhile, were beginning to turn their noses up at the notions of fairytales and “wishing on stars, ” the essence of 2D animation tradition. They also didn’t much care for Disney, or any studio for that matter, trying their hardest to make 2D animation “edgy, ” or, God forbid, “cool.” That distinction went to the increasingly popular 3D films of the time. They were modern and fresh, effortlessly cool. Films like
Treasure Planet (cartoonanimationfan05 Style)
Featured pop songs, famous celebrity voices, and scripts laden with adult references and crass double entendres. There didn’t seem to be room for touchy-feely stuff. Kids were also growing up. The children of the ‘90s were teens now. Disney was for
In the midst of all this, Musker and Clements deliver a swashbuckling adventure inexplicably set in space (!). It’s got aliens of all shapes and sizes and textures, character actors (not A-list celebrities) doing funny voices, and a teenage boy skateboarding in the sky. It’s so silly it makes me smile just typing it.
Jim Hawkins (Joseph Gordon-Levitt) is a 15-year-old rebel. He’s got an impossible haircut and a handmade solar surfer, and is one mistake away from “Juvenile Hall.” We’re first introduced to him as a wide-eyed toddler, enthralled by the stories of Pirate Captain Flint and the mysterious planet where he hid his treasure. Years later, he’s surly and hurt by the abandonment of his father and the disappointment he feels rolling off of his mother. His chance at redemption comes in the form of a spherical treasure map that kick-starts his expedition to once and for all prove the truth at the center of the myth of Captain Flint, as well as prove that he’s not just destined for failure.
Treasure Planet (megatoon1234's Style) Poster By Rdj1995 On Deviantart
Is a lot to take in, visually. Musker and Clements’ fixation on developing “Treasure Island in Space” makes a lot of sense when you view the finished product. As they explain in their directors’ commentary, they approached the aesthetics of the film using a 70/30 approach: 70% of the world would look like a traditional pirate story, while 30% of it was imbued with futuristic elements. This is how they created such awe-inspiring imagery like a crescent moon that operates as a spaceport. The pirate ships are large and wooden, but also look incredibly graceful as they glide through the universe. There are slight touches that elevate them beyond simple ships; sails that glimmer with iridescent scales that reflect the lights of the stars, and engines glowing all sorts of hues of blue and purple. The animators were inspired by the Brandywine School’s style of illustration, most notable for its usage on storybook covers. The lush backgrounds, especially the images that compose the “Etherium” (we’ll come back to that), are plush and shadowy. The inspiration from the Brandywine School leads to deep, roiling frames filled with opaque pockets of dark black and indigo that further tether the vastness of space with the vastness of the ocean.
Is no exception. By no means should it be understood that these animators shunned 3D animation and its advancements. Indeed, throughout this era, it’s notable that more and more CGI is used with each film.
’s Long John Silver (Brian Murray), is imagined here as an alien-bear-cyborg. He vacillates between boorish and friendly to domineering and intimidating. Notable character animator Glen Keane was Long John’s supervising animator, and he and his team sought to marry 2D and 3D animation within one body. In fact, footage of their tests still exists on YouTube; they mapped Silver’s arm onto archived animation cels of Captain Hook until they developed a seamless integration of the two styles. The results are Silver’s captivating mechanical arm, leg, and eyeball, CGI creations mapped onto a 2D body. His introduction in the ship’s kitchen puts Keane’s mastery of body language and movement on full display. Silver’s large frame is anything but awkward. As the camera glides and swirls around him, his arm is a flurry of constant motion, chopping and dicing vegetables while he throws his jaunty energy to and fro. Silver, representative of Keane’s signature style, is incredibly expressive and fluid, whether he speaks or not. Something as simple as a softening of his gaze when Jim isn’t looking is enough to invite us into the heart of this complicated character.
Why Treasure Planet Became One Of Disney's Most Expensive Failures Ever
Captain Amelia Smollet (Emma Thompson), on the other hand, is a cat-like creature, lithe and swift. The details of how she moves and interacts with the world are a joy to behold upon every rewatch. Something as simple as how her pupils dilate when she’s curious is a testament to the effort put into this film. Despite being saddled with an
Romance towards the end, Captain Amelia is never relegated to a thankless role as a nag or damsel-in-distress. She’s a formidable captain, also capable of being kind and encouraging. Thompson’s performance is fiery and bouncy, the perfect pitch to imbue the film with an almost nostalgic energy, something akin to the adventure films from decades prior.
, a giddiness to showcase the grandiosity of the world they’ve created. The film opens by diving headfirst into sci-fi jargon. The central element that facilitates these voyages, the Etherium, is tossed into a child’s bedtime story without a beleaguered explanation. Its pathways of oxygenated space that allow for spaceships to traverse the universe is a small bit of worldbuilding that conveys so much. The film would much rather relish in the fantastical nature of depicting space and all of its unknowns, rather than bog itself down with exposition to justify the events unfolding.
