Throwback Breakdown: Atlantis the Lost Empire- Better Than You Remember

this video is sponsored by Skillshare [Music] Atlantis the lost Empire this movie very well might be my favorite 2d animation of my childhood and judging by how many people requested that I look at the film I think many of you share my feelings today's video will be the second entry in the savage book series throwback breakdown where we explore together the writing and creation of dark animated children's fiction as this channels mission statement is being a helpful guide for writers my hope is that getting a detailed look at the creation of narratives that straddle the line between mature and child-friendly will help all of you writers out there looking to manage tone in your own work Atlantis is as unique the Disney movie as they come and because of that the process by which it was created offers a lot of learning opportunities for anyone writing their own fiction so get comfy grab some popcorn and buckle up because for the next forty or so minutes we are going to dive into the monumental task of creating Atlantis the lost Empire but to do that we are going to start at a place you might not expect The Hunchback of Notre Dame debuted in 1996 to a 21 point three million dollar opening weekend set against its budget of only 70 million dollars that was very good news for Disney in very good news for the people who work to bring Quasimodo to the big screen of those hard workers the course stood as directors Gary Trousdale and Kirk wise producer Don Hahn and screenwriter Tabb Murphy for the purposes of this video you can imagine these four men celebrating the success of their new movie over an appetizer platter at a Mexican restaurant in Burbank California just a short car ride away from Walt Disney Studios now even if you haven't heard of these men you have certainly heard of their work and more likely than not replayed their work over and over again on your childhood TV I know I have these four men collectively had worked on the Black Cauldron The Little Mermaid Beauty and the Beast Aladdin and the Lion King having a combined resume of films that grossed over two billion dollars in earnings The Hunchback of Notre Dom alone would go on to gross over 320 million dollars so the four men were very much entitled to a celebratory gathering over chips and salsa but curious enough fresh off of just completing a feature film all the men could talk about was the next movie that they had in mind and the reason such a topic interested them so much was because of how deeply they yearned to do something different see the decade of the Disney Renaissance officially dated from 1989 to 1999 was dominated by a particular type of movie musicals [Music] be our guest put our service to the test of course it goes without saying that this domination was well-earned as many of these Disney movies are some of the most iconic animations of all time along with their soundtracks but in this Renaissance decade Disney followed a rather strict formula granted a formula of greatness and success but a formula nonetheless Disney movies over and over again would Center on a charismatic main character that would carry the conflict of the narrative through song and dance until the climax could culminate with a singular act of major violence that could be justifiably carried out against the villain violence in Disney movies was largely reserved as a punishment for evil doing or as a creation for a narrative trauma and the story of the movies would be progressed by character arc defining songs this was the formula and made Disney into the powerhouse that it is today but you have to remember those movies of the Renaissance were largely made by Gary Trousdale Kirk wise Don Hahn and Tab Murphy that sameness that the Disney formula brought no matter how successful instilled in the form and a desire to do something different to break away from the whimsical musical mold that they had followed for years now there's this entire land Disneyland that's devoted to adventure it's adventure land you know and we've made a couple of fantasy land movies and we thought you know wouldn't it be great to kind of turn left and make an adventure land movie and curious enough you can get a clearer sense of their determination to move away from the happy-go-lucky traditions of Disney by looking at the Hunchback of Notre Dom [Music] Rotten Tomatoes critical consensus for the movie is that it has strong visuals dark themes and a message of tolerance that makes for a more sophisticated than average children's film Entertainment Weekly said that the Hunchback was an emotionally rounded fairytale that balances darkness and sentimentality Time magazine wrote the result is a grand cartoon Cathedral teeming with gargoyles and treachery hopeless loved and tortured lust the Daily Mail took at farthest of all though saying Disney's darkest picture with the pervading atmosphere of racial tension religious bigotry and mob hysteria is the best version yet of Hugo's novel a cartoon masterpiece and one of the great movie musicals Disney was appraised and lauded for its efforts to create an animation centered around ethics of violence in the darkness of humanity and while of course these elements were already present in Victor Hugo's original novel from 1862 Gary Trousdale Kirk wise Don Hahn and tab Murphy's choice to adapt the book into a film was a clear step away from the formula that they had been following and one that people seem to appreciate and as many of you writers out there watching might agree that exploration into new writing opportunities is completely understandable and completely natural Jordan Peele moved into horror after writing comedy for years george RR martin wrote the hedge knight after eight years of writing the central a Song of Ice and Fire series JK Rowling went into writing detective novels after creating Harry Potter for nearly a decade Gary Trousdale Kirk wise Don Hahn and tapp