Camp Rock (2008)

  1. BACKGROUND
  2. PLOT
  3. CHARACTERS & CAST
  4. MUSIC
  5. PRODUCTION
  6. RECEPTION
  7. LEGACY
  8. FINAL THOUGHTS
  9. REFERENCES

BACKGROUND

It can’t be said enough just how much High School Musical changed the Disney Channel Original Movie landscape. 

After High School Musical, Disney Channel movies, also known as DCOMs, became big events, something for young viewers to plan their lives around, something to look forward to after a long week at school. These Friday night movie premieres were even more important when the movie was a musical – and its arrival signalled the start of the summer break. 

Camp Rock was just one of these movies. It featured a storyline all about summer camp, a typical summer activity for some, alongside a Disneyfied musical soundtrack, full of catchy pop tunes. Camp Rock was supposed to be the next High School Musical.

And it seemed like it would be, for a while. Camp Rock was globally popular, and although it wasn’t quite the same as High School Musical, it felt similar and had its own success. I personally don’t even like High School Musical, the first movie, all that much, and remember liking Camp Rock more when I first watched it, and that’s still the case.

I was very excited to watch the premiere of Camp Rock back in 2008, even if we didn’t get it in the UK until school had already started up again after the summer holidays. I really liked it at the time, just not as much as High School Musical 2, but it had everything I was looking for in a Disney Channel musical.

It was also showcasing the talent of young stars I hadn’t heard of before. The Jonas Brothers weren’t a band I knew before they appeared on Disney Channel. Camp Rock made them overnight stars within the channel’s viewership. And then we had Demi Lovato, who was making her Disney Channel movie debut, and it launched her career at Disney into the stratosphere. She became a regular on the channel after that, for both music and acting.

Camp Rock was the perfect marketing exercise for Disney Channel, showing just how successful they were at making the next teen stars, with many of them later becoming household names outside of Disney.

PLOT

Camp Rock doesn’t begin at Camp Rock, but on the last day of school before summer for teenager Mitchie Torres. Mitchie wakes up feeling very optimistic, hoping that one of those leaflets for Camp Rock that she’s been leaving around the house might just have inspired her mother to let her go there over the summer break. As the two sit down to breakfast, whilst watching a news report on the latest from teen rock star / bad boy Shane Gray, whose behaviour has led to the Connect 3 tour, his band’s tour, being cancelled, Connie, Mitchie’s mother, tells Mitchie she knows she’d like to go to camp, but that the family can’t afford it.

At school, Mitchie tells her friend Sierra that camp is not going to happen for her, and that she is so disappointed and unexcited for the summer ahead. Mitchie later returns home, having worked a shift at a burger shop to find her parents in a good mood, but Mitchie isn’t sure why. She is about to go to her room, when Connie tells her the good news: Connie is doing the catering at Camp Rock, so Mitchie can go at a discounted rate! Mitchie is super excited, and doesn’t even mind that she’ll have to help her mother in the kitchen whilst there.

Later, Connie and Mitchie arrive at Camp Rock, and Mitchie can’t wait to get started – although she is slightly distracted by a limo passing right by her mother’s catering van. It looks like a girl with money goes to Camp Rock… Mitchie and Connie head to their cabin, and the camp director, Brown Cesario, comes to greet Connie. Connie is about to introduce her daughter to him, but Mitchie has already gone exploring!

Mitchie has found where the other campers are, congregating outside. Mitchie bumps into the girl she saw in the limo, but is ignored. Another camper, Caitlyn, tells Mitchie that girl is Tess Tyler, daughter of famous singer T.J. Tyler. Mitchie is impressed. Caitlyn and Mitchie get talking, and Caitlyn says she’s planning to be a music producer, even playing her one of her demos. Their chat is interrupted by the arrival of the camp’s musical director Dee La Duke, who welcomes everyone to Camp Rock. The campers are also told that for the first time in Camp Rock history, they will have a celebrity instructor here to teach them.

It turns out this celebrity instructor is Connect 3’s Shane Gray. His other bandmates, Nate and Jason, are making Shane attend Camp Rock to help with his reputation and to give him some positive PR. Shane is told he’ll be recording a duet with the winner of Camp Rock’s Final Jam competition. Shane doesn’t want to waste his summer at Camp Rock, but Nate and Jason hold firm. Besides, it’ll be good for Shane to get back to his musical roots, because the three attended Camp Rock, and their uncle is Brown, the camp director.

Mitchie is helping her mother in the kitchen, preparing burgers for the Open Mic Night, a chance for the campers to get to know each other and show off their musical abilities. Mitchie tells Connie she is too nervous to sing at Open Mic Night and her nerves only get worse when she overhears Tess and her friends rehearsing in their cabin. Mitchie starts to set up the Mess Hall for dinner and plays one of her own songs on the piano, singing to herself. Shane Gray, who’s recently been dropped off at Camp Rock, gets mobbed by fans and hides underneath the window of the Mess Hall. He overhears the singing.

Back at her cabin, Mitchie worries about what to wear to Open Mic Night, feeling that she’s not good enough to be here. At the Open Mic, Mitchie meets up with Caitlyn. She introduces her to Lola, who it turns out is another very talented performer and she has no anxiety about performing in front of everyone. Caitlyn tells Mitchie that Lola’s mother has been on Broadway, but that only money and fame really matter here. Tess then comes over to Caitlyn, just to be snooty, and Mitchie introduces herself. Tess’s friend Peggy asks if Mitchie’s father is a famous composer, since they share a surname. Mitchie says her father runs a hardware store. Bored, Tess and her friends go to walk away, when Mitchie says that her mother is President of Hot Tunes TV – in China. This does impress Tess, and she asks Mitchie to move into their cabin. Mitchie grabs her stuff and moves, telling her mother that she’ll still get up early and help in the kitchen. Connie is just glad Mitchie is making friends.

At Tess’s cabin, which Tess shares with Peggy and Ella, we see that Peggy likes to play the guitar, but Tess soon tells her to stop playing so she can talk on the phone, except her mum has no time to talk to her, yet again. Mitchie arrives and starts unpacking her stuff. They see Mitchie’s song book and convince her to sing one of her original songs to them. Peggy and Ella like Mitchie’s song a lot, although Tess is slightly less enthusiastic about it.

The next morning, Mitchie gets up early to help in the kitchen, but tries to hide this fact by arriving at the Mess Hall with the other campers and dodging Tess’s questions about where she goes in the mornings. Mitchie tries to sit with Caitlyn and the others, but Tess orders her over to her table. Caitlyn warns Mitchie to hide her singing talents if she wants to stay friends with Tess. Very ominous. Mitchie isn’t the only one having a bad morning. It turns out Shane has been avoiding teaching his classes, and Brown won’t have it anymore. He tips water over him to wake him up before heading off to his own class.

Brown’s first class is a singing class with Mitchie, Tess, Caitlyn and the others. He asks for volunteers to sing in front of the class. Pretty much everyone puts their hand up, but Mitchie doesn’t, so naturally Brown makes her sing first! After some encouragement, Mitchie performs well and Brown compliments her on her original song, something that doesn’t go unnoticed by Tess. After class, Tess asks Mitchie about her plans for Final Jam. Mitchie says she’ll sing a solo for it, despite her nerves. Tess tells her that’s a really brave thing to do on her first Final Jam, but no doubt Mitchie has already performed in front of a large audience before. Mitchie says that actually she hasn’t, which puts doubts in her head. Mitchie then decides that actually she’d like to join Tess’s group and sing backup for her instead.

Mitchie goes to the kitchens to help Connie. She apologises for being late and is given some tasks to do. But then Shane Gray comes in. Embarrassed and not wanting to be seen here, this being a dead giveaway that she’s lying about who her mother is, Mitchie covers her face in flour before talking to Shane. Shane moans that his allergies are not being catered for at camp. Mitchie responds to say that Shane is being incredibly rude and needs to learn how to talk to people. Shane is taken aback by that and says he’ll have his agent send his allergy list over to them again, before leaving.

The next day, Brown escorts Shane over to his first class of the day, since Shane seems unable to go to class by himself. Brown is shocked by this attitude that Shane has suddenly got after “becoming a star” and warns him to get himself together. Shane then takes his first class, a dance class with Mitchie and the others. They are ordered to grab a hat and a microphone and simply follow Shane’s direction. He doesn’t seem in the mood to be doing this, so everyone just does as they’re told. However, soon, one of the campers, a drummer, falls over, spoiling the routine. Tess makes a comment and laughs at him. It initially looks like Shane is going to have a go at him too, but he doesn’t. He knows this guy has rhythm as a drummer and says he’ll help him get that rhythm to move from his hands to his feet. Mitchie sees that Shane can be a good guy after all.

The following day at breakfast, Connie tries to talk to Mitchie, Tess, and the others. Mitchie talks to Connie casually, not letting on that Connie is her mother, but Tess is simply rude to Connie, not knowing why the “kitchen help” would be talking to her or Mitchie. Mitchie says that Connie is a celebrity chef who has cooked for everyone.

Later that day, Brown asks Shane if he is coming to the Campfire Jam that night. Shane tells Brown he wants to work on his music, having started writing a new song, thanks in part to the girl he heard singing in the cafeteria on that first day, still not knowing who she is. At the Campfire Jam, Tess performs a song with Peggy, Ella, and Mitchie singing backup. Shane does make his way down there and enjoys the performance. Mitchie, however, did not enjoy it, something that Caitlyn picks up on.

In the morning, by the lake, Mitchie sees Shane playing on his guitar and interrupts him, just to say she likes his new sound. Shane complains that the label doesn’t let him or Connect 3 perform music like this because they don’t think it would sell. Mitchie says she’d buy that song, encouraging Shane to continue.

At lunch, Caitlyn and Tess’s animosity towards each other increases as Caitlyn deliberately trips Tess with her foot. Tess then tips spaghetti onto Caitlyn as payback. Caitlyn is furious and grabs a handful of spaghetti, throwing it at Tess. This turns into a food fight between the two of them. Mitchie attempts to stop them but to no avail. Brown comes over and takes all three of them to his office. Tess and Caitlyn talk over each other to try and get their version of the story across, but Brown isn’t interested; he simply wants to know who threw the food first. Tess says it was Caitlyn – and technically, that was the case, so Caitlyn cannot argue. Brown tells Caitlyn as punishment she’ll be helping in the kitchens from now on. Mitchie tries to protest, but can’t. She knows her secret will come out sooner or later.

Later, Shane sees Mitchie again and asks if he can play his new song for her. She agrees and listens to it. She tells him she really likes the song. Shane says he was inspired by hearing a girl sing around camp earlier. Shane likes the fact Mitchie is different from the other campers around here. She isn’t so sure about that.

Back at the kitchen, Mitchie comes in to find Caitlyn there. Caitlyn tries to introduce herself, not knowing that Connie had a daughter helping her here. Mitchie tries to hide and run away, but she gets caught in a mop bucket and falls over, water and the tortilla chips she was carrying spilling all over her. Caitlyn comes over to help and finds that Connie’s daughter is Mitchie. She demands to know why she lied about her family. Mitchie says she was just trying to fit in. She accuses Caitlyn of hiding her true self as well, with Caitlyn’s whole act of pretending not to care what people think. Mitchie tells Caitlyn she might as well just tell everyone at camp she’s a liar now. Caitlyn says she just might do that when Connie comes in. Shocked at the mess, she tells Mitchie to get herself cleaned up.

That night, it is the Pajama Jam and Tess has ensured her backup singers are dressed the same, but Peggy, Ella, and Mitchie are surprised to find Tess in a different outfit from them. She reminds them that she is the lead singer and can dress how she wants. Before they can perform, it is Caitlyn’s turn. Caitlyn’s performance is praised by the crowd, and Tess sees Shane watching in the corner of the room, clearly enjoying it too. Not liking the attention being on someone else, Tess screams that she’s seen a snake in the room. It is soon discovered that there is no snake, and that what Tess was pointing at was just a power cord. Caitlyn accuses Tess of ruining her set on purpose. Tess responds with hand gestures that spell out the term “Whatever Major Loser”. Mitchie rightly points out to Tess that those gestures are so uncool, sticking up for Caitlyn in a small way, but it does not go unnoticed.

The next day, Caitlyn and Mitchie are sat in the kitchens together, helping with decorations for the next musical event. Mitchie starts to talk to Caitlyn about Final Jam, but Caitlyn is confused why the two are even talking since they aren’t meant to be friends with each other. Mitchie then bursts a balloon by Caitlyn, saying she was just setting her up for a prank. The two then talk properly. Caitlyn says she was once friends with Tess too, but when she started to show she had talent beyond being Tess’s backing singer, she was pushed out of Tess’s group. Caitlyn reminds Mitchie that Tess’s popularity might make her seem fun at first, but there’s more to life than just being popular.

Shane gets a call from Nate and Jason, asking how camp is going. He tells them he is working on new music, and that he’ll be happy to record a duet with the winner of Final Jam but what he’d really like to do is find the voice he heard on his first day at camp. Shane then tells the drummer from his dance class about this search, which leads to all the girls at camp randomly auditioning for Shane, trying to figure out if they are the voice he heard. The search gets nowhere and all it does is make Shane a victim of some casual stalking. Mitchie later sees Shane and he asks if she’d like to go for a canoe ride with him. The two sit and talk in the middle of the lake, and Shane says how difficult it is to figure out if people are being fake around you and just want a taste of your fame. Shane says Mitchie must know all about that because of her mother being President of Hot Tunes TV in China. She doesn’t say much to that, but feels bad that Shane knows about this lie now too.

Back at camp, Tess sees Mitchie and Caitlyn with Connie at the kitchens and figures out that Connie is actually Mitchie’s mother and that she isn’t famous at all. All three head over to the Beach Jam where Connect 3 perform a surprise song for everyone. The band say they should go and record the song as a demo right away, but Shane wants to stick around because he hasn’t found that girl yet. After the show, Tess calls Mitchie out in front of everyone, asking for more details about her mother. Caitlyn initially tries to cover for Mitchie, but it doesn’t work and, embarrassed, Mitchie has to reveal the truth – that her mother works in the kitchen. Many of the campers shun Mitchie but worst of all, Shane is angry with her for lying to him as well. Mitchie tries to explain but he doesn’t want to hear it.

To make things worse, Tess hears Shane talking to Brown about his “mystery girl” and he sings part of the song he heard. Tess believes she’s heard that before and looks in Mitchie’s song book. Sure enough, it is Mitchie’s song. Tess devises a plan to ensure Shane never realises Mitchie is that voice.

At class that day, Shane gives everyone advice for Final Jam, namely to be yourself and be authentic, this being a deliberate shot at Mitchie who is feeling very isolated at Camp Rock right now. Way to be a real jerk, Shane. Connie tries to talk to Mitchie, who can’t understand why Mitchie wouldn’t want to be herself. Mitchie tells her mother that she only has one friend at school, and she isn’t popular. She just wanted to fit in and feel popular for once in her life. She didn’t want to feel the way she does at home. Connie tells Mitchie that she is an amazing person and she should be herself from now on.

In the cafeteria, Mitchie manages to make amends with Caitlyn and her friends. Tess comes over just to be mean, asking Mitchie to tell her mum that the chicken was dry today. This time, Mitchie has had enough of Tess and tells Tess to stop making everyone feel bad just to make herself feel better. Mitchie is officially kicked out of Tess’s group so she teams up with Caitlyn for Final Jam. Preparations begin for Final Jam right away.

The day before Final Jam though, as Caitlyn and Mitchie work in the kitchens, Tess comes in with Brown and accuses them of stealing her charm bracelet. They have no idea what she’s talking about but Brown sees the bracelet in a stack of their books. Caitlyn and Mitchie say they don’t know how that got there, and know Tess has set them up. Brown can’t take their word for it and feels he has no choice but to ban them from all camp activities until the end of Final Jam. Tess walks away, happy that Mitchie won’t be performing anymore. Mitchie and Caitlyn talk about how unfair Brown has been to them, and how they can’t believe he’s actually banned them until the end of Final Jam. This gives Mitchie an idea; they’ll just have to perform after the end of Final Jam!

At Final Jam, Connect 3 are back as judges of the competition. Backstage, Tess manages to annoy Ella and Peggy right before going on stage, and the two quit, making their own plans. Two campers, and rappers, Barron and Sander launch into the first performance, which Ella joins in on. Tess then performs her song and is thrilled to see her mum has shown up to watch her. However, partway through the song, Tess sees her mum is on the phone, not even watching her. Distracted, Tess forgets her routine and almost falls off stage. That gets her mother’s attention! But it’s too late; the song is ruined and Tess is humiliated.