Elf Captain In Space Treasure Planet Style · Creative Fabrica
, are a lot of things, but reserved is not one of them. The film wears its emotions on its sleeve. The emotional strength of the film lies within Jim. His arc isn’t as simple as longing for adventure or needing the treasure to pay back a debt; rather, his quest for the titular Treasure Planet is interwoven into a complex personal narrative. Midway through the film, we learn that Jim’s father abandoned him. Already this is a stark difference from other Disney protagonists, who only really lose parents in death. Jim was old enough to vividly remember his father’s departure, but we are seemingly left just as in the dark as he was as to any reason why. Jim doesn’t ever state out loud how much he longs for a father. However, that loss permeates his entire state of being. It colors his behavior, his callousness, and isolated nature. After all, if his own father refused to stick by him, what’s the point in ever trying to be better at all? In a film so distant from any kind of “grounded” reality, Jim’s character is a poignant depiction of the struggles that stem from the trauma surrounding an absent parent.
Like all the films I’ve covered in this series, Jim doesn’t grow to be the best version of himself through romance. The core of this film is Jim and Silver’s relationship. Even more than Kuzco and Pacha, Jim and Silver form a dedicated father and son bond by the end of their adventure. Musker and Clements are very
Is a lot to take in, visually. Musker and Clements’ fixation on developing “Treasure Island in Space” makes a lot of sense when you view the finished product. As they explain in their directors’ commentary, they approached the aesthetics of the film using a 70/30 approach: 70% of the world would look like a traditional pirate story, while 30% of it was imbued with futuristic elements. This is how they created such awe-inspiring imagery like a crescent moon that operates as a spaceport. The pirate ships are large and wooden, but also look incredibly graceful as they glide through the universe. There are slight touches that elevate them beyond simple ships; sails that glimmer with iridescent scales that reflect the lights of the stars, and engines glowing all sorts of hues of blue and purple. The animators were inspired by the Brandywine School’s style of illustration, most notable for its usage on storybook covers. The lush backgrounds, especially the images that compose the “Etherium” (we’ll come back to that), are plush and shadowy. The inspiration from the Brandywine School leads to deep, roiling frames filled with opaque pockets of dark black and indigo that further tether the vastness of space with the vastness of the ocean.
Is no exception. By no means should it be understood that these animators shunned 3D animation and its advancements. Indeed, throughout this era, it’s notable that more and more CGI is used with each film.
’s Long John Silver (Brian Murray), is imagined here as an alien-bear-cyborg. He vacillates between boorish and friendly to domineering and intimidating. Notable character animator Glen Keane was Long John’s supervising animator, and he and his team sought to marry 2D and 3D animation within one body. In fact, footage of their tests still exists on YouTube; they mapped Silver’s arm onto archived animation cels of Captain Hook until they developed a seamless integration of the two styles. The results are Silver’s captivating mechanical arm, leg, and eyeball, CGI creations mapped onto a 2D body. His introduction in the ship’s kitchen puts Keane’s mastery of body language and movement on full display. Silver’s large frame is anything but awkward. As the camera glides and swirls around him, his arm is a flurry of constant motion, chopping and dicing vegetables while he throws his jaunty energy to and fro. Silver, representative of Keane’s signature style, is incredibly expressive and fluid, whether he speaks or not. Something as simple as a softening of his gaze when Jim isn’t looking is enough to invite us into the heart of this complicated character.
Why Treasure Planet Became One Of Disney's Most Expensive Failures Ever
Captain Amelia Smollet (Emma Thompson), on the other hand, is a cat-like creature, lithe and swift. The details of how she moves and interacts with the world are a joy to behold upon every rewatch. Something as simple as how her pupils dilate when she’s curious is a testament to the effort put into this film. Despite being saddled with an
Romance towards the end, Captain Amelia is never relegated to a thankless role as a nag or damsel-in-distress. She’s a formidable captain, also capable of being kind and encouraging. Thompson’s performance is fiery and bouncy, the perfect pitch to imbue the film with an almost nostalgic energy, something akin to the adventure films from decades prior.
, a giddiness to showcase the grandiosity of the world they’ve created. The film opens by diving headfirst into sci-fi jargon. The central element that facilitates these voyages, the Etherium, is tossed into a child’s bedtime story without a beleaguered explanation. Its pathways of oxygenated space that allow for spaceships to traverse the universe is a small bit of worldbuilding that conveys so much. The film would much rather relish in the fantastical nature of depicting space and all of its unknowns, rather than bog itself down with exposition to justify the events unfolding.
Elf Captain In Space Treasure Planet Style · Creative Fabrica
, are a lot of things, but reserved is not one of them. The film wears its emotions on its sleeve. The emotional strength of the film lies within Jim. His arc isn’t as simple as longing for adventure or needing the treasure to pay back a debt; rather, his quest for the titular Treasure Planet is interwoven into a complex personal narrative. Midway through the film, we learn that Jim’s father abandoned him. Already this is a stark difference from other Disney protagonists, who only really lose parents in death. Jim was old enough to vividly remember his father’s departure, but we are seemingly left just as in the dark as he was as to any reason why. Jim doesn’t ever state out loud how much he longs for a father. However, that loss permeates his entire state of being. It colors his behavior, his callousness, and isolated nature. After all, if his own father refused to stick by him, what’s the point in ever trying to be better at all? In a film so distant from any kind of “grounded” reality, Jim’s character is a poignant depiction of the struggles that stem from the trauma surrounding an absent parent.
Like all the films I’ve covered in this series, Jim doesn’t grow to be the best version of himself through romance. The core of this film is Jim and Silver’s relationship. Even more than Kuzco and Pacha, Jim and Silver form a dedicated father and son bond by the end of their adventure. Musker and Clements are very
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