Murphy were very proud of the work they had done on Disney musicals but they wanted a change and they wanted to do it in a big way you know what kind of what kind of movies do we want to do we've done two musicals though we're pretty proud of you know we thought we did a pretty good job of but to be honest you know with done that can we do something a little different can we kind of push Disney in a new direction can we push ourselves in a new direction instead of princesses pining for a lost love or a score of songs that cemented the plot the four men thought why not in action-adventure romp with explosions in violence all the way through smiling over their chips and salsa the men reminisce about their youths about the awe and wonder they felt from watching the Star Wars or Raiders of the Lost Ark and how they still appreciated those movies even as adults the scope and scale of those films was something Disney had never done and that unclaimed territory only made the men more interested however their desire for a Disney produced action-adventure movie wasn't completely out of left field either they're not as grand in production as the likes of Star Wars Disney had a rich history of wide screen adventure movies that the men became inspired by such as Swiss Family Robinson an island at the top of the world likewise the men started talking about old teen movies such as Guns of Navarone or Dirty Dozen but most important to their inspirations were adventure movies like Journey to the Center of the Earth in 20,000 Leagues Under the Sea the latter of which was made by Disney these movies in particular inspired the plot of what would one day be known as Atlantis the lost Empire so the more the men talked the more it became set they were done with gentle musicals an action-adventure would be their next blockbuster one meant to inspire in kids a sense of awe and wonder but one that also meant to tell an ageless story by pulling no punches from its hard questions and even harder answers but to balance on that precarious tightrope of action and emotion levity and maturity a connectivity would need to be formed with the audience from the very beginning something that impressed the weight and circumstances of the film's plot and that's exactly what the creative team set out to do the very first thing we put into production very first thing was the prologue of the movie or Atlantis I mean mother screams television is a mouth yeah screams Litella now if y'all should see me at least eat that salad later book the Viking prologue on a narrative level was meant to accomplish a plethora of functions first and foremost it was meant to set the tone of the film the audience would endure no ambiguity about what Atlantis presented itself as it was an action movie with death and conflict at its very core and it would remain that way for an hour and a half but aside from setting tone the prologue also build up the world and setting of the film all through visual storytelling the Leviathan that attacks Milo and the crew is teased here showing it's horrible power and cementing the difficulty of even searching for Atlantis likewise the Shepherd's Journal that acts as Milo's guide is one of the first things that the audience sees creating a mythos for the book that spans hundreds of years we wanted to give the journal a sense of history one of the made it feel like it was this ancient document that had been sought out for centuries but by now you have probably realized none of this is in the movie it was a completely voiced animated and colored section of the film a sequence that undoubtedly took thousands of dollars to produce but the reason you've never seen this on the final cut of Atlantis is because the creative team knew that it could be done better instead of nameless Vikings being attacked by a sea monster that the audience never gets a good look at we get this [Music] the audience is shown a cataclysm the devastating collapse of a civilization in its heyday the drowning of thousands of unsuspecting civilians and a little girl losing her mother to the power of an ethereal force beyond her comprehension and the audience's this is the prologue that you know and its existence is owed to John Sanford head of the film's story department the original Viking prologue was already set as the intended opening of the film but coming into work one day John Sanford told the team that something just didn't sit well with him as then currently constructed the film would move from the Viking prologue then to the first act where the crew is put together and then Atlantis would be discovered in the middle of the second act John Sanford's issue with the sequencing was that it would demand that the audience wait 40 minutes to actually see Atlantis in a movie titled Atlantis and that might come off as a shallow criticism but John Sanford's concerns were solely based in the storytelling if the first half of the movies run time was spent completely separated from Atlantis and the back half of the movie was spent exclusively in Atlantis the movie would feel disjointed more like two films occupying the same reel and not only that the disjointedness would foster a lack of care for the Atlanteans why would the audience be invested in Keita her people and her struggles if they aren't even introduced to them until halfway through the movie but as the seasons storyteller that he was John Sanford had a solution cut the Viking prologue and start the movie with Keita and we said there was a long pause in the room we said we're listening and he said heat is a little girl she witnesses the destruction of atlantis but it's from the perspective of a four-year-old girl and we went you know again another pause because in our hearts we knew he was right no matter how much of Atlantis his conception was inspired by action and violence and fewer songs and more explosions it was never a film made with the intent of trading off substance for spectacle atlanta's was a