Following that, Dee and Brown announce a late entry. But no, it’s not Mitchie and Caitlyn. It’s actually Peggy, performing a solo under her actual name, Margaret. She does extremely well and Tess even apologises to her for not realising how good she was. The judges then leave to deliberate. At this point, Caitlyn and Mitchie ask Brown if they can perform now that is the end of Final Jam. Brown is thrilled to see that they understood what he meant, and eagerly let them perform.

On stage, Mitchie is initially nervous, but soon settles in to her song, this being the same song she sang in the Mess Hall on that first day and the same song that Shane heard. Shane turns around after hearing the song, finally finding that voice he’s been thinking about all through camp. Shane then duets with Mitchie on stage.

Connect 3 announce the winner of Final Jam, and the one who will be recording a duet with Shane. The winner is…. Peggy! Shocked, Peggy accepts her trophy. Tess then apologises to Mitchie and Caitlyn, and says she told Brown that they didn’t take her bracelet. Tess looks forward to seeing them next year. Mitchie’s parents compliment her on her performance. Mitchie thanks them for letting her come to Camp Rock as she had a great summer. Shane then asks Mitchie to go for another canoe ride with him. Finally, there is a goodbye performance by all the campers.

That is the end of Camp Rock in the original version of the movie. However, if you happen to own the Camp Rock Extended Edition DVD, you’ll know that right after this scene, there is an additional scene, taking place three months later. Here, Caitlyn shows Mitchie, Tess, Peggy, Ella, and Lola her garage studio and they all record a song together.

CHARACTERS & CAST

Mitchie Torres has dreams of being a great singer-songwriter. She is enthusiastic and upbeat, feeling very hopeful that her parents will let her go to Camp Rock if they see how much it means to her. However, the financial cost is an obstacle to her going and all looks lost for Mitchie – until her mother just happens to take over the catering of the camp at short notice. Mitchie is very excited to be at Camp Rock, but in a way, she is quite naïve to the different types of people she is going to meet there, and feels quite insecure, especially next to the rich and famous campers like Tess, and the super talented campers like pretty much everyone! This leads Mitchie to lie about her family, because she wants Tess to like her so she can feel popular for once. It takes a while, but Mitchie eventually learns that it’s better to be yourself and accept yourself for who you are, rather than pretend to be someone else.

Demi Lovato was cast as Mitchie Torres. Lovato initially got her start in acting on the children’s show Barney & Friends (1992-2010), with this being where she met her Disney BFF Selena Gomez. Later, Lovato was cast as Charlotte Adams in Season 1 of the short form Disney Channel series As the Bell Rings (2007-09). From here, Lovato was cast in Camp Rock and this is where her Disney Channel career really took off. Just a few months later, she began starring in the Disney Channel series Sonny with a Chance (2009-11) in the lead role of Sonny Munroe, and starred alongside Selena Gomez in the Disney Channel Original Movie Princess Protection Program (2009), as well as releasing new music. Lovato was nominated for Best Performance in a TV Movie, Miniseries or Special by a Leading Young Actress at the Young Artist Awards for her role as Mitchie, but sadly, lost out to Selena Gomez in Another Cinderella Story (2008).

Shane Gray begins his time at Camp Rock as an arrogant rock star, who thinks the whole world revolves around him. We all know that stereotype and might even have some specific real-world examples. In this case, Gray’s behaviour is threatening the future of his band, Connect 3, so he is forced to go and work at Camp Rock over the summer, to try and reverse some of that negative attention he’s had from the press. His time at Camp Rock doesn’t start well, as he misses classes and clearly doesn’t like the fact his uncle is his boss here. Shane just wants to leave, but after hearing a mystery girl singing, he finds himself compelled to write new music that is more fitting to the sound he wants him and his band to have, instead of just recording the music they are being told to record. It is all thanks to Mitchie that Shane has a better time at Camp Rock than he expected and that Connect 3 have managed to reconnect with their original sound.

Joe Jonas, of the Jonas Brothers, was cast as Shane Gray. The Jonas Brothers initially formed in 2005, before working with Disney from around 2007, where they recorded the song “Kids of the Future” for the Disney Animation movie Meet the Robinsons (2007). The Jonas Brothers appeared on tour with Hannah Montana and Miley Cyrus, with this tour being recorded and released as Hannah Montana and Miley Cyrus: Best of Both Worlds Concert (2008). The Jonas Brothers got their own concert movie for Disney, Jonas Brothers: The 3D Concert Experience, in 2009. The Jonas Brothers also got to lead their own Disney Channel series, Jonas (2009-10), shortly after Camp Rock. The other two members of the Jonas Brothers, Nick and Kevin, were cast as Nate and Jason Gray, members of Connect 3.

Tess Tyler is said to run Camp Rock, because she has the most famous parent in show business. Tess thinks that she is destined to be the most famous camper because of this and therefore believes everyone is beneath her. She cares about status, which is why she initially decides Mitchie isn’t worth her time, after hearing her father runs a hardware store. But when Mitchie suggests she has parental connections in the music industry, Tess is suddenly interested in talking to her. Tess doesn’t like anyone who might have more talent than her, and those who take the spotlight away from her. She quickly puts Mitchie off performing at Final Jam on her own, and convinces her to be her backup singer instead because of this. It is later shown that Tess acts this way because her mother is so famous, she can’t spend any time with her, so Tess wants others to feel worse about themselves, because she doesn’t think she is particularly worthy of anything. It’s a shame really and you kind of have to feel a bit sorry for Tess when you see that her mother can’t take five minutes to pay full attention to her daughter for once. Tess tries to make amends at the end of Camp Rock and apologises to those she’s hurt.

Tess Tyler was played by Meaghan Jette Martin. After Camp Rock, Martin sang “When You Wish Upon a Star” for the 2009 re-release of Pinocchio (1940) and the song “Magic” for the Wizards of Waverly Place official soundtrack for Disney. She later was cast as Bianca Stratford in the ABC Family series 10 Things I Hate About You (2009-10), which was based on the 1999 film. She also starred as Jo Mitchell in Mean Girls 2 (2011), which was also released on ABC Family.

Tess being Tess, she needs to have an entourage to give that appearance of power. Tess has two girls in her group before Mitchie. These are Ella Pador, and Margaret “Peggy” Dupree. Ella is a little bit ditzy and seems to be the least musically-inclined of the group, not seeming to be interested in going solo. Peggy clearly has talent, being seen playing the guitar early on in the film, and performing her own song at Final Jam, eventually winning the competition. Although Peggy and Ella may view music and their time at Camp Rock differently, they both hate how Tess talks down to them and orders them around all the time. Peggy is the first to walk away from Tess, and Ella, inspired by Peggy, does the same thing at Final Jam, leaving Tess without any backup singers.

Ella was played by Anna Maria Perez de Tagle, who had been cast in the recurring role of Ashley DeWitt in Hannah Montana (2006-11) prior to her role in Camp Rock. She went on to play Joy Moy in the 2009 remake of Fame, and was cast in the 2011 Broadway revival of Godspell. Peggy was played by Jasmine Richard, who had previously been cast as Margaret in the Canadian teen comedy drama Naturally, Sadie (2005-07) and went on to appear as Tara Bohun in the series Overruled! (2009).

We also have Caitlyn, who dreams of being a big-time music producer. Caitlyn is the first person to talk to Mitchie at Camp Rock, and introduces her to some of her friends there. However, once it becomes clear that Mitchie would rather ditch Caitlyn to spend time with Tess, Caitlyn decides Mitchie isn’t her type of person after all. She tries to warn Mitchie about what being friends with Tess does to you, but Mitchie doesn’t listen. Eventually, the two are forced to talk after Caitlyn finds herself by working in the kitchens. Caitlyn decides to keep Mitchie’s secret about her mother’s job and the two become friends. Caitlyn is there for Mitchie when the lie unravels and even helps Mitchie with her Final Jam performance.

Alyson Stoner was cast as Caitlyn, having already voiced the character of Victoria in Lilo & Stitch: The Series (2003-06) and been cast in the recurring role of Max in The Suite Life of Zack and Cody (2005-08). Stoner was also cast as Sarah Baker in Cheaper by the Dozen (2003) and its 2005 sequel before Camp Rock. They also voice Isabella in the popular Disney animated series Phineas and Ferb (2007-15, 2025-present) and its two films.

Within Caitlyn’s “group”, there are Barron, Sander, and Lola. In Camp Rock, we don’t see all that much from them, other than Lola’s performance at Open Mic Night, and Barron and Sander’s performance at Final Jam. Barron and Sander seem to be the jokers at Camp Rock, knowing that this is a good time to work on their breakdancing and rapping skills but also knowing that Camp Rock is the place to have fun over summer. Lola seems to be the cool, older one at Camp Rock, who knows exactly who she is and who she wants to be.

Lola Scott was played by Aaryn Doyle, and Barron was played by Jordan Francis. Roshon Fegan was cast as Sander. Fegan went on to be cast as Ty Blue in the Disney Channel series Shake It Up (2010-13) and appeared as a contestant on Season 14 of Dancing with the Stars (2005-present) in 2012. More recently, he voiced the recurring role of Elbone in Netflix’s DreamWorks Dragons: Rescue Riders (2019-22).

For the adults at Camp Rock, first, there is Connie Torres, Mitchie’s hardworking and caring mother. Connie has a lot of work to do at Camp Rock, having to make themed meals to go with all the numerous themed “jams” the camp has. But luckily, she has Mitchie, and then, Caitlyn to help her out. Connie is thrilled to be able to send her daughter to Camp Rock by being the catering manager there, as this is something that Mitchie must’ve been talking about for months. She doesn’t even mind when Mitchie basically ditches her, by moving out of their cabin into Tess’s, and then barely speaking to her outside of helping in the kitchens. Connie understands that Mitchie wants to make friends. The only thing she doesn’t understand is why she’d feel the need to lie about her family to fit in at Camp Rock. Connie consistently tells Mitchie she is a brilliant singer, and a great person, so she should just be herself in future and not change herself for anyone.

Connie Torres was played by Maria Canals-Barrera, who is perhaps best known for her role as Theresa Russo in the Disney Channel series Wizards of Waverly Place (2007-12) and its 2009 movie. However, before Wizards of Waverly Place, Canals-Barrera had voiced the character of Sunset Boulevardez in Disney’s animated series The Proud Family (2001-05), returning to voice the character in the series’ reboot The Proud Family: Louder and Prouder (2022-present). Canals-Barrera also voiced the character of Paulina in Danny Phantom (2004-07).

Brown Cesario is Camp Rock’s director, as well as the uncle of Shane and the other members of Connect 3. Brown tells Connie as soon as she meets him that he was a founding member of the band the Wet Crows, before proceeding to say how he knows Mick Jagger. As cool as Brown is, not being overly strict or disciplinary except when he has to be, and very encouraging of the campers, he is definitely a bit of a name-dropper! Daniel Fathers was cast as Brown. In more recent years, he has played Rudy Moore in A Christmas Prince (2017) for Netflix, and Clarence Perry in Season 2 of Snatch (2017-18).

Finally, we have Camp Rock’s musical director Dee La Duke. She is upbeat and full of energy the few times we see her introducing events around Camp Rock. Dee was played by Julie Brown, who was also the co-writer of Camp Rock. In terms of previous acting work, Brown had voiced Lisa in A Goofy Movie (1995) and played Coach Stoeger in Clueless (1995). More recently, Brown was cast in the recurring role of Paula Norwood in the ABC sitcom The Middle (2009-18).

MUSIC

Camp Rock is a musical, however, it differs from typical musicals, including Disney Channel ones, in that the main characters do not suddenly burst into song. In Camp Rock, the music is either accompanying music playing in the background, or the campers are singing these songs as part of performances, both on stage, in class, and just at camp in general. This might have helped some non-musical lovers like this movie, especially if they perhaps don’t like the normal musical storytelling format, where songs seemingly come out of nowhere.

In movie order, the first song to appear in Camp Rock is “Who Will I Be?”, which plays in the opening sequence, as background music playing from a CD that Mitchie has recorded of her own songs. Here, Mitchie is getting ready for her last day of school before the summer break, and seems very optimistic about her day, hoping that today will be the day her mother says she can go to Camp Rock. It’s an upbeat pop song to match Mitchie’s mood, and all about being able to choose what kind of person you want to be. Sadly, Mitchie’s optimism doesn’t last past breakfast! “Who Will I Be?” also reappears as Mitchie’s solo singing performance in her first class with Brown Cesario. “Who Will I Be?” was written by Matthew Gerrard and Robbie Nevil, and is performed by Demi Lovato as Mitchie Torres.

The next song in Camp Rock is performed by Lola at the Open Mic Night on the first night of camp. Lola performs the song “What It Takes”. It’s a catchy song, particularly the chorus, where Lola sings about finding the perfect guy. It’s not the best song in Camp Rock but since Lola isn’t in the movie all that much, it’s good that she had a moment in the spotlight. “What It Takes” was written by Tim James and Antonina Armato, and performed by Aaryn Doyle as Lola.

Following that is a song that is used during Shane Gray’s dance class. It is not performed in the class but is played from a CD, although the song is technically credited to Jordan Francis, who played Barron in this film. It is later used by the girls at Camp Rock as an audition song when Shane tries to find his mystery girl and “that voice”. “Start the Party”was written by Matthew Gerrard and Robbie Nevil.

Next up is my favourite song in Camp Rock, “Too Cool”, Tess’s song for Campfire Jam. I will be absolutely clear and say that I like the song, but I find the performance of this song in the movie to be just a tad bit cringey with the choreography. Don’t get me wrong; I like to do the shoulder movements in the chorus, but Tess preening and posing to the camera is a bit awkward to watch at times! It matches the tone of the song though, because “Too Cool” is all about Tess, telling people she’s just too good to talk to them! The song was written by Toby Gad and Pam Sheyne, and was meant to be a teen version of “I’m Too Sexy” by Right Said Fred[1]. Meaghan Jette Martin as Tess performed “Too Cool”.

After that, we get a calm ballad from Shane Gray, as he plays “Gotta Find You” to Mitchie by the lake, to get her opinion on his “new sound”. Shane states that he was inspired to write this song after hearing a girl singing at camp. I really like “Gotta Find You”, although it is fun that viewers have since pointed out that there are mysterious backing vocals and instruments performing this song, even though it is meant to be just Shane and his guitar! “Gotta Find You” was written by Adam Watts and Andy Dodd, and performed by Joe Jonas.

Then we have the song I dislike the most in Camp Rock: “Play My Music”. This might seem a bit weird to some as “Play My Music” is performed by the members of Connect 3 at the Beach Jam, making this the most typical Jonas Brothers song you’ll find in Camp Rock, and the only song the three guys sing together. I guess I’m not a big Jonas Brothers fan. I mean, I’m not a big fan of their music; they seem like nice enough people. “Play My Music” was written by Kara DioGuardi and Mitch Allan. 

Following that we just have performances at Final Jam, the first of which is “Hasta La Vista”, performed by Jordan Francis and Roshon Fegan as Barron and Sander, the aspiring rappers. Anna Maria Perez de Tagle also performs this song as Ella in the movie, adding her vocals at certain times in the song, although it is unclear if this is her singing as she was not specifically credited on the song as a performer. I quite like this song; it’s fun and easy to sing along too. It was written by Toby Gad, Pam Sheyne, and Kovasciar Myvette.

After that is Tess’s second song at Camp Rock, which I like but not as much as “Too Cool”. It is “2 Stars”, once again performed by Meaghan Jette Martin as Tess, written by Adam Anders and Nikki Hassman. I think “2 Stars” is just less memorable than “Too Cool”, but it does reflect Tess’s complicated relationship with her mother and even though Tess is the “villain” in Camp Rock, it isn’t nice to see Tess performing her heart out for her mum, only for her to be on the phone during the song. It’s not an amazing song, but it’s an important moment for Tess and her character development and backstory.

Technically the final song of Final Jam is “Here I Am”, which is a last-minute entry from Peggy after she ditches Tess in favour of performing her very own solo. It’s a good thing she did too, because Peggy goes on to win Final Jam due to her thought-provoking lyrics about not letting yourself fade into the background whilst others shine, the perfect summing up of Peggy’s journey at Camp Rock that summer. “Here I Am” was written by Jamie Houston and was performed, not by Peggy’s actress Jasmine Richards, but by Renee Sandstorm, also known as Renee Sands, who was part of the girl group Wild Orchid and went on to perform other songs for Disney including “Just Like We Dreamed It”, which was the theme song for Disneyland Paris’ 15th Anniversary in 2007, and recently sang the theme song for the Disney Junior show The Chicken Squad (2021-22).

