#DISNEY HANG GLIDER RIDE SERIES#
Unbeknownst to the team, Joss Whedon, then best known as the creator of the TV series Buffy the Vampire Slayer, had developed an Atlantis project a couple of years earlier during his brief, uneventful stint at Disney Animation. Quickly, the idea of exploring the idea of Atlantis bubbled to the surface. “They don’t get to the center of the earth, they run away, and a third of the book is in total darkness.” Still, the idea of tunneling to some mystical subterranean destination appealed to the team. “It’s a great concept but it just doesn’t go anywhere,” Trousdale said of Verne’s original story.
#DISNEY HANG GLIDER RIDE MOVIE#
“We thought, 'What if we cross-pollinated the idea of an adventure/quest movie set in the early 20th century/late 19th century with a ‘guys on a mission movie?'" Initially they considered a straightforward adaptation of Jules Verne’s Journey to the Center of the Earth, until they actually read it. We also talked about team movies,” Wise said. And that’s something that all of those stories had in common. We loved the combination of late Victorian or early 20th century technology being applied in a futuristic fashion. “We started spit-balling what subject could we built this around. Over the nachos and margaritas, they talked about concepts they wanted to explore. It was a quietly revolutionary idea that would fuel the project that would eventually become Atlantis: The Lost Empire, a movie that looks and feels unlike anything else in the history of Walt Disney Animation Studios (as it’s known today) and, had it been as successful as everyone thought it was going to be, would have changed Disney forever. As Wise said, “We wanted to make an Adventureland movie instead of a Fantasyland movie.” They even came up with an ingenious way to describe (and ultimately sell) the project. This new animated feature would be a big, boisterous action movie. They wanted to steer away from the big, Broadway-style musicals that the studio had been making, more or less uninterrupted, since the so-called Disney Renaissance began in the late 1980s, to something that Walt Disney himself would have made in live-action in the 1950s or 1960s – movies like 20,000 Leagues Under the Sea or The Island at the Top of the World. They were fatigued, not just from making a movie as huge and complex as The Hunchback of Notre Dame, but of the formula that had settled into what was then known as Walt Disney Feature Animation. Over nachos, salsa and “god knows how many pitchers of margaritas” (according to Trousdale), they threw around ideas for what they wanted to do next.
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