narrative based in characters and the adventures and struggles that those characters went through an audience no matter what age is able to become far more invested when the danger of the story surrounds characters they understand on an emotional level John Sanford's final prologue cut allowed the audience it even just briefly to see Atlantis at its peak so that it's dwindled state in the rest of the film is that much more tragic if the final prologue provided context in foreshadowing to this trouble that Keita would endure during the climax best of all it still accomplished the goals that the other creators desired so it was still an action sequence and still it was still about really starting to movie out with with with a bang as it were but now there there was an emotional core to it there was a little girl you were following through this and she had this you know terrible experience where she sees her mother lifted up into the sky and that's something that could pay off for us later in the movie John Sanford recommended these changes not because he was interested in recognition or money in fact it was quite the opposite John Sanford came in that one day and said you're probably gonna fire me because there's gonna cost a lot of money and you'll hate me for saying this but there's a better idea he was writing John Sanford was interested in telling the best story possible no matter how much time effort or money it took and thankfully many others on the creative team felt the same way and that becomes plainly evident when you know the background of the film throughout the decade of the Disney Renaissance the biggest of the Magic Kingdom movies were adaptations of previously written material as was mentioned before the hunchback of notre dom was an animated version of Victor Hugo's novel of the same name likewise Little Mermaid Beauty and the Beast Aladdin Hercules and lon were all stories that existed far before their musical iterations on the big screen a bunch of Disney's job in creating these films was to distill down the pre-existing narratives of these fairy tales and stories' into something that could fit into a 90-minute package with a few tweaks and variations of course Atlantis the lost Empire was a completely different animal though there was no pre-existing narrative for direct Gary Trousdale and Kirk wise to adapt there was hardly any singular path to follow at all the story of Atlantis was hundreds of years old and had countless interpretations which the directors found out the hard way we found theories ranging from the very scientifically sound to like the looniest whacked-out computing she could to fossil energy and and somewhere you know that sort of give us the inspiration for a story no one held exclusive creative license over the myth of Atlantis in the myth itself had grown with every passing year since the time of Plato so in yet another departure from traditional Disney movies of the past Atlantis would be a film constructed completely from the minds of the core creative team which allowed them a staggering amount of freedom but as any writer can attest there was nothing more paradoxically inviting and intimidating than a blank page and all the possibilities it offers however the best way to tackle that feat of starting a narrative from scratch is with the whole lot of research we need to create a plausible Atlanta so we had to go out and hit the books we had to really go out and study everything and absorb everything we possibly could on the lost continent of Atlantis the first place that the men researched were the real historical accounts of Atlantis or at least what historical figures had written about it they examined the documents of Plato the first person to ever have put the existence of Atlantis in writing they looked at the maps of ancient cartographers and locations where the real Atlantis could have been such as the island of Santorini in the Mediterranean but obviously real world accounts would not be enough for true inspiration the team turned towards the work of Edward Cayce a self-professed clairvoyant and one of the most famous and most documented psychic of all time Cayce believed wholeheartedly that Atlantis was a real place that gems had the power to heal the human body and it's ailments and that a giant crystal gave power to Atlantis and its surrounding environment but the research wasn't all secondary in old addage states you can only write what you know and the creative team of Atlantis driven by their passion and love for the prospective movie took that adage to heart the team spelunked in caves to understand what it would be like to travel underground they went inside world war one era submarines and tanks to understand the limitations of their mechanics universities allow the animators access to archives of clothing and equipment that would have been worn in 1914 so I was in contact with a couple of archives at Howard University at an archive as well as Virginia Commonwealth University so I was in contact with them and they send me some pictures and saroxas of medical equipment that was involved during during that period of time the team behind Atlantis immersed themselves in their work and setting and they stand as an example to all other writers out there now I'm not saying that you have to go to such extremes in your own research because lord knows you probably aren't being funded by the big emmaus himself but writers should always seek to gain as deep and understanding on their subject matter as possible because that's the only way to write about it with any real meaning and the product of all that research that the Atlantis team had done much like any good world building became bigger than the fiction itself even though the narrative would never demanded a complete functional working model of Atlantis's ecosystem was created with considerations for heat agriculture water flow pressurization and a dozen other aspects and again this vast world building