After Final Jam has ended, Mitchie and Caitlyn ask Brown if they can perform their song now as they were banned from camp activities after allegedly stealing Tess’s bracelet. Brown is very happy for them to perform, knowing this will be a chance for Mitchie to shake off her shyness and show what she’s made of. Mitchie starts off uncertain in her performance of her song “This Is Me”, but gradually, she gains confidence and belts out that chorus. This song is also combined with Shane Gray’s song “Gotta Find You” as Shane realises that Mitchie was the voice he’d been searching all of Camp Rock for, to give Mitchie a very Cinderella ending. Mitchie had sung “This Is Me” in the Mess Hall on the first day of camp, and Shane happened to overhear it after hiding from crazy fans by the hall’s open window. It’s a brilliant solo performance and then duet, and obviously one of the best Camp Rock songs. “This Is Me” is also sung very briefly by Mitchie after she moves into Tess’s cabin and the girls ask her to sing a song she’s written, as they find her song book in her bag. “This Is Me” is performed by Demi Lovato, and later Joe Jonas since the song as it appears in Camp Rock, as part solo, part duet, is how it appears on the official soundtrack. It was written by Adam Watts and Andy Dodd.

The last song in the original cut of Camp Rock is the less rock, more pop song “We Rock”, which is performed by the entire cast at the very end of Final Jam, and therefore camp, as a goodbye song from the campers. I really like “We Rock” and the air guitar dance moves are incredibly easy to learn and remember. “We Rock” was written by Kara DioGuardi and Greg Wells. An instrumental version of this song is also used during the montage of the campers making their preparations for Final Jam.

But there is one other song that appears on the official Camp Rock soundtrack and in an End Credits scene within the Extended Edition version of the film. Here, the girls from Camp Rock come together to record a song in Caitlyn’s garage recording studio. This song is “Our Time Is Here”. The three singers credited on this song are Demi Lovato, Aaryn Doyle, and Meaghan Jette Martin, although Anna Maria Perez de Tagle and Jasmine Richards are also singing in this scene as their characters. Surprisingly, I actually like “Our Time Is Here”, and that’s only surprising because I don’t normally like the “deleted” songs in movie. This song was written by Tim James and Antonina Armato.

The Camp Rock soundtrack was officially released on 17th June 2008, just a few days before the US premiere of the film. The soundtrack was released on different dates internationally, although seemed to also be available prior to the movie premiering, as Disney Channel did with many of their musical movies. The soundtrack had some success in the official charts, peaking at No. 3 on the US Billboard 200 chart in July 2008, staying in the Top 10 for ten consecutive weeks. It also topped the US Billboard Top Soundtracks chart. Four of the movie’s songs were released as singles to promote Camp Rock in the build-up to the film’s premiere. These were: “We Rock”, “Play My Music”, “This Is Me”, and “Gotta Find You”, all of which charted in the US Billboard Hot 100.

Internationally, the soundtrack charted at No. 1 in Argentina, and No. 2 in countries like Canada, Mexico, Spain, and UK. Some of Camp Rock’s songs were also recorded by local artists for different versions of the soundtrack and DVD, such as French singer Sheryne and Dutch singer Nikki performing “This Is Me” for their respective countries’ soundtracks, and English singer and actor Brad Kavanagh, who was cast as Dylan in Season 2 of Disney Channel UK’s As The Bell Rings (2007-08), performing his version of “Here I Am”[2].

David Kitay is credited as the composer of the music in Camp Rock. At Disney Channel, Kitay also composed the music for other DCOMs, like Cadet Kelly (2002) and Eddie’s Million Dollar Cook-Off (2003), and co-composed for Stuck in the Suburbs (2004) with Jeff Vincent. Away from Disney, Kitay has worked on the music for such non-Disney movies as Clueless (1995); Scary Movie (2000); and Over Her Dead Body (2008).

PRODUCTION

Disney Channel movies are normally used as a springboard for young actors, singers, and dancers to become more integrated in the Disney family, before hopefully moving on to become mainstream stars outside of Disney.

In the case of Camp Rock, although the Jonas Brothers were already famous prior to the film, Demi Lovato was a relative unknown, so Camp Rock was an opportunity for her to become the next big Disney Channel star, following in the footsteps of Miley Cyrus and Selena Gomez. However, Lovato was not the only person who auditioned to play Mitchie.

On an episode of the podcast Magical Rewind, hosted by former Cheetah Girls star Sabrina Bryan and Will Friedle, who played Eric Matthews in Boy Meets World (1993-2000), in 2024, Meaghan Martin, who played Tess Tyler in Camp Rock, stated that she had initially auditioned to be Mitchie, but she knew she was meant to be the mean, blonde girl in this film – because what teen movie doesn’t need a mean, blonde girl[3]? They were all the rage in the 2000s! Martin was so good at playing bully Tess that she said on this podcast that she still gets nasty messages on social media about how mean she was to “Demi” in Camp Rock. People know Camp Rock is just a movie, right?

But that wasn’t all. Alyson Stoner, who ended up playing Caitlyn, read for the lead, and after being cast in numerous projects at Disney previously, Stoner believed she had a shot at being Mitchie. However, it was later told to them that casting actually had them in mind for the part of Caitlyn, thus basically becoming the “sidekick” to Mitchie, which was a little bit disappointing at the time[4]. On top of that, according to her “TV Dad” in Disney’s Wizards of Waverly Place (2007-12), David DeLuise, who spoke in an interview in 2020 about this, said that Selena Gomez had been offered the role of Mitchie Torres in Camp Rock, but that Gomez had turned it down in the hopes that her best friend at the time, Demi Lovato, would be offered the lead instead, because Gomez had already been given her “breakout role” at Disney by being cast as Alex Russo in Wizards of Waverly Place[5]. If this was the case, this makes a moment in the Sonny with a Chance Season 1 episode “Battle of the Networks’ Stars” when Gomez made a guest appearance as a fictionalised version of herself, even more amusing. At the end of this episode, the cast of So Random! and Chad Dylan Cooper are supposed to be sitting down to watch Chad’s new movie about his life, but instead, they end up watching Selena Gomez in the film Camp Hip Hop, and we see a small clip of Gomez dancing with three boys who look a lot like the Jonas Brothers!

Demi Lovato had initially auditioned for Disney to be cast in Jonas, the Disney Channel series based around the Jonas Brothers that was being developed. Lovato screen tested for it, but she did not get the part. However, Disney still wanted to see her for two other roles – one was Mitchie in Camp Rock, and the other was Sonny Munroe in Sonny with a Chance. Lovato got both of them and was whisked away with her family to Los Angeles. to begin her new life as a Disney Channel star[6].

Even Shane Gray had an interesting casting story because Taylor Lautner auditioned for the part! He wasn’t seen as quite the right fit for Shane though and ultimately did not get it. Coincidentally, Lautner starred alongside Alyson Stoner in Cheaper by the Dozen 2 (2005) in one of his earlier screen roles, so had Lautner gotten the lead role in Camp Rock, it might’ve been a nice reunion for the two of them. But it was not to be, and that’s fine because Lautner ended up being cast as Jacob Black in Twilight (2008), which came out just a few months after Camp Rock, and began a five-movie series. All things considered, I think he did alright for himself without this film!

So, how did that part go to a Jonas Brother? Well, Joe Jonas was asked to send in an acting tape for the part of Shane Gray after the director of Camp Rock attended a Jonas Brothers show in L.A. It was clear from watching the show that Joe could sing and had that “rock star image”, and so they just needed to see him act. After looking at his audition tape, Jonas was offered the part. Shane was meant to simply be the camp director’s nephew who had a solo act before being forced to come to camp to fix his attitude, but because Joe Jonas was in a band with his real-life brothers, it was decided that Shane Gray would have bandmates written into the script so that Joe could appear with Nick and Kevin in the film. This also meant that instead of an adult telling Shane he needed to get his act together, the message would come from his bandmates, making it less of a punishment.

Camp Rock’s story was written by Julie Brown, who played Dee La Duke in the film, Paul Brown, Regina Hicks, and Karin Gist. Gist had previously written the DCOM Jump In! (2007), and went on to write and produce shows like Mixed-ish (2019-21); Our Kind of People (2021-22); and Revenge (2011-15). Hicks had co-written Jump In! with Karin Gist, and had previously written and produced the show Girlfriends (2000-08) before Camp Rock. After Camp Rock, Hicks worked on the sitcom Instant Mom (2013-15) and most recently The Upshaws (2021-25) for Netflix. Paul Brown had written and produced the series Quantum Leap (1989-93) and Pacific Blue (1996-2000) before co-writing Camp Rock.

Camp Rock was directed by Matthew Diamond. In 1998, Diamond directed the documentary film Dancemaker which was nominated at the Academy Awards for Best Documentary Feature. For Disney, he directed episodes of the Disney Channel series That’s So Raven (2003-07) before working on Camp Rock, and directed episodes of other non-Disney series such as Gilmore Girls (2000-07) and Desperate Housewives (2004-12).

The movie was filmed in Autumn 2007 in Canada, as so many Disney Channel movies are. Specifically, two different summer camps were used as the set of Camp Rock. One was Kilcoo Camp in Minden, Ontario, and the other was YMCA Camp Wanakita in Haliburton, Ontario. This meant that a typical camp setting, with picturesque landscaping and a beautiful lake, could be the backdrop of the movie, alongside the standard wooden cabins that make up a normal summer camp. In their downtime, the cast spent a lot of their time as though they were actually at Camp Rock, singing and dancing, as well as taking part in usual camp activities like canoeing.

Although much of Camp Rock was filmed at the camps, the Final Jam was not filmed there. It was meant to be filmed at one of the camps, but it was moved to a soundstage to make it a bigger showcase. They decorated a soundstage to look like Jacob’s Pillow in Massachusetts, which is a theatre housed inside a barn. The director even had a whole backstory for Brown Cesario and why he’d have all this expensive tech equipment at a summer camp. The story went that Brown, who we already knew was a touring rocker, wasn’t paid for his final tour at the end of career and took all the tour’s lighting equipment to Camp Rock with him as payment. Since it was never questioned why all this equipment was at Camp Rock, Brown’s backstory was not used[7]!

Another behind-the-scenes secret is that the Campfire Jam was filmed with a real, huge fire, lit by propane, burning behind the dancers and singers. It was actually further away from the cast than it looks on screen, thanks to a touch of forced perspective and camera trickery, but there were crew members on hand with fire extinguishers just in case something went wrong. The cast members said they could feel the heat from the fire as they were shooting the scene. The performance was also not filmed as late at night as it might appear in Camp Rock, with filters being used to make it look darker[8].

The filming of Camp Rock was an enjoyable experience for the young cast members, who called the set “Disney High” because it was just like high school, with everyone dating each other, and people falling out over silly things, but they all became good friends simply because they were spending so much time together. However, high school isn’t always a pleasant experience, and that was the case at Disney High for some as well. For example, Alyson Stoner and Demi Lovato have since talked about their experiences during their time at Disney, and they both stated that they struggled with their body image and self-confidence during this movie, which no doubt was exacerbated by the fact that the set was full of pretty, talented performers, some of which had already been on television before, plus the fact all these young people were growing up in a high pressure environment, with fans and the press being fascinated and judgmental, in some cases, about them.

Having said that, Lovato and Stoner have been able to laugh at some of their moments in Camp Rock over the years, such as joking about Caitlyn’s keyboard scene in the Pajama Jam and how they hate the music that was overlaid over this scene in the final cut, not believing it to match Caitlyn’s opinion of herself as a would-be music producer, and how Stoner still knows all the steps to the “Start the Party” dance[9].

RECEPTION

Camp Rock first aired on Disney Channel in the US on 20th June 2008. It was rebroadcast on the Disney-owned channels ABC and ABC Family that weekend too. The movie made its way to international Disney Channels in the coming months, although in some cases, it did miss the school summer holidays, so viewers were unable to join Mitchie in her enthusiasm to have a great summer, because in these countries, kids were already going back to school!

On its US Friday night premiere, Camp Rock brought in around 8.9 million viewers, with 3.4 million of those being in the 9-14 age bracket, Disney Channel’s prime audience. At the time, Camp Rock was the second most-watched DCOM, after High School Musical 2 (2007), which had an unprecedented 17.2 million watching its premiere. Camp Rock did outperform High School Musical’s 2006 premiere though, which reached 7.7 million viewers, making Camp Rock the best performing non-sequel movie for Disney Channel at the time[10]. Camp Rock remained as the best performing Disney Channel Original Movie of 2008, but it lost its position as second-most watched DCOM just a year later. In 2009, Wizards of Waverly Place: The Movie brought in 11.4 million viewers on its premiere, bumping Camp Rock down a place, however, Camp Rock does remain in the No. 3 spot to this day, and will likely remain there, since Disney Channel movie premieres don’t hit the same numbers they did in the 2000s and 2010s any more.

Camp Rock was meant to be a new age of Disney Channel musicals after High School Musical and its trilogy, since the third – and rumoured to be final – movie was coming to theatres in late 2008. Although many regular Disney Channel audience members enjoyed Camp Rock with its cute, simple story, catchy music, and its typical message of loving yourself and being yourself, it was not seen to be as good as the High School Musical series. But it did bring a new Disney Channel actress and singer to screens, as Camp Rock launched Demi Lovato’s career, with Lovato continuing to be a favourite within the group of actors and artists formally known as Disney Channel stars.

However, there was quite a lot of cynicism in critics’ reviews of Camp Rock, specifically around the marketing of the movie alongside its cast. The Jonas Brothers were said to be well on their way to “world domination” because of Camp Rock and Disney’s clever marketing strategy, and that Demi Lovato would soon be the next female teen star to come from the company. It was both amazing, and scary, to see how much power Disney Channel had in launching new acts. Others also did not like the fact Camp Rock was predictable and almost too wholesome, whilst being clichéd and cringey in places, especially around some of the “mean girl” moments. Some musicians were also annoyed with the continuous use of the word “jam” in Camp Rock, which was being used incorrectly, as a jam session is supposed to be informal and improvised whereas the performances at Camp Rock are clearly not that, and that there were very few people at Camp Rock who could even play an instrument.

Camp Rock’s director Matthew Diamond was nominated at the Directors Guild of America Awards for his work on Camp Rock in the category of Children’s Program, alongside two other 2008 Disney Channel movie directors, The Cheetah Girls: One World, directed by Paul Hoen, and Minutemen, directed by Lev L. Spiro. However, all three lost out to Classical Baby (2005-17) on HBO Family, directed by Amy Schatz.

LEGACY

Soon after Camp Rock aired, it was already being discussed whether there was going to be a sequel, because Disney Channel seem to like musical sequels in particular.

It was later confirmed in 2009 that Disney Channel were working on Camp Rock 2, and production began in Summer 2009. A few story details and cast additions were known around this time, such as the story revolving around Camp Rock and another rival camp, Camp Star, as well as a Romeo and Juliet-style romance going on between a camper at each of the two camps[11]. In April 2010, a premiere date of 3rd September 2010 was confirmed, and the soundtrack of 15 new songs went on sale on 27th July. It was also confirmed that Demi Lovato and other Camp Rock 2 cast members would be joining the Jonas Brothers on a worldwide concert tour to promote the film, beginning on 27th July 2010. This came off the back of the success of Camp Rock as a film, its soundtrack, and its DVD, which became the No. 1 TV Movie and No. 1 Family TV title on DVD in 2008[12].

To bridge the gap between Camp Rock and Camp Rock 2, on the European Disney Channels, there was a singing competition called My Camp Rock, where young viewers could compete through a series of workshops and performances, with the winner getting to professionally record “This is Me” from the film. This show originally began on Disney Channel UK, with the first season airing in April 2009. There was also a second season, which aired in August 2010, before the second film came out. The final episode seems to have aired a week before the UK premiere of Camp Rock 2: The Final Jam. This competition also came to Disney Channels in France, Spain, Scandinavia, and Benelux countries, in 2009 and 2010.

At the US Disney Parks, Camp Rock has been referenced in very small ways over the years. At Disney’s Hollywood Studios at Walt Disney World, from 2010 to 2013, there was a short stage show performed called Disney Channel Rocks, which was similar to the High School Musical pep rallies that had been seen at this park as promotion for the trilogy of films. Disney Channel Rocks showcased music from many Disney Channel musicals including The Cheetah Girls, StarStruck (2010), Jump In! (2007), and of course, High School Musical. From Camp Rock, the song “We Rock” was performed.

A slightly altered version of this show later appeared at the special event Disneyland After Hours: Disney Channel Nite in March 2024. It contained music from The Cheetah Girls, Camp Rock, this being “We Rock”, and its sequel, and High School Musical still, but not some of the lesser-known Disney Channel musicals. Also at Disney Channel Nite in 2024, guests could have their photograph taken in front of a Camp Rock backdrop, and sing-along to hits from the movies at Camp Rock Karaoke.

Apparently, you can also go to Kilcoo Camp, where Camp Rock was filmed, to take part in a Camp Rock experience with all the usual camp activities, like dancing, campfires, and s’mores. Kilcoo Camp is a working private summer camp though, so this Camp Rock experience would only seem to take place in the off-season, however, apart from the odd TikTok video and a couple of articles, where one states the price at almost $4,000 for a two-week stay at Kilcoo Camp, or just over $6,500 for a four-week stay, I can’t find anything categorically showing that this is a bookable experience on the camp’s website[13]

FINAL THOUGHTS

Sadly, my enjoyment of Camp Rock has been somewhat tainted by the experiences that some of its cast have since talked about as they’ve processed events as adults, even if they can laugh about some of their more embarrassing on-screen moments now. 

I’m obviously not putting blame on any of the cast for these mixed feelings I have about the film. Working at Disney Channel at that time must’ve been a hugely pressurised environment for many of them.

It’s just a shame that something that seemed so carefree and looked like such fun to be a part of, apparently wasn’t so much in real-life. Unfortunately, this pressure only increased with the sequel, creating a situation that unnecessarily reached boiling point. 


REFERENCES

[1] Credit: Rachael Ellenbogen, ‘‘Camp Rock’ director shares 17 things fans probably never knew about the iconic Disney movie’, BusinessInsider.com, 21st June 2023.

[2] Credit: Disney, “Music Videos”, from Camp Rock (2008) Extended Rock Star Edition UK DVD (2008).

[3] Credit: John Russell, ‘Meaghan Martin Says She Still Gets Backlash About Her Character’s Bullying of Demi Lovato in Camp Rock’, People.com, 7th August 2024.

[4] Credit: Zach Sang, ‘Alyson Stoner on Losing the Lead Role in ‘Camp Rock’ to Demi Lovato’, Zach Sang Show Clips YouTube Channel, 14th August 2025.

[5] Credit: Sara Delgado, ‘Selena Gomez apparently turned down the lead role in Camp Rock for Demi Lovato’, GlamourMagazine.co.uk, 10th November 2022.

[6] Credit: Demi Lovato and Nicola Marsh, Child Star (2024), Disney+.

[7] Credit: Rachael Ellenbogen, ‘‘Camp Rock’ director shares 17 things fans probably never knew about the iconic Disney movie’, BusinessInsider.com, 21st June 2023.

[8] Credit: Disney, ““Too Cool”: Setting the Scene”, from Camp Rock (2008) Extended Rock Star Edition UK DVD (2008).

[9] Credit: Demi Lovato and Nicola Marsh, Child Star (2024), Disney+.

[10] Credit: Kate Authur, ‘High ratings for ‘Camp Rock’, the Disney Channel’s Jonas Brothers movie’, LATimes.com, 21st June 2008.

[11] Credit: Helen O’Hara, ‘Camp Rock 2 Starts Production’, EmpireOnline.com, 8th July 2009.

[12] Credit: Charlie Piane, ‘Disney Channel Announces World Premiere of ‘Camp Rock 2 The Final Jam’ 9.3’, BroadwayWorld.com, 27th April 2010.

[13] Credit: Lucy Marshall, ‘Disney Channel fans buzz over ‘real-life Camp Rock’ with lake views and studios’, Mirror.co.uk, 7th July 2025.

#17 Finding Dory (2016)

  1. BACKGROUND
  2. PLOT
  3. CHARACTERS & CAST
  4. PRODUCTION
  5. MUSIC
  6. RECEPTION
  7. LEGACY
  8. FINAL THOUGHTS
  9. REFERENCES

BACKGROUND

2016 was a big year for The Walt Disney Company, in terms of their movies.

Disney Animation themselves released both Zootopia in March that year, and then Moana in November. Pixar’s Finding Dory, the long-awaited, but perhaps not requested, sequel for Finding Nemo was released in Summer 2016. Outside of that, Disney released other movies, like Marvel’s Captain America: Civil War, their live-action The Jungle Book remake, and Lucasfilm’s Rogue One: A Star Wars Story.

It was a busy time, but one that naturally benefitted Disney’s profits, and made them feel very confident in their movie-making abilities, although let’s not forget that by this point, Disney had purchased Lucasfilm, Marvel, and Pixar, so really, their success was mostly down to other studios and directors, not solely themselves. Just trying to lower their ego.

Anyway, Pixar had needed a boost after their late 2015 film The Good Dinosaur, especially as 2016 was the 30th anniversary of the studio. The Good Dinosaur didn’t feel much like a movie from Pixar, missing a lot of their warmth and generally just being too scary and strange. It flopped at the box office and critics were not kind to it, a rarity for Pixar.

There was also concern from audiences that perhaps Pixar were going a little overboard with their sequel-making, as Finding Dory became their fifth sequel or prequel. Disney was following a similar pattern, with Frozen II (2019) and Ralph Breaks the Internet (2018) on the cards for them. Was this going to be an early sign of “sequel fatigue”?

Well, I’d say Pixar got a bit lucky because for the most part, audiences and critics enjoyed Finding Dory, despite the fact the story is largely the same as its predecessor, only that forgetful Dory gets to be the main attraction here, not the sidekick, and the location is moved from Australia to California. It may not have been a necessary film to make, but they just about got away with it.

I’m not saying that to be unkind because I’m one of few people that actually prefer Finding Dory to Finding Nemo. I’ve never been much of a nature person, not enjoying documentaries about that sort of thing, mostly because nature is cruel and makes me sad, so to have Finding Dory set in an aquarium made it more enjoyable for me, because I am familiar with that environment, whereas the ocean will always be a mystery.

PLOT

Finding Dory begins with young Dory, who I call baby Dory, learning how to talk to people about her short-term memory loss, with help from her parents. They seem to be getting her to practise playing hide and seek, however, Dory being Dory is told to count and forgets what she’s doing part-way through her counting. She sees a group of young fish playing nearby and swims out to them, but her parents tell her not to go over there because of the undertow:

A little while later, we see baby Dory is lost in the ocean, trying to ask other fish to help her find her parents. Most of them just ignore her, or claim not to be able to help her, but two kelp bass fish, Stan and Inez, do stop to talk to Dory. However, they are confused when she keeps restarting the conversation. Stan and Inez go to talk alone about how best to deal with the lost little fish, but by the time they turn back, Dory has gone…

Over the years, Dory continues to swim through the ocean alone, asking for help. As time goes on, she starts to forget exactly why she’s looking for help. At one point she sees a boat overhead, and then hits straight into Marlin, recreating a scene from Finding Nemo. Dory tells Marlin she knows where the boat went and tells him to follow her.

One year later, Dory is living next door to Marlin and Nemo. One night, she starts to remember something about her past, but she can’t quite figure out what. The next morning, Marlin and Dory swim Nemo to school, where Marlin continues to talk about his mission to rescue Nemo from the dentist, overexaggerating parts of the story, such as claiming he took on four sharks, when actually, he only met three. At the school grounds, Mr. Ray, Nemo’s teacher, arrives to take the class on a field trip to see the ray migration. Dory is looking forward to going along too, but Marlin is told by Mr. Ray that he’s going to have too many other fish to think about today, and having Dory along would be too much. Marlin tries to explain this to Dory; however, she misunderstands and says she’ll be Mr. Ray’s teaching assistant for the day to help out. It’s not worth the fight, so she sticks around.

Before heading off, Mr. Ray explains that the stingrays are heading home and that is why they migrate. Some of the kids ask Dory where her home is, which makes Dory question where she does come from, and where her parents are… before instantly forgetting what they were even talking about! But it’s time to go to see this migration.

At the stingray migration, Mr. Ray warns the kids not to get too close to the undertow, or they might be swept away from the group. This triggers something in Dory’s memory so when the rays come by – singing, of course – Dory becomes distracted and swims too close to the undertow. She is later found by Nemo and Marlin on the sand, where Nemo hears her mumbling something about “the Jewel of Morro Bay”. Dory comes round and Nemo repeats what she just said. This triggers a flood of memories for Dory and she finally remembers her family! Dory desperately wants to get to California to find them. Marlin says that’s too far away and she should accept her life as it is now. Marlin eventually reconsiders after thinking of Dory’s help on their journey to find Nemo, and he knows who can help.

We then see Marlin, Nemo, and Dory with Crush and the other sea turtles riding another current. This time, the current is heading to California. Crush tells them to get ready as their exit is coming up and they leave the current at some dark and scary place, full of wrecked ships and storage containers. This is the Shipping Lanes and Dory claims it is vaguely familiar to her. Dory starts shouting for help, asking if anyone knows her parents, Jenny and Charlie. Marlin tells her to stop making so much noise. He was right to be concerned because Dory inadvertently wakes up a big, glowing squid, who chases them through the area. Eventually, the squid is trapped in a container, but it still has use of one of its tentacles and grabs Nemo, slowly bringing him up to its mouth. Marlin and Dory try to get him back, and the squid lets go of Nemo when the box falls. Nemo is quite shaken by this near-death experience, and Marlin tells Dory, who is also concerned, to go away and just forget about it, like she does best. Dory decides to go and get help, with some plastic becoming stuck to her. Dory hears a voice, the voice of Sigourney Weaver, who leads her to a cove. As Dory surfaces to figure out where she is, Marlin and Nemo pop up too, just in time to see Dory being plucked out of the ocean and taken away in a boat.

It turns out Dory has been placed in the quarantine unit of the Marine Life Institute. She has been tagged on her fin. Here, Dory meets octopus Hank, although she quickly works out he only has seven tentacles, so is actually a “septopus”. Hank tells Dory where she is and explains that her tag means she is going to Cleveland Aquarium. Dory asks if he can help her find her parents in this institute. Hank says he will in exchange for her tag, since the institute is planning to release him into the ocean and he’d rather go and live in an aquarium alone for the rest of his life. Yeah, Hank’s a bit of a grumpy curmudgeon. Hank says he will take Dory to a map of the institute in a coffee pot, using his camouflaging and shape-shifting abilities to hide them from institute employees.

Meanwhile, Marlin and Nemo are trying to work out where Dory will be, with Marlin feeling especially guilty. They meet two sea lions sat on a rock and Nemo wants to ask them for help. Marlin fears these predators will pounce on them but these particular sea lions, Fluke and Rudder, are too lazy to do any pouncing. They tell Marlin and Nemo that the Marine Life Institute is a fish hospital and that Dory will be getting treated and then will be released back into the ocean. Marlin wants a way into the institute so Fluke and Rudder call for loon Becky – a loon being an actual type of bird. Marlin and Nemo watch confused as Fluke and Rudder make strange noises to call her…

At the map, Dory looks over it and tries to work out where to go. But Dory doesn’t know what to do, and Hank says she’s running out of time, because the employees are looking for the missing octopus, him. He takes Dory to a backstage area, where Dory sees a bucket labelled “Destiny”. Since Dory believes in destiny, she drops into this bucket, which is full of dead fish. Maybe this wasn’t such a good idea. At the tank, Dory and the other fish are poured in and Dory comes face-to-face with Destiny, a near-sighted whale shark, who hits into her tank’s walls all the time. Dory starts talking to Destiny, telling her she swims beautifully, and when Destiny thanks her “in whale”, Dory responds. This makes Destiny recognise that this fish is Dory. Destiny tells Dory that they used to speak through the pipes all the time as kids, dubbing themselves “pipe pals”. Dory realises Destiny must know which exhibit she is from and she sure does; Dory is from the Open Ocean exhibit. At that moment, Destiny’s neighbour, beluga whale Bailey, comes into the conversation. He’s in the institute for a head injury that he claims has damaged his echo location, where he can “see” his surroundings using echoes, but Destiny knows he’s fine. Bailey “attempts” to help, but it just won’t work. Destiny tells Dory she can easily get to Open Ocean through the pipes anyway, but Dory isn’t so good at remembering directions. Then, Hank arrives in the tank, demanding Dory’s tag. She says she needs more help first.

Back with Marlin, Nemo, and the sea lions, finally Becky has been called over. Fluke and Rudder tell Marlin he needs to look Becky in the eye and make a noise like “roo-roo” to get her attention. Then, she’ll take them straight to quarantine. Fluke and Rudder even convince fellow sea lion Gerald to give up his pale as a transportation device in exchange for a few seconds on Fluke and Rudder’s precious rock.

Dory devises a plan to get to Open Ocean without the pipes. Hank has commandeered a stroller and put Dory in a cup. Bailey looks over the top of his tank and waits for just the right moment. On his command, Destiny starts jumping in her tank to distract on-lookers. Dory and Hank get going, with Dory being tasked with following signs to Open Ocean. However, Dory gets distracted and they hit a small child on the way, knocking the cup with Dory over. The cup is returned to the stroller by a parent and Hank pretends to be a really ugly baby to avoid suspicion! But the kid dropped popcorn everywhere when she was hit and Becky the loon gets distracted this time, and leaves Marlin and Nemo in the pale on a tree branch while she eats. Marlin tries to get Becky’s attention again, but nothing works. Nemo tells him to just be patient, but Marlin pushes the pale closer to Becky, further down the branch. The branch snaps back and flings them into a gift shop tank.

Dory and Hank continue their journey, but Dory insists on following the sign to “The World’s Most Powerful Pair of Glasses”. Hank stops and demands Dory’s tag, telling her he’s done enough now. But Dory wants to remember more and tells Hank he’s being mean, despite octopuses – octopi? – having three hearts. As they argue, the stroller starts rolling down the hill with them inside and they crash into the Kid Zone, specifically the hands-on tank, where kids can grab at anything they want to grab at. Why would anyone think that was a good idea? Dory loses Hank in the tank and tries to find him. Hank is hiding and is absolutely terrified, since it would seem a child had something to do with him losing his tentacle. Dory tells Hank they should just keep swimming to get out. But to get out, they have to go through “Pokers’ Cove”. Just as they are about to leave, one kid pokes at Hank who freaks out and releases his defence mechanism: ink. Hank is embarrassed, but hey, it got all the gross children to go away! They also see they are right by Open Ocean.

In the gift shop, Marlin continues to try to get Becky’s attention, but she is too far away. Marlin and Nemo see her pick up the pale and fly to the roof of quarantine, proving that Nemo was right and they should’ve just waited. Nemo tells Marlin that this is just what he did to Dory; made her think she couldn’t do something she actually could. Marlin admits he was wrong to do that and says he could really do with her help right now. They start to think about what Dory would do to get out of this tank. Ahead of them, Marlin sees splash pad fountains. He tells Nemo they are going to jump out of the tank and use them to get across the park. They end up in a new pond, with a very loud, chatty clam. Now what?

At Open Ocean, Hank takes Dory in a cup to the roof of the exhibit. They say goodbye and Dory passes over her tag before being poured in. Dory swims in but can’t find help again. She starts to see shells in the sand and remembers that she was told by her parents to always follow the shells to find her way home. Dory does just that and she ends up at her home. However, the home is empty… Dory then remembers how she went missing. She heard her mother crying one night, concerned about how Dory was going to cope with her memory loss, and Dory decided to find a purple shell to cheer her up. But as she did, the undertow took her right into the pipes. Dory then hears two crabs ask how she got back to Open Ocean since all the blue tangs are meant to be in quarantine right now. Dory believes that must be where her parents are and asks how to get there. The crabs say to use the pipes, telling her it’s two lefts and a right to get to quarantine. Dory heads in.

Soon, she gets very lost and confused, as expected. Dory uses the pipes to contact Destiny, who convinces Bailey to use his echo location to locate her. They start to direct her but then “see” a big fish heading towards her. It’s too late; Dory heads right for this fish and Bailey and Destiny believe it has eaten her. But that’s not the case, because that big fish was just Marlin and Nemo; they’ve found her! Dory tells Destiny and Bailey she isn’t dead, to their relief, and the three fish all head to quarantine together.