as a result of the research was not for the audience it was for the story the more the creative team understood the ins and outs of their setting the more they could utilize such a setting as a strength in the narrative the animators and writers and directors of Atlantis were not into cramming info dumps down the audience's throat to show how much work they had done they knew that even if 90% of their world building went unexplained it would be worth it because the film would be better for it we never have a character go look at it go hmm why this must be like a giant garden pump the water is pumped up we just we just we just thought of it we just do it yeah and we thought that it would just give the whole place a little more credibility even even if a character doesn't stop and explain it for the audience the fact that we knew what it was and the artists knew how it worked just enabled them to believe in it more that mindset of writing selflessly of being able to leave out really cool pieces of the fiction for the betterment of the whole narrative was something imperative for the team behind Atlantis to cultivate because the movie really couldn't have been made without it the very first time we got everything up on reels and screen it for people we only had the first two acts and we ran an hour and 20 minutes and people said gee that's a little laugh see regular Disney scripts are roughly 90 pages each page translates to about one minute of screen time creating Disney's signature 90-minute movies but for Atlantis all of that research and world building that we talked about gave the lost Empire an original script of 155 pages the first draft that I turned in was 155 page now while we hire beings of 2020 don't bat an eye at a two-and-a-half-hour Disney movie back in the late 90s that wasn't even a possibility the atlantis team came to grips with the fact that some of their script would have to see the cutting room floor this is of course one of the hardest parts of any creative process where a writer must kill their darlings where they edit out what they simply like from what is necessary since the time spent in Atlantis was the real draw of the film the team chose to focus their reductive attention on the journey to Atlantis all characters and sequences were cut from the Cape section of the script along with the hosts of terrifying albeit interesting monsters such as squid bats and land beasts although not everyone was so sad to see some of these creatures go okay for the record I never really bought off on a lot of whales because I mean come I mean that that would have been too much of a leap of faith for me I mean you know whales made lava okay would they burn up that was a kirkin Gary thing so sorry guys but you know I wasn't sorry to see that one go this editing process as painful as it might have been for some was integral in distilling the script down to its best part the second act of Atlantis transformed from a producer and famed comic book artist Mike Mignola called a monster parade Mike Mignola uh described it as a monster parade into something much more human and emotional where other Disney animated features relied on songs and music to develop and progress the characters Atlantis didn't have to worry about that and it allowed Atlantis to be one of the few Disney movies to exclusively build its protagonist and supporting characters through dialogue and human bonding to him so we decided to tell the journey to atlantis' kind of a little more on a human scale you get all the fantastic scenery but the story that you're really tracking is more human alone there are pieces of Atlantis the lost Empire that we as the audience will never see there are details about its lore setting characters and creatures that we will never know but those aspects of the film that were kept silent or put on the back burner or removed altogether we're done so in an attempt to crack the most powerful film possible there's 50,000 ways you can tell the story about a bunch of explorers that make it to Atlantis what's the most compelling what's the most emotional what's the way that we really want to relate to the characters on the screen that's the story to tell and anything that's not on that spine has to be shaved off and thrown away just stick with those core ideas that belong in the movie where Don Hahn and everyone else working on the movie story was King and it always took precedent and that reference to the narrative was probably for the best because the story of the film wasn't not an easy one to tell in fact I would say Atlantis is one of the most nuanced 2d busines films ever and much of that is owed to how the writers handled the conflict getting something at the cargo the crystal oh yeah Disney movies of the Renaissance were pretty unambiguous about the morality surrounding their conflicts characters were generally on the side of good or of evil and the movies wanted you to know that early on the formula was perpetrator and victim Frollo murders Quasimodo's mother in the opening moments of Hans bethe scar attempts to have Simba eaten by hyenas Hades tries to have Hercules poisoned I could go on and on but the point is these early actions show the audience the villainous nature of the antagonists and that acts as an uncomplicated guide to who the audience should be morally objected to for the rest of the film likewise the victims and their companions are set up for the audience to be morally invested in for the rest of the film this creates a clear dichotomy of good and evil characters that you always know to root for and characters that you always know to root against of course the simplicity of this formula stems from Disney's desire to appeal to children whose understanding of morality was considered to be less nuanced and sophisticated but Atlantis was not concerned with creating a narrative that was simple or straightforward just because children might be watching Atlantis was a film that endeavoured for