In quarantine, they eventually locate the blue tangs, but as they attempt to jump there, they end up in a mop bucket. Luckily, Hank comes over to scoop them out and takes them to the blue tangs. Here, the blue tangs realise Dory is Jenny and Charlie’s daughter and have to give her the tragic news that they went to quarantine ages ago to find her and never returned. Dory is distraught, believing her parents must be dead. In the confusion, Dory is taken out of the tank by Hank just in time, but Marlin and Nemo are left in there. Suddenly, Hank is discovered by the workers and Dory is tipped down a drain. Once again, she is lost and alone in the ocean. Not knowing where to go, she sinks down to the sand, and then sees lines of shells in the sand. Following them, she comes to a house and two fish. Dory goes to ask for help, but the two fish rush up to hug her. It’s Dory’s parents! Dory apologises for forgetting them, but they say she didn’t forget them because she’s here, and they’ve been leaving shells for her in the hopes it would help bring her back to them. They went into the ocean to look for her, as they couldn’t find her in quarantine all that time ago.

Her parents ask what has happened over the years, which is when Dory remembers she hasn’t been alone all that time, because Marlin and Nemo were there for her, but now they need help. Dory and her parents go outside the institute and call to Destiny. They want help locating the van with the blue tangs heading to Cleveland. Bailey uses his echo location and tells Dory where it is. Bailey then convinces Destiny to jump out of her tank into the ocean to help Dory more. Destiny is concerned but Bailey reminds her there aren’t any walls in the ocean. They jump out and join Dory and her parents. Fluke and Rudder, the sea lions, also leave their rock to watch the commotion, with Gerald taking their place!  

The truck is heading away at speed so Dory knows they need to stop traffic. Dory involves a group of otters, who Destiny catapults with her tail onto a nearby bridge. Dory is tossed up there too and caught by an otter. Dory tells the otters to cuddle and the cuteness overload causes a pile-up. The otters then approach the institute’s truck and open the door. Hank quickly puts Dory into the tank with Marlin and Nemo. The otters are chased away by the van drivers, so Marlin calls for Becky. Becky comes over but only takes Marlin and Nemo out of the tank, not Dory. She’s still in the van with Hank. Becky returns but is too late, and the doors close. Dory comes up with a new plan: Dory and Hank get out via the sunroof of the van, and Hank throws himself onto the windscreen, making the drivers leave their seats. Hank then takes over the steering wheel with Dory in a cup beside him. She directs him, badly, through traffic. Eventually, they come to a police road block and Dory knows they’ll have to fly over it, sending the truck into the ocean. Dory convinces Hank that the ocean is the right place for him, and he agrees to do this. All the fish tumble into the sea.

We then see Marlin, Nemo, and Dory have returned home, with their new friends Destiny, Bailey, and Hank, who is substituting as the teacher at Nemo’s school whilst Mr. Ray is away on his migration, along with Dory’s parents, Jenny and Charlie. As Nemo heads off for school, Dory says she’s going to the drop-off on her own. Concerned, Marlin follows her, only to see that Dory just wanted to take in the view. They sit together and watch.

In a post-credits scene, we also see that the “tank gang” from Finding Nemo, still in their plastic bags, have made it to California and the Marine Life Institute. As they work out their next move, they are picked up by institute staff and taken inside…

CHARACTERS & CAST

Unlike in Finding Nemo, Dory is no longer the funny sidekick in Finding Dory. She’s still funny, still has short-term memory loss, and still acts impulsively, but this time she gets to do more of it as the whole story revolves around her! Throughout Finding Dory, Dory is getting flashbacks of memories from her childhood, slowly allowing her to piece together who are parents are, where she is from, and how she ended up so far away. This leads Dory on an amazing journey to find her family, taking her all the way to California. After Dory becomes separated from Marlin and Nemo, she then relies on Hank to help her find her parents in the Marine Life Institute, and adds Destiny and Bailey to that support system because Dory being Dory needs some help remembering exactly what she’s doing from time to time! Dory goes through a whirlwind of emotions on this journey but Dory finds she’s more capable than she thought and she manages to bring everyone together again, just like in Finding Nemo.

Ellen DeGeneres returned to reprise her role as Dory. This time, Dory also had two other voice actors, to voice baby Dory and teenage Dory. Baby Dory was voiced by Sloane Murray, who is the daughter of Pixar producer Lindsey Collins. Collins produced Finding Dory and went on to produce Turning Red (2022) and Elio (2025) for the company. Teenage Dory was voiced by Lucia Geddes.

At the start of the film, Marlin is perfectly content with how everything has worked out for him. He’s back with his son Nemo and he’s found a new friend in Dory. Marlin doesn’t want to go on another epic journey like he did the year before, believing Dory should just be satisfied with how life is right now, like him. But Nemo guilts Marlin into going on this journey to help Dory because that’s what friends should do. Nemo has to be the voice of reason a lot of the time in this film, telling Marlin he shouldn’t have gotten annoyed at Dory for being concerned after the squid attack, and that he needs to be more patient with people, like Dory and Becky, instead of thinking they’re going to ruin things all the time. His “relationship” with Becky the loon is quite funny actually, because she seems to like him. Marlin must have a way of attracting strange women into his life! In the end, Marlin admits that he does appreciate Dory and her “Dory ways”, especially when she comes back to save him and Nemo from ending up in Cleveland.

Albert Brooks returned to voice the character of Marlin, however, the voice actor for Nemo changed. Because of the 13-year gap between Finding Nemo and Finding Dory, it was only expected that Alexander Gould, voice of Nemo in the original movie, would not be able to reprise his role for the sequel since his voice would have changed. Alexander Gould is given a small voice cameo as one of the workers in the institute’s truck, Passenger Carl, to make up for this. Hayden Rolence was cast as Nemo.

Then, we have a collection of new characters. Hank is a grumpy octopus, sorry, septopus, who has some unresolved trauma after the loss of one of his tentacles, which he seems to suggest had something to do with an incident with a child but it’s not clear how this happened. Like everyone, Hank finds Dory and her memory loss particularly irritating, just wanting to get her tag so he can go to Cleveland. Dory takes so long to find her parents that he can’t ever have thought he was going to get that tag, but she does and Hank is left to go on his merry way. However, when Dory comes back to quarantine, Hank knows he has to help her, finding that he does like her, even with her strange quirks. I think he was actually pleased to see her come back. After stealing the truck, Hank is convinced by Dory that he doesn’t actually want to be alone forever, and that he should live in the ocean with her and her friends. He decides that would be the best option for him.

Ed O’Neill was cast as Hank, having previously voiced the character Mr. Litwak in Wreck-It Ralph (2012) for Disney. He reprised this role in the sequel Ralph Breaks the Internet (2018). O’Neill is known for his roles in television series, such as starring as Al Bundy in Married…with Children (1987-97), and more recently, as Jay Pritchett in ABC’s Modern Family (2009-20). O’Neill is set to appear in All’s Fair (2025), a new legal drama series for Hulu, starring Kim Kardashian and Naomi Watts.

Destiny is a whale shark who was childhood friends with Dory, communicating through the institute’s pipes. She stills like Dory even after all the years. Dory and Destiny pick up right where they left off with Destiny being a huge help to Dory in finding her parents, knowing exactly what exhibit she is from. Destiny also overcomes her fear of the ocean, having been in captivity for most of her life, if not all of it. She then returns home with Dory and the others to start her new no-walls life.

Destiny was voiced by Kaitlin Olson, who rose to fame with her role as Deandra “Sweet Dee” Reynolds in the comedy series It’s Always Sunny in Philadelphia (2005-present). Olson currently appears in the recurring role of DJ Vance in the series Hacks (2021-present), and stars as Morgan Gillory in the ABC drama series High Potential (2024-present) for ABC. In movies, Olson was cast as Tatiana in The Heat (2013), which was led by Sandra Bullock and Melissa McCarthy, and as Ms. Nielsen in Netflix’s Incoming (2024).

Destiny’s neighbour at the Marine Life Institute is beluga whale Bailey, who seems to be a hypochondriac as he had a head injury ages ago and became convinced his echo location was gone forever. Because of this, Destiny and Bailey have a bit of a contentious relationship, as Destiny thinks Bailey is just making a fuss and needs to get it together! She manages to convince him to try to use his echo location to get Dory through the pipes and much to Bailey’s surprise, it works. His echo location comes in quite handy in this movie. Bailey is also the one to encourage Destiny to jump out of their tanks together and leave the institute, so they both encourage each other.

Ty Burrell was cast as Bailey, and he is also known for his role in Modern Family, like Ed O’Neill. Burrell played Phil Dunphy on that show, winning Primetime Emmys for Outstanding Supporting Actor in a Comedy Series in 2011 and 2014 for his role, as well as a Screen Actors’ Guild Award in 2013. Outside of that, Burrell also voiced the character of Peabody in the animated movie Mr. Peabody & Sherman (2014), and was cast as Jean Pierre Napoleon, the French Interpol agent, in Muppets Most Wanted (2015).

For Charlie and Jenny, Dory’s parents, they spent much of Dory’s childhood trying to prepare her for life with short-term memory loss, which can be a struggle, as well as the fear that Dory may end up forgetting them because of it. After Dory goes missing, her parents search for her, but despite the length of time that has passed, they never lose hope that Dory may return to them, doing the smart thing and staying in one place instead of scouring the ocean for her. They leave out trails of shells like they used to when Dory was little, to help lead her home. They are ecstatic when Dory does come back to them and they return home with her, ensuring that they will never be separated from her again.

Eugene Levy and Diane Keaton voice Charlie and Jenny. Both have had incredible careers, so here are some highlights from their acting careers. In more recent years, Levy is known for being the co-creator and actor behind the character of Johnny Rose in Schitt’s Creek (2015-20), winning Emmy awards for Outstanding Lead Actor and Outstanding Comedy Series in 2020. His son, Daniel, also co-created the series and played David Rose. Levy played a version of himself in Season 4 of Only Murders in the Building (2021-present), and currently hosts the travelogue series The Reluctant Traveler on AppleTV+ (2023-present). Other past roles Levy may be known for are his recurring role as Noah Levenstein in the American Pie film series, and as Dr. Walter Kornbluth in Splash (1984).

Diane Keaton’s earlier roles include playing Kay Adams-Corleone in The Godfather series, as well as starring in the title roll of Annie Hall (1977), for which she won the Academy Award, the BAFTA Award, and a Golden Globe Award for Best Actress. She also starred alongside Steve Martin as Nina Banks in Father of the Bride (1991) and Father of the Bride Part II (1995), which Eugene Levy also had small cameo roles in. She was later cast as Erica Barry opposite Jack Nicholson in the romantic comedy film Something’s Gotta Give, winning the Golden Globe for Best Actress. In more recent years, she played Diane in Book Club (2018) and its 2023 sequel, with Jane Fonda, Candice Bergen, and Mary Steenburgen.

There is also Fluke and Rudder, the lazy sea lions who sit on a rock outside the institute all day, protecting this rock from odd sea lion Gerald. They are very protective of their rock, and only use it as leverage to Gerald’s pale being shooing him away. I wonder what Gerald ever did to them to make them react in this way? Gerald gets his own back though, because when Fluke and Rudder do decide to leave the rock to watch Dory’s plan with the truck in action, he takes over the rock – although I’m sure Fluke and Rudder were able to get it back from him!

Fluke was voiced by Idris Elba, who voiced characters for two other movies for Disney in 2016: Chief Bogo in Disney’s Zootopia, and Shere Khan for The Jungle Book live-action. Elba has continued to voice act, for example with his role as Knuckles in the Sonic the Hedgehog series. On television, Idris Elba appeared as Stringer Bell in The Wire (2002-08), and starred as DCI John Luther in the BBC series Luther (2010-19), for which he won a Critics’ Choice Television award, a Golden Globe award, and a SAG award. Elba also portrays Heimdall in the Marvel Cinematic Universe.

Dominic West voiced Rudder. He had previously played Detective Jimmy McNulty in The Wire, and portrayed Fred West in the British TV movie Appropriate Adult (2011), winning a BAFTA for his role. He was cast as Noah in the series The Affair (2014-19), winning Satellite Awards for Best Actor in a TV Series – Drama in 2015 and 2016. West was also cast as Prince Charles in Seasons 5 and 6 of The Crown (2016-23) for Netflix, and currently plays Lieutenant Colonel Dudley Clarke in SAS: Rogue Heroes (2022-present). Other recent roles include Dr. Chris Cox in comedy-drama series Brassic (2019-25) and Guy Dexter in Downton Abbey: A New Era (2022) and The Grand Finale (2025).

Other characters who return in Finding Dory include Crush the sea turtle, who guides Marlin, Dory, and Nemo to California, still voiced by Andrew Stanton, director of both Finding Nemo and Finding Dory, and Mr. Ray, Nemo’s teacher, who takes them to the ray migration, also still voiced by Pixar story man Bob Peterson. Another Pixar employee to voice a character here is Torbin Xan Bullock, an editor for Pixar, who voiced Gerald.

There are many cameo roles in Finding Dory too. One is Sigourney Weaver who provides the voice of the public messages at the Marine Life Institute, such as the aim of the institute to “rescue, rehabilitate, and release” creatures to the ocean. Weaver won Golden Globes for Best Actress in a Motion Picture – Drama for her role as Dian Fossey in Gorillas in the Mist (1988), and for Best Supporting Actress as Katharine Parker in Working Girl (1988). Weaver is also known for playing Ellen Ripley in the Alien franchise, as well as Dr. Grace Augustine in the Avatar films, and even Dr. Rebecca Gorin in the Ghostbusters movies. For Pixar, Weaver was the voice of Axiom in WALL-E (2008).

Then, we have Stan and Inez, the two kelp bass who try to help lost baby Dory at the start of the film. They were voiced by Bill Hader and Kate McKinnon, both former cast members of Saturday Night Live (1975-present). Hader was there from 2005 until 2013, and McKinnon from 2012 to 2022. Hader also voiced a few characters for Disney and Pixar movies, such as Fear for Inside Out (2015); J.P. Spamley in Ralph Breaks the Internet (2018); and Featheringhamstan in Lightyear (2022). He voiced the main role of Flint Lockwood in Sony Pictures’ Cloudy with a Chance of Meatballs (2009) and its 2013 sequel; and Guy Gagné in DreamWorks’ Turbo (2013). McKinnon is no stranger to voice acting either, having voiced Stella and Eva in The Angry Birds Movie (2016). She was also the voice of Miss Frizzle in The Magic School Bus Rides Again (2017-21). Both actors have appeared in numerous comedy movies, such as Hader playing Dr. Aaron Conners in Trainwreck (2015) and George Custer in Night at the Museum: Battle of the Smithsonian (2009); and McKinnon for her roles as Weird Barbie in Barbie (2023) and Morgan Freeman – not the actor – in The Spy Who Dumped Me (2018), alongside Mila Kunis.

The whole “Tank Gang” from Finding Nemo also reprise their voice roles for a special post-credits scene in Finding Dory, where they are “rescued” by employees at the Marine Life Institute after being spotted in their plastic bags, now covered in algae. This includes Willem Dafoe as Gill; Brad Garrett as Bloat; Alison Janney as Peach; Austin Pendleton as Gurgle; Stephen Rott as Bubbles; and Vicki Lewis as Deb. The voice of Jacques the cleaner shrimp was replaced by Jerome Ranft, the brother of Jacques’ original voice actor Joe Ranft, and also an employee at Pixar.

Finally, John Ratzenberger, who voiced a character in every Pixar movie up until Onward (2020), including Hamm in Toy Story franchise, and returned as a voice cameo for the studio in Inside Out 2 (2024), voiced Bill the crab in the Open Ocean exhibit.

PRODUCTION

Given the 13-year gap between Finding Nemo and Finding Dory, it might be assumed that Pixar never intended to make a sequel to Finding Nemo, at least not initially. However, it has been reported that around 2005, Disney tasked Circle 7 Animation, a division of Walt Disney Feature Animation that only lasted from 2004 to 2006, with making a Finding Nemo 2. At the time, they’d also planned to make a Monsters, Inc. 2 and a different version of Toy Story 3, as a way of using Pixar properties. Allegedly, Finding Nemo 2 was meant to see Nemo and his long-lost twin brother go on a mission to rescue Marlin from an aquarium[1].

Luckily, once Pixar and Disney came to an agreement for Disney to acquire Pixar in 2006, this animation division was shut down and these ideas were scrapped, allowing Pixar to leave the decision of what happened with Finding Nemo in the capable hands of Pixar employees, namely the movie’s director Andrew Stanton.

Stanton has admitted that rarely does he watch the movies he’s made after their release, because during the development process, movies have to be screened and watched so many times to make sure they are on the right track.

But around 2010, Stanton had to watch the 3D version of Finding Nemo to sign it off for its release. Finding Nemo in 3D was available for a limited time at theatres during 2012, for Finding Nemo’s 10th anniversary. Whilst watching, Stanton started to wonder how easily Dory could get lost again, and he began to feel worried for this character, that she might forget about her new family with Marlin and Nemo because she’d seemingly already lost her actual family. All the backstory that had been given to Dory for Finding Nemo was that she had been swimming alone in the ocean for many years before she met Marlin, and that she was probably overly optimistic and positive because her memory loss problem had caused some to abandon her, meaning Dory puts on a façade to get fish to like her and stay with her. That’s a clear reason why she got upset whenever Marlin said he wanted to continue his journey to find Nemo without her. Now, Stanton was wondering where Dory was from, what happened to her parents, and just how much could her memory deal with.

Stanton began to discuss this idea privately with co-workers, not wanting to cause mayhem at the Pixar studios with talk of “Finding Nemo 2”. Once he’d thought it over more and had a story together, focusing on Dory’s emotional memory, instead of her memory of names, locations etc., Stanton pitched it to John Lasseter, then Chief Creative Officer of both Pixar and Walt Disney Feature Animation, around early 2012. Lasseter was happy to greenlight this endeavour so Stanton hired a writer to work on the story further. I assume this writer was Victoria Strouse, credited as co-writer of Finding Dory’s screenplay. Strouse went on to co-write the movies Let It Snow (2019) and Family Switch (2023), both for Netflix[2].

Now that Finding Dory was happening, the story needed some work before locking that in and moving on to animation. This required many rewrites as well as numerous areas of research. It also required the team to push away the fear of making a sequel, which is deemed to be even harder than making an original movie because most of the characters are already there, and parameters have been set in terms of their characteristics and behaviours, so these cannot be changed. The team working on Finding Dory said they had to forget they were making a sequel and just try to make the best film they could[3].

The initial concept for Finding Dory was always going to be about Dory finding home, but how could they make that happen for a character who has short-term memory loss? This concept came from the fact that goldfish memory apparently only lasts around five seconds. Goldfish can’t “cure” their “memory loss”, so why should Dory? But not being able to remember your home is quite an obstacle to finding it, so there had to be a way of triggering Dory’s memories. In the final film, we see that Dory’s memory of her past is triggered by certain things, like seeing a shell, or hearing about an undertow. Nemo then manages to trigger a whole flood of memories when he mentions “the Jewel of Morro Bay, California”, the phrase Dory was mumbling when she was in shock from being swept away by the undertow at the ray migration[4]. This was going to be something Nemo heard while Dory was “sleep swimming”, with this sequence being completely finished and even used in the Finding Dory teaser trailer before being cut. The idea of a flood of memories is quite accurate to real-life because our memories can be recalled through something simple, like a smell or a song.

But how would Dory find her home? She’d have to cross the whole ocean to get there, and where would she even be going? In a deleted scene, an initial idea for this was that Dory would have a migratory instinct, where her fins would guide her home, this being something that Nemo had learnt about at school. Nemo and Marlin would’ve been right with Dory as she began her journey, simply following her fins. There was also a big-mouthed clam in this deleted scene who was meant to be Marlin’s nosy neighbourhood, who would tell Dory that her memory loss must be linked to some sort of childhood trauma. In the end, the character of the clam was added to the final movie, in the pond that Marlin and Nemo get into via the institute’s splash pad fountains, who just talks about himself and his sad love life! This clam was voiced by director of Finding Dory Andrew Stanton.

Another idea that appeared in an early scene that was later cut but appeared in the final film was the ray migration. Originally, Dory was meant to take Nemo to the ray migration alone, something Marlin isn’t sure about but feels guilted into agreeing to. He tells Dory to be hyperaware of her surroundings and if either she or Nemo gets separated, they should wait under a ledge. On the day of the migration, Nemo and Dory arrive together, but Dory gets distracted after seeing two blue fish who she thinks are her parents. She chases after them and then forgets what she was doing. She goes home with some other fish. Once home, Marlin asks where Nemo is and is furious to see Dory forgot about him. She couldn’t even remember taking him to the ray migration. Luckily, Nemo did as he was told and waited under a ledge until Marlin and Dory find him.

One of the more annoying character points that was quickly removed was that Dory’s parents were also going to have memory loss. This came from a line in Finding Nemo where Dory explains her short-term memory loss, saying it runs in her family, or at least, she thinks it does. This meant that Dory’s parents also forgot about her, so when Dory did eventually find home in a cut scene, she saw no-one there, and swum out to sea. Dory’s parents were told to use their fins to find their home via this homing instinct that was used in another deleted scene. They would eventually find home and Dory, with the parents apologising for not remembering her. However, it soon became clear that having three characters with memory loss was irritating, plus, having parents who can’t remember their child is not ideal! Because Dory only says she thinks memory loss runs in her family, this element of the story could be removed, simply accepting that Dory was wrong on this fact[5].

Something that Andrew Stanton had initially wanted to do with Finding Nemo was tell Marlin’s backstory about his life with Coral through the form of flashbacks, but this concept didn’t work and just made Marlin a difficult character to like. But for Finding Dory, Stanton got to experiment with flashbacks once more, for Dory’s backstory.

There were multiple different prologues that were made to open the story, revolving around Dory’s childhood. The first would’ve seen Marlin bumping into Dory as per their meeting in Finding Nemo, going all the way up to them meeting Bruce. Marlin would’ve then beaten him up and caused all the sea mines to explodes. Obviously, that never happened in the original movie and that is because this is Marlin’s parent presentation at Nemo’s school, talking about his journey to rescue Nemo. A kid asks about Dory’s family, confusing her and making her think. Marlin says Dory is part of their family and there’s no need for further questions. This led Nemo to become concerned that Dory might leave to find her family.

Another prologue showed young Dory getting lost and floating out to sea, before going to the scene from Finding Nemo of Marlin bumping into Dory whilst searching for the diver’s boat. There was also a third prologue that involved Dory’s parents’ memory loss, apparently something that affects all blue tangs. The three go on a walk together and repeat the same conversation over and over again, but when Dory chases after a fish, she gets lost. Dory kept swimming until she bumps into Marlin like in the first film. A fourth version was closer to the final film but gave away too much of Dory’s backstory, showing instantly how she got lost, i.e., by being sucked into the pipes by the undertow in her exhibit.

Finally, another set of deleted scenes was meant to include the “tank gang” from Finding Nemo, who were meant to help Marlin and Nemo get into the institute to save Dory via a series of complicated military-like plans, including riding on flying fish and loons[6].

Research in the real world was also helpful in cementing the story of Finding Dory. For example, Pixar spent a lot of time at the Monterey Bay Aquarium, south of San Francisco, and based their Marine Life Institute on the layout of this aquarium, as they’d explored public areas and backstage areas. The Marine Life Institute was decided to be the setting of Finding Dory based on clues given about Dory’s character in the first movie, like being able to read showing that she had to be somewhere near humans, and how she can speak whale, meaning she needed to be around whales at some point in her life. New characters were also added to match the location of coastal California, which is why there are otters and sea lions here[7]. Other places they went to include the Vancouver Aquarium and the Marine Mammal Center in California to get further information on what a place like the Marine Life Institute would look like.

It’s also been said that the documentary film Blackfish (2013), about orca whales in captivity and their behaviours, with a particular emphasis on SeaWorld’s duty of care, or lack thereof, to their orcas and personnel. Blackfish was a sensational documentary, containing many claims and questions that were quite damning, and was very popular on its release. The Pixar team watched Blackfish and John Lasseter and Andrew Stanton sat down to discuss it with Blackfish director Gabriela Cowperthwaite. It has been assumed that Pixar adjusted their Finding Dory story based on this documentary, suggesting that perhaps it was meant to be set in an aquatic theme park but was later changed to a rehabilitation centre, to avoid too many comparisons with parks like SeaWorld. It’s also been said that releasing the sea creatures back into the ocean was added in to the story based on this documentary[8]. Pixar hasn’t commented on exactly how Blackfish impacted Finding Dory, only saying that it was just one area of research that they undertook during the development process.

With a concrete story in place, work could begin on animating it. One thing to note is that all the work done on Finding Nemo is not simply stored in Pixar’s computers, ready to use again if needed. Everything had to be rebuilt and recreated again, however, the benefit of a 13-year gap between movies was that there had been many improvements to technology around imagery and rendering, such as Pixar adopting the new technology RIS, the next-generation of RenderMan, Pixar’s core system to render animation and visual effects. This helped deal with light in more sophisticated and accurate ways[9]. Since they knew they were going to use a replay of the scene of Dory and Marlin meeting in Finding Nemo as part of the opening sequence of Finding Dory, this was a good test to see how much could be changed from the original film[10].

There were also plenty of new sets to create as well as new characters. One of these new characters that particularly benefitted from new technology was Hank the septopus, although even then, making a flexible character on a computer was a challenge. Hank was the most complicated character that Pixar had ever made. Drawings of the character looked good but having to animated him on computer filled animators with a mixture of excitement and dread! It was exciting to see how he could camouflage and move around on land, solving the logistical problem of Dory making her way through the human world, but with all those tentacles and that squishy body, shapeshifting and changing colour, it took a while to figure him out. It apparently takes between six and nine months to create characters at Pixar, but it took over two years to work out Hank!

To research the character, Pixar workers went backstage at the Monterey Bay Aquarium to feed and interact with an octopus. They found that the suckers on their tentacles are incredibly strong, and that they like to escape in real-life, by using their tentacles to open hatches and lids, sometimes just creeping their tentacles up and over the lip of their tanks. The animators also looked to Kaa from Disney’s The Jungle Book (1967) as a reference point for animating Hank’s tentacles.

Randomly, Hank was meant to be addicted to hot sauce, and would drink it all over the park, but this became distracting, so was removed. No doubt that would’ve made the animation even harder as well! Another thing that was removed was Hank’s eighth tentacle, which helped with the animation, since they had one less tentacle to work with[11].

Pixar can’t have a movie without Easter eggs so naturally, these were included in Finding Dory. For example, A113, referencing the room at CalArts where some of Pixar’s animators studied, can be seen on Fluke and Rudder’s tags, with one saying “A1” and the other “13”. It is also on the licence plate of the institute’s truck, as “CAL A113”. The Pizza Planet truck can seen rusting away in the Shipping Lanes scene. In reference to Pixar’s next movie, a Lightning McQueen plaster can be seen on the hand of the truck driver; the Pixar movie to follow Finding Dory was Cars 3 (2017). In The Good Dinosaur (2015), the movie preceding Finding Dory, Hank was spotted in a pool of water that Arlo the dinosaur falls into.

Some other Easter eggs include the Marine Life Institute’s motorboat reading “1200 PA”, referring to the address of Pixar’s headquarters, 1200 Park Avenue. In quarantine, there is a pipe with “Seawater Supply TL59” written on to it. This is a nod to a similar pipe in the Disneyland attraction Finding Nemo Submarine Voyage, which itself refers to 1959, the original opening date of Submarine Voyage, and Tomorrowland, its location.

MUSIC

The Finding Dory soundtrack consists of mostly instrumentals from another ocean-inspired score, composed by Thomas Newman. Newman composed the score for Finding Nemo (2003), as well as WALL-E (2008) and Elemental (2023), also for Pixar.

Within the score, there is a mixture of pieces that evoke the excitement of a long-awaited journey, as well as the perils and dangers of that journey. “Finding Dory (Main Title)” is a stand-out piece within the score, as it manages to capture some of Dory’s child-like spirit and joy, and uses abstract vocals to get the feel of marine noises travelling through the sea[12].  “Lost at Sea” also has similar elements to it, as it continues Dory’s journey through the sea as a child, desperately trying to remember her parents and where they are. Elements of “Main Title” appear again in “Quite a View” for when Dory and Marlin sit at the drop-off and just take in the view at the very end of the film. Some of the music that is used for scenes at the Marine Life Institute are quite calming, matching the feeling that we get at the aquarium, where everything seems slower and more relaxed as we watch fish swimming around in their tanks. This is felt during pieces like “Sigourney Weaver” and “Open Ocean”. I also like “…Shells”, which plays when Dory reunites with her family.

I like the calmer, more emotional pieces of music in any score, but others that have a sense of threat include ones like “Hands!” for when Dory and Hank get trapped in the Kid Zone, and “Okay with Crazy” as Dory and Hank hijack the institute’s truck.

There are only two songs credited in Finding Dory and only one of these features on the official soundtrack. This is the End Credits song “Unforgettable”, written by Irving Gordon and performed by Sia. It is a cover of the song which was previously recorded by Nat King Cole in 1951, and featured on his 1952 album of the same name. I don’t really understand why Pixar chose to use “Unforgettable” as their End Credits song, other than it is a clear reference to Dory’s memory, where she has memory loss, but did not forget her family. However, I find Sia’s version of this song quite haunting, as many of her songs, especially the slower ones, tend to be. Not that I have a problem with that normally; I like a lot of Sia’s music, but I don’t think her version of “Unforgettable” fits here. I was expecting a more upbeat, positive song to end the movie, like Finding Nemo’s “Beyond the Sea”.  

The other song credited in Finding Dory is “What a Wonderful World”, written by Robert Thiele and George David Weiss, and performed by Louis Armstrong. This song was originally recorded in 1967. Here, the song is used to accompany the slow-motion sequence of the Marine Life Institute’s truck tumbling into the ocean, spilling all of the marine creatures back to their home. The song is naturally quite relaxing and calming, so it’s fun to see it combined with a scene that would actually be quite disturbing and shocking to see in person; I suppose that was the joke!

There is another small song that shouldn’t be forgotten and that is the rays’ migration song, “O, We’re Going Home”. It is sung by the group of rays as they pass by the field trip on their way home as part of their migration journey. It’s fun, it’s loud, and it lets us in on just why Mr. Ray sings so much! It is unclear who specifically performs this song, but the lyrics were written by Finding Dory screenwriters Andrew Stanton and Victoria Strouse, and Pixar story man Bob Peterson, voice of Mr. Ray.

Finding Dory’s soundtrack was not nominated for as many awards as the Finding Nemo soundtrack, not even at the Annies. However, it was nominated at the Hollywood Music in Media Awards for Best Original Score in an Animated Film, but it did not win; Alexandre Desplat’s work on The Secret Life of Pets (2016) did. Newman himself was nominated for Soundtrack Composer of the Year in 2016 at the World Soundtrack Awards, for his work on Spectre (2015), Bridge of Spies (2015), and Finding Dory, but lost out to Carter Burwell, for his music on movies like Hail, Caeser! (2016) and Carol (2015).

RECEPTION

At the 2015 D23 Expo Panel for Pixar, they spoke about The Good Dinosaur, which was to be released in November 2015, originally the release slot for Finding Dory, but both were pushed back. Finding Dory was obviously mentioned too, with Andrew Stanton, Angus MacLane, co-director of Finding Dory, on stage to discuss it. Angus MacLane had worked at Pixar since 1997, working as an animator on some of their biggest movies like Up (2009), Toy Story 3 (2010), and Finding Nemo (2003). He later directed the Toy Story spin-off Lightyear (2022), and was subsequently let go from Pixar in 2023 as part of a company restructuring. MacLane and Stanton introduced the voice actors on stage, Ellen DeGeneres, Ed O’Neill, Ty Burrell, and Kaitlin Olson, and their characters were discussed, with some footage from Finding Dory being shown to attendees.

After a premiere at the El Capitan Theatre in Los Angeles on 8th June 2016, Finding Dory was widely released in the US on 17th June 2016, making its way to other countries over the following months. Unlike Finding Nemo, Finding Dory was released in both IMAX and 3D at the time of its initial release. The new short Piper (2016), about a little sandpiper trying to balance eating with a fear of drowning, learning how to act like a hermit crab in the process, was released alongside Finding Dory. It is one of three shorts at the Disney & Pixar Short Film Festival attraction in Epcot at the Walt Disney World Resort.