complexity and nuance and the construction of its conflict was yet another step away from traditional Disney movies see unlike the films that came before it Atlantis had no perpetrator and victim set up early on in fact the first half of Atlantis didn't even have an identified character as an antagonist Milo's goal along with every other character that took the journey with him was to discover Atlantis and its secrets the first half of the film made every character congruent with the protagonist and this meant that there was no overt statement of characters on a good side or on an evil side just characters that coexisted with each other in pursuit of a goal this lack of black and white moral division allowed each character to stand on their own and gave each a chance to become uniquely important to the audience Milo s the protagonist was the character that benefited from this most while his goal might have been to discover Atlantis his personal journey was that of self-actualization if he starts as a character that is only perceived by others as a horrible screw-up but becomes a character that others must depend on looks like all our chances for survival rest with you mr. thatch I followed you in and I'll follow you up he goes from being the awkward shunned outsider to forming a closeness with many of the other characters my long journey in the first half of the movie is discovering the skills and strength within himself to achieve what he desires and as was mentioned before the rest of the cast shares Milo's desires and goals but where Milo is ineffably altruistic and only seeks to discover Atlantis for the sake of learning the other characters have a more selfish reason to be on the journey this detail of what motivates the characters is how the film subtly moves away from the black and white morality of past Disney movies and establishes a spectrum of gray characters sure there are better reasons to risk your life on an adventure to discover a lost civilization than money but that doesn't make any of these characters bad it just makes them not as objectively good as Milo which is fine breaking down the barrier of good and evil to simply have the character stand where they may stand is the roadmap to creating dynamic three-dimensional characters but even in their motivational diversity the characters were all unified in their goal of discovering Atlantis and its secrets and that congruence with the altruistic Milo allowed his high morality to act as a protective umbrella for the rest of the cast however it's only when the team actually discovers Atlantis and its inhabitants does all that change commander they were not supposed to be people down here it changes everything this changes nothing the second half of the movie allows the moral diversity ingrain is planted in the first half to truly blossom within there does become a line for who the audience should root for and who they should be against the only problem is the opposing side is comprised of characters that we had become connected to who we thought we shared an ethical understanding with and that complexity all comes by way of the character that stands as the second half's central antagonist warg Brock was another character I think we you know in terms of a villain wanted to do something different with I love it when I win which was the idea instead of making him the usual moustached Worthing bad guy to give him a little complexity salmon to not make him inherently evil but make him greedy and you know to sort of you know like try to create a three-dimensional character as opposed to a two-dimensional villain Rourke's portrayal along with the betrayal of the other characters encapsulate a core message at the heart of Atlantis is narrative even the best of intentions can lead to horrible consequences it would have been one thing if Milo knew how dangerous work was and still chose to work with him despite that but Milo did nothing wrong his motivations throughout the entire journey were nothing but pure yet that didn't stop him from directly contributing to the downfall of a nation Atlantis takes the positive character growth of Milo self-actualizing it makes it a factor of the conflict I think we've seen how effective my decisions have been let's recap I a band of plundering vandals to the greatest archaeological find in recorded history thus enabling the kidnap and/or murder of the royal family many movies or stories will have the character achieve a milestone in their personal journey and then say that everything was peaches and cream afterwards but I can't think of anything more nuanced mature or realistic than Atlantis explicitly stating that you can grow as a person you can achieve your goals but crap will still happen anyway in Atlantis isn't advocating that personal growth causes hardship or that fighting for your dreams invites calamity in my humble opinion the film is advocating that even in the face of unfortunate unintended circumstances it is better to stick to your morals rather than sacrifice them and the specifics of this moral argument can be seen by exploring the parallels between Milo and King natok this is because what the central crystal of Atlantis was tuna dock Rourke was to Milo let me explain the dock used the crystal for his own personal reasons and never intended for his actions to endanger Atlantis itself but regardless of what he intended that's what happened and because of his use of the crystal NAIDOC lost the love of his life much in the same way Milo partnered with Rourke for his own personal reasons never once intending for his actions to present a danger to Atlantis itself and again regardless of what was intended that is what happened and because of his partnership with Rourke Milo lost the love of his life Rourke in the crystal served parallel roles for Milo and King no dock heck the parallelism is made literal when Rourke turns into a crystal during the climax of the film but the difference between king