Finding Nemo has made around $940 million at the box-office worldwide, over two releases. It was the most successful animated movie of all time until Toy Story 3 in 2010. How would Finding Dory do? Early signs were incredibly positive as Finding Dory raked in $136.2 million in its domestic opening weekend. The global opening for that weekend increased the figure to $186.2 million, and the movie had $200 million by the end of its first week, with many international markets, like the UK and Germany still waiting for the movie.

Finding Dory broke records for: the opening weekend for an animated movie; the largest single day for an animated movie; and the largest opening day for an animated movie. It also beat the domestic opening weekends of all previous Pixar movies, including Toy Story 3 with $110.3 million and 2015’s Inside Out with $90.4 million. It even beat Disney Animation’s recent hits of Zootopia (2016), with $75.06 million, and Frozen (2013) and its $67.39 million[13]. Finding Dory crossed the $1 billion mark on 9th October 2016, becoming only the second film in Pixar history, after Toy Story 3, to reach this figure. It settled at $1.029 billion. Finding Dory was only the fifth animated film to take $1 billion of box-office revenue, after Frozen (2013), Minions (2015), and Zootopia, and Toy Story 3[14]. It peaked at No. 4 on the list of highest-grossing animated films at the time.

With help from Finding Dory, as well as a whole list of other movies Disney released in 2016, including Captain America: Civil War, Zootopia, and the remake of The Jungle Book, the studio crossed the $2 billion mark at the domestic box office on 16th July 2016. A week earlier, Disney surpassed the $5 billion mark globally, and crossed $3 billion in international grosses on 6th July 2016. In the second-half of 2016, they also released Pete’s Dragon, Doctor Strange, Rogue One: A Star Wars Story, and Moana, so even more money was awaiting them by the end of the year[15].

Finding Dory was met with mostly positive reviews, who enjoyed the beautiful animation, and the new characters and voice cameos. Hank was considered to be a fun new sidekick, and many liked how the movie had deepened Dory, making her more of a sympathetic character with those adorably cute childhood scenes. It was funny, moving, charming, and warm, as we’d all expect from Pixar. It was considered to be a sequel that worked for the majority of viewers.

But you can’t please everyone, and this being a sequel meant it was always open to scrutiny and comparison. It is no secret that Finding Dory follows a similar story to that of Finding Nemo, and for some, that simply isn’t enough to warrant a sequel. That didn’t bother me with Finding Dory because I liked the new setting, but I can understand this opinion. Others said it was just not as good as Finding Nemo and was pretty unnecessary.

This sentiment could be seen as being reflected in awards season as Finding Dory did not receive as much acclaim as Finding Nemo did. For example, Finding Nemo won the Academy Award for Best Animated Film, and cleaned up at the Annie Awards. In comparison, Finding Dory was not even nominated for Best Animated Feature Film at the Oscars, although Disney’s Zootopia and Moana were, with Zootopia winning. Piper, the short Pixar film that accompanied Finding Dory in theatres, did, however, win Best Animated Short Film here. At the Annie Awards, Finding Dory was nominated for Best Animated Feature but once again lost to Zootopia. It was also nominated for Outstanding Achievement in Character Animation, and Storyboarding, but lost to Jan Maas for Kubo and the Two Strings, and Dean Wellins for Zootopia, respectively. Piper once again won Best Animated Short Subject though. But, at the Saturn Awards, Finding Dory did win Best Animated Film. 

Finding Dory won other awards, including Favorite Animated Movie at the 2017 Kids’ Choice Awards and Ellen DeGeneres won Favorite Voice for Dory. The ensemble cast won the #Squad award here. At the Teen Choice Awards, Finding Dory won Choice Movie: Summer, and Ellen DeGeneres won for Choice Movie Actress: Summer. The film also won Favorite Movie and Favorite Family Movie at the People’s Choice Awards. DeGeneres won for Favorite Animated Movie Voice once again. I guess this shows that Finding Dory was not considered the amazing animated feat that Finding Nemo was but that it was still popular.

LEGACY

After Finding Dory was released, a short movie called Marine Life Interviews was released exclusively on the Finding Dory Blu-Ray. It is similar to Aardman Animations Creature Comforts, where the animals are being interviewed, answering questions about their time with Dory. Outside of that, there have been some other short episodes of Disney+ series themed to Finding Dory. One is an episode of Pixar: In Real Life, released in 2019, where the scene of Hank and Dory using a stroller to get round the Marine Life Institute is recreated in real life. Another is a Pixar Popcorn episode, from 2021, where Dory finds different trinkets on the ocean floor; and a LEGO Pixar: BrickToons short, titled Field Trip from 2024, showing LEGO versions of the characters going on a school field trip to a shipwreck. There is also talk of a National Geographic series called The Real Finding Nemo, announced at the end of 2024. This will follow in the footsteps of the A Real Bug’s Life series.

The Disney Parks have been representing the characters of Finding Nemo ever since its release in 2003, in parades, shows, and attractions. So, some of these experiences already existed before Finding Dory was released in 2016, but others opened later, and there are some experiences that were revamped to include characters from Finding Dory.

For example, at the Walt Disney World Resort in Florida, The Living Seas pavilion at Epcot closed in August 2005, reopening as The Seas with Nemo & Friends alongside a new attraction and updated aquarium space in January 2007. Here, there is the interactive show Turtle Talk with Crush, which opened in 2004. It uses a mixture of digital puppetry, image projection, and improvisation by an actor in real-time to make guests feel like they are having a conversation with fan-favourite Finding Nemo character Crush the sea turtle. Children can even ask Crush questions. A version of Turtle Talk with Crush exists at Disney California Adventure Park at Disneyland, opening in July 2005, and at Tokyo DisneySea in October 2009, which opened in October 2009. A similar show also exists at the Animator’s Palate restaurant on the Disney Cruise Line, and Walt Disney Imagineering even donated a Turtle Talk with Crush unit to the Children’s Hospital of Orange County in California in 2013. Ahead of Finding Dory’s June release date, characters like Dory, Destiny, Bailey, Hank, and Squirt were added to the shows at Walt Disney World, Tokyo Disneyland, and Disneyland[16]. Due to the live nature of this show, Turtle Talk with Crush will be different every time you watch.

At Disney’s Animal Kingdom Park at Walt Disney World, Finding Nemo – The Musical opened at the Theater in the Wild on 24th January 2007. Finding Nemo – The Musical was a roughly forty-minute show, featuring live actors and elaborate puppetry. Finding Nemo – The Musical closed in 2020 for the COVID-19 pandemic closures. When it reopened in June 2022, the show reopened as Finding Nemo: The Big Blue…and Beyond! This show is now about 25 minutes long, and includes an opening sequence relating to the Marine Life Institute in Finding Dory, complete with Sigourney Weaver’s narration. Here, we see the Tank Gang from Finding Nemo getting ready to be released back into the ocean after a stay at the institute – they were picked up by institute workers at the end of Finding Dory – and them explaining how they got there, taking us back to the events of Finding Nemo. Some songs were cut from the original musical, including my favourite song, and more of the story was condensed. The ending of the musical sees the Tank Gang released from the institute and finding Nemo to see how he’s getting on at home. There is also a golden statue of Nemo and Dory at this park, as part of the Fab 50 Character Collection installed throughout Walt Disney World for the resort’s 50th anniversary in 2021.

There is also a Walt Disney World hotel that features suites and courtyards themed to Finding Nemo, alongside those themed to The Lion King (1994), Cars (2006), and The Little Mermaid (1989). This hotel is Disney’s Art of Animation Resort, which officially opened on 31st May 2012, becoming Walt Disney World’s 26th resort. The Finding Nemo suites opened first on 31st May with décor to match the movie’s settings and the main pool area of the resort is based on the film.

Speaking of hotels, at Disneyland, their newly renovated Pixar Place Hotel opened in January 2024, along with a new pool area, which is themed to Finding Nemo and Finding Dory and their characters. It consists of a splash pad area called Nemo’s Cove, and Crush’s Surfin’ Slide. Pixar Place Hotel itself is themed to Pixar and its movies, so you may find some Finding Nemo or Finding Dory artwork or Easter eggs when exploring the space.

Outside of that, Pixar Pier, which opened at Disney California Adventure in June 2018 as a retheme of Paradise Pier, has a few references to Finding Nemo and Finding Dory including a billboard featuring Gerald, Fluke, Rudder, the sea lions, and Dory. The Pixar Pal-A-Round Ferris wheel attraction here also has character-themed gondolas, with Dory and Nemo just two featured Pixar characters. At the Lamplight Lounge restaurant, you may also see some small references to the artwork of Finding Nemo and Finding Dory. Sadly, since the characters of these movies cannot walk around the park unlike other Pixar characters, they were not referenced much at Pixar Fest here in 2024, but they were included as projections for the Together Forever fireworks show during this festival.

At Disneyland, along with Turtle Talk with Crush, the biggest Finding Nemo addition to Disneyland was the reimagining of the Submarine Voyage ride at Tomorrowland in the original Disneyland Park. Submarine Voyage opened in 1959. Finding Nemo Submarine Voyage opened in June 2007. Finding Nemo Submarine Voyage now follows the story of visitors helping Marlin and Dory find Nemo once again and characters from the movie are projected into the water scenes, similarly to The Seas with Nemo & Friends attraction, at points throughout the ride[17]. Dory and Nemo were also added to it’s a small world here.

Outside of the US, there are some other Finding Nemo and Finding Dory attractions and experiences. At Disneyland Paris, specifically at the Walt Disney Studios Park – soon to reopen in 2026 as Disney Adventure World – in the Worlds of Pixar area is Crush’s Coaster, a thrilling, spinning rollercoaster, taking you through moments from the film, including the sharks’ shipwreck and a ride through the EAC. It opened in June 2007. At Shanghai Disneyland, there is a play area called the Junior Explorers Camp at Adventure Isle with an area themed to Finding Nemo. Two other areas are themed to The Lion King and Up (2009). At Tomorrowland in Shanghai Disneyland, there is an interactive exhibit called Pixar Adventurous Journey, with exhibits themed to different Pixar movies. One is Finding Nemo.

At Hong Kong Disneyland, there used to be a Turtle Talk with Crush attraction, however, it was only open through the summer of 2008, and did not return. However, you can see Nemo, Dory, and Peach the starfish within the it’s a small world attraction there. At the Disney Explorers Lodge Hotel, there is also a children’s indoor play area themed to Finding Nemo called Nemo’s Recreation Reef. At Tokyo Disneyland, along with their version of Turtle Talk with Crush, a new attraction, Nemo & Friends SeaRider opened at Tokyo DisneySea in 2017, taking over the space previously used by StormRider. This ride is a simulator attraction and takes guests through the Marine Life Institute in a submarine, experiencing moments from the movie and new scenes. You can also see Nemo, Marlin, and Dory within the it’s a small world attraction.

For parades and shows at the Disney Parks, Finding Dory specifically has been used less frequently than Finding Nemo, although a clip of baby Dory with her parents was used in the revamped nighttime show for Disney’s Animal Kingdom, Rivers of Light: We are One back in 2019. This show no longer exists. This same image is used for the Momentous nighttime show at Hong Kong Disneyland, which seems to still be running. Finding Nemo characters are still used in Disney Stars on Parade at Disneyland Paris, with a whole float featuring the characters of Finding Nemo, including Crush, Dory, Bloat, and of course, Nemo. Previous versions of World of Color at Disney California Adventure included clips from Finding Nemo, and Nemo even flew over Disneyland’s Sleeping Beauty castle during the Disneyland Forever fireworks back in 2015 for the park’s 60th anniversary celebration.

On the Disney Cruise Line, there is the Nemo’s Reef water play area on the Disney Fantasy and Disney Dream. On the Disney Wish, Disney Treasure, and Disney Destiny, “Go with the Flow”, from Finding Nemo – The Musical, is performed as part of the Disney Seas the Adventure musical stage show. You can even experience a version of Turtle Talk with Crush at Animator’s Palate on some ships.

Pieces of merchandise have been available over the years since Finding Dory’s release, including toys, clothing, and pins. Finding Dory has not yet reached a milestone anniversary, with its 10th anniversary being in 2026, so Finding Nemo merchandise is more frequently available.

As Pixar continue to announce upcoming sequels to popular properties, I’m sure many are expecting the announcement of a third Finding Nemo movie. Initially, director Andrew Stanton joked that he was too tired to think about making a third film, whereas Ellen DeGeneres said she would consider it if the story for a third movie was good enough. She thought it could be something about new character Hank the septopus. However, in 2024, DeGeneres was asked about whether she would do a third Finding Nemo movie and she categorically said she would not. Yet Pixar said around this time that there were some ideas for a third film. Many fans don’t think there is anywhere they can go with this franchise now, as Finding Dory was incredibly similar to Finding Nemo, and if Dory isn’t going to return with Ellen DeGeneres, they may as well not bother, in my opinion.

FINAL THOUGHTS

Back in 2016, after an amazing year for The Walt Disney Company and their movies, Pixar apparently made an announcement saying they would not be making any more sequels. Since Disney’s record-breaking year encompassed a variety of sequels alongside original movies, this announcement was a bit of a surprise, and is even more surprising to us now, because all anyone wants to make is sequels!

In this case, Pixar said they were misquoted, and simply meant that they had just done a couple of sequels and they had lots of original movies in the works. They reiterated that they only make sequels if the story is good enough and the studio want to do it[18].

Now, I don’t have a problem with the occasional sequel, and Finding Dory was a pretty great one for me, but sequels at Disney and Pixar are getting just a little bit silly now. They’ve actually only made four since Finding Dory, but with the difficult movie-going landscape right now, studios are taking comfort in sequels to bring in those audiences, so they can make some decent profit from these very expensive animated films.

It seems like 2016 was really the start of this sequel-making world we live in, and it has only increased after the COVID-19 pandemic and economic troubles caused many of us to rely on streaming services instead of movie theatres to watch new films.

Finding Dory might have seen Dory reconnect with her family, but it seems to have signalled a disconnect between studios, filmmakers, and their audiences. Sure, sequels make a lot of money if promoted well and have the backing of an audience already, but do too many, and you risk alienating the public.


REFERENCES

[1] Credit: The Disney Classics, ‘Circle 7 Animation (Pixaren’t)’, TheDisneyClassics.com, 4th September 2021.

[2] Credit: Marina Draskovic, ‘Director Andrew Stanton Brings Dory Back’, D23.com, 17th June 2016.

[3] Credit: Zach Johnson, ‘The Making of Finding Dory: Why It Took 13 Years to Make the Finding Nemo sequel’, EOnline.com, 18th October 2016.

[4] Credit: Pixar, “What Were We Talking About?”, from Finding Dory (2016) UK Blu-Ray (2016).

[5] Credit: Matt Singer, ‘Andrew Stanton And Lindsey Collins On ‘Finding Dory’, Making Sequels, And What They Learned From Steve Jobs’, ScreenCrush.com, 14th June 2016.

[6] Credit: Pixar, Deleted Scenes (2016), Disney+.

[7] Credit: BFI, ‘Pixar directors reveal Finding Dory animation secrets’, BFI.org.uk, 19th July 2016.

[8] Credit: Amy Kaufman, ‘‘Blackfish’ gives Pixar second thoughts on ‘Finding Dory’ plot’, LATimes.com, 9th August 2013.

[9] Credit: Disney, ‘Technology Enhances “Finding Dory” Filmmaking Process’, TheWaltDisneyCompany.com, 21st June 2016.

[10] Credit: Matt Singer, ‘Andrew Stanton And Lindsey Collins On ‘Finding Dory’, Making Sequels, And What They Learned From Steve Jobs’, ScreenCrush.com, 14th June 2016.

[11] Credit: Pixar, “The Octopus That Nearly Broke Pixar”, from Finding Dory (2016) UK Blu-Ray (2016).

[12] Credit: Pixar, ‘Dory’s Theme I Finding Dory (2016) Bonus Feature’, Capivaronator YouTube Channel, 28th May 2024.

[13] Credit: Simon Thompson, ‘Why ‘Finding Dory’s Massive Box Office Makes A Third Film Inevitable’, Forbes.com, 23rd June 2016.

[14] Credit: T.J., ‘‘Finding Dory’ Crosses $1 Billion in Worldwide Box Office Revenue’, PixarPost.com, 10th October 2016.

[15] Credit: Disney, ‘Disney Hits 2016 Box Office Milestones in Record Time’, TheWaltDisneyCompany.com, 18th July 2016.