the doc and Milo is their response to the unintended misfortune when the doc hides away the crystal and allowed his people to forget how to read their own language altering the very cultural identity of Atlantis Milo remains true to himself and faces Roarke head on Milo even when presented with what seems like certain death never compromises his morals or identity he doesn't change himself in response to the unintended hardship that comes and that then inspires the other crewmembers to remain true to their own morality and stand against Roark but even in detailing this difference between Milo and Kingdom doc none of it is simple or easy kena doc generally did what he thought was best in order to save himself and his people from repeating a dire mistake and that doesn't make him genuinely good or genuinely evil it makes him a three-dimensional ray character the lesson behind Atlantis isn't one that can be summed up in a snappy catch line there is no moment where a character stops to proclaim the thesis statement of the narrative Atlantis even while being a 2d Disney movie is more complicated than that it's a film that shows the real consequences of actions through death and calamity in fact for a time it was the Disney movie with the highest death count therefore making it only the second 2d Disney film to be rated PG but unfortunately this step away from the tried and true Disney formula is complexity in the midst of so many Renaissance films simplicity didn't resonate the way that the creators thought it would atlantis did not meet expectations at the box office and its reviews were average too mediocre at best and thanks to people like critics stephanie zakharik we have a window into the minds of people who saw Atlantis debut Stephanie wrote the big problem with Disney's latest animated feature Atlantis the lost Empire is that it doesn't seem geared towards kids at all it's so adult that it's massively boring midway through I found myself longing for a dancing gargoyle a singing candlestick a piece of toast wearing a diaper anything to crack the classy sophisticates every frame a little bit of tackiness would at least give Atlantis some life now as angering as that might be it is clear to see that Stephanie and probably many others were so entrenched in the milieu of the Disney formula that they would not enjoy anything different when asked about Atlantis's disappointing run then president of Walt Disney Feature animation Thomas Schumacher said it seemed like a good idea at the time to not do a sweet fairy tale but we missed still and all of this I believe there is a silver lining rather than thinking of Atlantis is construction based on nuance and action and no songs as flawed it's much more likely that Atlantis was simply ahead of its time reviewers and critics tore into the film after its debut for not being geared towards kids but now the line for what is and isn't meant for children is more blurred than ever in viewing the most popular fiction available today both animated and otherwise it seems society has moved away from thinking that stories for kids have to be exclusively for kids there is more nuance and complexity in some single episodes of adventure time than in the entirety of Little Mermaid but children can still enjoy both when writer for Atlantis Tab Murphy was asked about the film's performance and how it is aged he said I think a lot of it had to do with fact that people when they go to a Disney movie by that particular time 2001 they were used to a certain template that these movies were gonna be funny there was gonna be songs there was going to be romance there was going to be a fairy tale aspect perhaps the more time goes by the more I think the movie is becoming appreciated in a weird way a lot of people are reading it it's kind of cool and as time goes by it may be one of those movies that continues to be rediscovered reassessed and perhaps appreciated a bit more than it was when it came out in 2001 is it Landis the lost Empire a perfect film no no film is but is it flawed from the ground up I don't believe that for a second Atlantis is a movie that deserves another look and perhaps a second chance so if Disney is looking to sprinkle a little of their live-action movie remake magic there is 155 pages of original script just waiting for them to look at if you enjoyed this long look at Atlantis and want to be able to dissect narratives yourself check out today's sponsor Skillshare learning about character roles narrative themes tone and conflict took me years and I did it by learning from knowledgeable writers like the people on Skillshare Atlantis is enjoyable purely from an action-adventure standpoint but learning how to notice the little details and intricacies of the narrative really takes the film to the next level and Skillshare can assist in honing your critical eye skill share has content on narrative conflict character creation and even poetry which is how I first started out writing the best part is skill share is giving away a free two month unlimited access trial to my subscribers who click the link in the description and even after that it will still be pretty cheap at about ten dollars a month if you are someone who wants to improve in their craft join 7 million other creative minds with skill share anyway thank you all for watching to the end Atlantis is one of my favorite movies ever so doing this video was a blast if you guys want more from the throw back breakdown series just let me know your recommendations in the com as always it was a pleasure and I will talk to you all again soon

Channel: Savage Books

Views: 239,777

Rating: 4.9496474 out of 5

Keywords: atlantis the lost empire, disney atlantis, the lost empire, writing tips, savage books, disney renaissance, atlantis the lost empire scene, atlantis the lost empire leviathan, atlantis the lost empire final battle, dark disney

Id: OoI8REpI8h8

Length: 37min 44sec (2264 seconds)

Published: Sat May 02 2020