[16] Credit: Jim Korkis, ‘A Friday Visit with Jim Korkis: Turtle Talk with Crush’, YourFirstVisit.net, date unknown.

[17] Credit: Pixar, ‘Reinventing the Submarine Voyage I Finding Nemo’, Special Features Archive YouTube Channel, 16th March 2025.

[18] Credit: BFI, ‘Pixar directors reveal Finding Dory animation secrets’, BFI.org.uk, 19th July 2016.

#5 Finding Nemo (2003)

  1. BACKGROUND
  2. PLOT
  3. CHARACTERS & CAST
  4. PRODUCTION
  5. MUSIC
  6. RECEPTION
  7. LEGACY
  8. FINAL THOUGHTS
  9. REFERENCES

BACKGROUND

Disney Animation might’ve been the king of hit animated movies in the 1990s, but by the 2000s, their crown had slipped – and it moved on over to Pixar. 

Yes, Disney was struggling in this particular decade and wouldn’t recover until 2010. DreamWorks was another animation studio around at the time but their movies felt quite different to Disney and Pixar’s in terms of their level of humour.

Pixar benefited from Disney’s issues as their brand was centred around creating wholesome entertainment for all the family to enjoy, just like Disney. Pixar liked to make movies based on human emotion and experience but set in new fantastical worlds. Pixar had the added bonus of being the masters of computer animation, something most studios were still trying to get to grips with. It’s also worth remembering that Disney had an agreement with Pixar to distribute their movies, so both studios were feeling the financial benefit, even if Disney’s own films were taking the brunt of reviewers’ criticism.

In 2003, after making hit after hit, Pixar returned with their latest outing, Finding Nemo, a story of a father fish’s difficult journey through the ocean to save his son from the confines of a dentist’s fish tank. 

Little did the filmmakers know at that time that not only was Finding Nemo going to be a record breaker and the fifth successive smash hit for the studio, but that this film would become a classic in the years since its release, still being talked about and praised by both critics and regular audiences.

I can’t remember if I watched Finding Nemo at the cinema with my family when it came out but I probably did; I was the right age for it. I mostly remember watching it on DVD a lot but rarely, if ever, was it my decision to watch it. I don’t particularly enjoy the story, partly because of the fact so many movies follow people on journeys, with varying levels of success. It can get quite samey very quickly when you’re simply watching characters get into scrapes at different points, meeting strange creatures on the way.

Despite my lack of love for this film, I can still appreciate its artistry and its casting, understanding why many others have proclaimed Finding Nemo as a masterpiece. I will also happily say that I find Finding Nemo to be very funny, as I do with so many other Pixar films. They have a type of humour entirely their own. 

PLOT

Finding Nemo begins with a clownfish couple, Marlin and Coral, who are getting ready for their hundreds of eggs to hatch. They are excited to be parents, and are talking about names for their children. Marlin believes most should be called either Marlin Jr. or Coral Jr., but Coral likes the name Nemo. Marlin agrees to allow one to be called Nemo. Suddenly, the two notice that the reef around them has gone silent – and that is because a barracuda is about. Coral fears for the safety of her eggs so swims down to protect them, however, the barracuda follows her. Marlin attempts to stop it, but is knocked unconscious. When he regains consciousness, Marlin is devastated to find that Coral and their eggs have gone. Searching around, Marlin finds one of their eggs has survived. Marlin vows to call this one Nemo and will protect this son at all costs, not letting anything happen to him.

Some time has now passed and Nemo is excited for his first day at school. Marlin is not so excited, and is feeling very overprotective, as he is every day of Nemo’s life! All the way to school, Marlin tells Nemo to check the coast is clear before leaving their anemone home, tells him to “hold his fin”, and not swim off. When they arrive at the school “grounds”, Marlin talks to some other parents, who try to calm his fears. Nemo’s teacher, Mr. Ray, a stingray, then arrives. Nemo is welcomed as a new student, but before they can leave for the day, Marlin quickly mentions Nemo’s “lucky fin”, the smaller fin that he was born with, worried that Nemo may struggle with swimming during Mr. Ray’s class. Mr. Ray tells him not to worry and the class leave. Marlin then hears from the other parents that they are going to “the drop-off”, and freaks out, chasing after them.

The class arrive at the drop-off, and whilst the rest of the class listen to Mr. Ray’s teachings, the three children of the parents Marlin was talking to walk off to the edge of the reef, so they can see the real drop-off of the seabed. Nemo goes with them. They see a boat in the distance, incorrectly referring to it as “a butt”. They start to dare each other about who can touch “the butt”, but when it is Nemo’s turn to swim out, he doesn’t want to. However, Marlin comes in at just that moment and is furious with Nemo for putting himself in danger, despite the fact he wasn’t going to do it. Marlin tells Nemo he simply isn’t ready for school and won’t be coming back. Nemo tells his dad he hates him. Mr. Ray comes over to resolve the issue, but as the adults talk, Nemo tries to prove a point to his dad by swimming out to sea. Everyone turns around and is shocked to find Nemo right up against the boat. Marlin warns Nemo not to even think about touching that boat, but Nemo defiantly does. Nemo starts to swim back; however, a diver appears right behind him. This diver puts Nemo into a bag and swims back to his boat. Another diver takes a photograph of Marlin, with the flash dazing him. Marlin tries to swim after the boat but can barely see a thing. The boat starts up its engine and pushes Marlin further away from it. The diver’s mask drops into the ocean.

Marlin tries to follow the boat, but even on the surface, he can’t see the boat anywhere near him. He attempts to ask other fish for help but they ignore him. He then swims right into blue tang Dory. Dory claims to have seen a boat and tells Marlin to follow her. After swimming for a bit, Dory starts to swim erratically, and then confronts Marlin, asking why he is following her. Marlin is confused by this, telling Dory she said she was taking him to the boat. Dory then starts the conversation again, leading Marlin to believe she’s crazy and says they’ve already had this conversation! Dory explains she has short-term memory loss and forgets things almost instantly. Marlin tells Dory she is wasting his time, and goes to leave. Instead, he swims right into great white shark Bruce. Bruce invites the two of them to a “party”. Marlin is immediately suspicious but Dory happily agrees to go. They don’t really have much choice anyway, and Bruce leads the two to a wrecked ship. At the ship, two other sharks are waiting for them and Marlin fears he’s about to be eaten…

But this turns out to be a support group meeting for the sharks, who are attempting to give up eating fish, with their motto being “fish are friends, not food”. At this meeting, Bruce and his friends Chum and Anchor have been tasked with bringing a fish friend to their meeting today. Chum has “misplaced” his friend, actually having eaten it, and Bruce offers Marlin instead, since he brought both Marlin and Dory. The meeting can now start. Bruce says it has been three weeks since he has eaten a fish, and opens up the (sea)floor to anyone else. Dory swims up and says she doesn’t believe she has ever eaten a fish. Marlin is then told to introduce himself to everyone. Marlin starts by saying his name and that he is a clownfish. Whenever someone hears or sees Marlin is a clownfish, they always ask for a joke, as the school parents did, and now the sharks want a joke too. However, Marlin isn’t good at joke-telling and is distracted by a mask in the distance, recognising it as the mask of the diver who took Nemo. Marlin explains the story to the sharks, and Dory comes over to take a look. It has writing on it, so she wants to ask the sharks if they can read it. The two fight over the mask, and it hits Dory in the nose, causing it to bleed. Bruce then smells the blood and reverts back to his predatory nature.

Bruce chases after Dory and Marlin, who swim away quickly, still holding the mask. They get to a dead end, but Dory manages to read the word “escape” and they find a way out of the wrecked ship. They soon find themselves trapped somewhere else though, and the mask has ended up in Bruce’s mouth. Dory finds that the area they are in holds torpedoes and sets one off. It hits Bruce in the mouth, freeing the mask, as well as Dory and Marlin. Bruce throws the bomb from his mouth. He soon comes to his senses again when he realises that bomb is heading right for the sea mines surrounding the ship. They swim away as multiple mines detonate and everything around them explodes.

Back with Nemo, we discover he has been placed in a dentist’s fish tank, with this dentist being the diver, who believes he was saving Nemo from the reef as he was swimming all alone out there. Nemo is terrified about being here, but his fellow “tank mates” soon introduce themselves. They include Bloat the pufferfish, Peach the starfish, and Gill the Moorish idol fish. Nemo is also introduced to Nigel the pelican. The fish soon discover that the dentist has saved Nemo as a birthday present for his niece, Darla. The tank fish are horrified, knowing Darla killed another fish by shaking its bag. Nemo has to get out of there.

Meanwhile, Dory and Marlin have fallen asleep in the mask, which is hanging precariously on the edge of the wrecked ship. The ship starts to move and Marlin wakes Dory. As the two fear being squished by this boat, they drop the mask. The boat settles on an edge, leaving them unharmed. But Marlin wants that mask back – and it fell a really long way down… Dory tries to encourage him to swim into the darkness, by telling him to “just keep swimming”. Soon enough, all the light has vanished. They then come across a random light in the sea. Entranced, they swim right up to it – before realising it is the light of an anglerfish! Marlin and Dory swim away, but Marlin spots the mask on the sea floor. He realised Dory could read on the ship and asks her to read the mask, while he distracts the anglerfish. Dory successfully manages to read the mask, just in time for them to get eaten! Dory and Marlin wait for their deaths – until they realise nothing has happened, because the anglerfish has gotten caught in the mask! They’ll have to leave it there, but thankfully, for once in her life, Dory has remembered what was written on the mask: an address. They need to get to “P. Sherman, 42 Wallaby Way, Sydney”.

That night, in the dentist’s tank, Nemo is woken up by Jacques, a cleaner shrimp, who takes him to the volcano in the tank. Nemo hears the other fish chanting as he is led to the top of the volcano, named “Wannahockaloogie” – get the joke? Gill leads Nemo in his “initiation” into their gang. He is told to swim through the “Ring of Fire”, just the volcano’s bubble eruption. Nemo does so easily. Gill dubs him “Brother Sharkbait” and tells them of his escape plan: to block the tank’s filter so the dentist will have to clean the tank, and get them out to do so. In their bags, they can roll right out the window and down to the harbour.

Back in the ocean, Dory is pleased with herself for remembering the address, repeating it so many times to ensure she doesn’t forget it. Marlin sees a school of moonfish and goes to ask them for directions but they won’t stop and listen to him. Marlin then says to Dory that he wants to go on alone. Dory gets upset and starts to cry, alerting the school of fish who accuse Marlin of upsetting her. The fish start to play charades with Dory in a bid to cheer her up, but Marlin keeps guessing the answers instead, annoying them. The fish do an impression of Marlin, which upsets him and he swims away. Dory explains that he has lost his son and they are trying to get to Sydney. The fish happily tell them the way to get there. They’ll have to ride the East Australian Current, but first, they’ll come across a trench. At this trench, Dory is told specifically to go through it, not over it. Dory thanks them and they head off. At the trench though, Marlin doesn’t like the look of it, seeing it as a way to certain death. He wants to go over it, and won’t listen to Dory’s instinct they should go through it. Marlin distracts Dory, telling her something shiny went over the trench so they start to swim over it. At the top, Dory comes across a tiny jellyfish, who stings her. Marlin bats it away and says thankfully, it was only a little one. However, they are soon surrounded by hundreds of jellyfish. See, Marlin; that’s why you weren’t supposed to go over the trench. Marlin doesn’t believe there is a way through, until he sees Dory bouncing on the top of them. He comes up with a game, a race to get through the jellyfish by only bouncing on them. Dory and Marlin get really competitive and Marlin races ahead, getting through easily. He then notices Dory is not with him, and heads back in to find her. Dory has been stung numerous times and is trapped. Marlin swims right into the jellyfish’s tentacles and saves Dory, getting her out. But both pass out from their stings and begin to float to the bottom of the ocean…

At the dentist’s office in Sydney, the dentist leaves the room, giving the fish the perfect chance to enact their plan. Nemo swims through the filter, and is passed a pebble from the tank. He pushes the pebble into the rotating gear, which jams the filter. Nemo then swims up the tube above the gear to get back to the tank. However, just when everyone thinks it’s done, the pebble moves out of the gear and the filter starts up, sucking Nemo right into the gear. Gill grabs a piece of foliage from the tank and stuffs it up the tube with the help of the others. Nemo manages to grasp it with his teeth and is pulled through. Peach tells Gill not to make Nemo do that again. Traumatised by his own near-death escape, where Gill landed on dentist tools, scarring himself and cutting his fin, he says he won’t.

Marlin wakes up, and is surprised to find himself on the shell of a turtle named Crush. Crush tells Marlin they all saw how he “took on the jellies”, making him an instant legend. Marlin says he needs to get to the East Australian Current and is told by Crush he’s already there. He then asks about Dory, who he sees on a turtle shell below. He goes to her, believing she’s still unconscious. It turns out she’s just playing hide and seek with the younger turtles, who all want to know about Marlin and the jellyfish. This story is then passed through the creatures of the ocean, eventually getting to Nigel the pelican, who manages to tell Nemo that his dad is coming to get him. Motivated by this, Nemo enacts the plan to block the filter again, whilst nobody is watching. As the others notice what Nemo is trying to do, they grab a plant again and tell Nemo to grab it. But everything’s fine; Nemo has already jammed the filter and gotten back. Now, all they have to do is wait for the tank to get dirty!

In the current, Dory and Marlin have reached their exit, and Crush’s son, Squirt pushes them out at the right point, and they ride the current out. Marlin asks Crush how old he is, so he can tell Nemo. Crush is 150 years old “and still young”. Dory and Marlin then just swim straight. After a while, they don’t seem to be getting anywhere and only see one fish in the distance. Dory wants to ask the fish for directions, and realises it is actually a whale. Dory starts speaking whale, but it swims away from them. As they work out what to do next, the whale swallows them. In the whale’s mouth, Marlin starts to lose hope of ever seeing Nemo again. They then see the water level decreasing in the whale’s mouth. Dory “asks” the whale what is going on and she says it wants them to go to the back of the throat. Marlin doesn’t trust the whale not to eat them, so hangs on to the whale’s tongue. Dory wants to follow the instructions and falls down, but Marlin grabs her fin at the last minute. Dory tells him to trust her for once. Eventually, he does and they drop – only to be freed from the whale via its blowhole. They also discover the whale has taken them right to Sydney Harbour.

Yet things aren’t going so well at the tank. Although it got dirty, the dentist installed a new filter overnight so the fish wake up to find it spotless without them being removed. The dentist then tries to fish Nemo out with a net, but the others dive in and swim down, taking the net with them. Nemo is fished out in a bag instead, and left in a box so he can’t roll.

In the harbour, Marlin and Dory look for the diver’s boat but are picked up by a pelican. Marlin refuses to be almost swallowed twice today, and sticks in the pelican’s throat. Nigel sees this pelican choking, because two fish are on his tongue. The pelican spits Dory and Marlin out. Nigel then hears Marlin talking about finding his son and realises he is Nemo’s dad. He wants Marlin and Dory to jump into his mouth but Marlin doesn’t want to do that. They are surrounded by seagulls. Nigel explains that he knows where Nemo is, but the excitement makes Marlin jump up and the seagulls swarm. Nigel grabs Marlin and Dory and flies away from the gulls, leading them on a chase through the harbour.

At the dentist’s office, Darla has arrived and she’s worse than Nemo had imagined, so he plays dead in his bag, believing that the dentist will flush him down the toilet, and the pipes will take him to the ocean, like Gill said. The dentist goes to put him in the bin instead. Nigel arrives at this point, and Marlin forces him into the room, causing chaos. Marlin then sees Nemo in the bag and believes he’s dead. Nigel is forced out of the room and takes Marlin and Dory back to the harbour. Back in the office, Nemo thought he heard his dad so stops playing dead. Darla picks up the bag and starts to shake it, causing Gill to use their tank volcano to launch him onto her head, getting her to drop the bag. The bag breaks on the dentist tools and both Gill and Nemo land, gasping for breath. Gill manages to propel Nemo into the toilet, and Gill is returned to the tank, pleased to have saved Nemo.

Nemo goes on a journey back through the ocean, calling for his dad. Marlin has gone on back home alone, leaving Dory lost. Nemo sees Dory and explains what happened to him. Dory doesn’t twig that this is Marlin’s son though and says she thought she was looking for someone too. Nemo says they can look together. After a minute or two, Dory does actually remember that Nemo is who they were looking for! She asks nearby crabs to tell her where Marlin went, using the surface seagulls to persuade him to tell her! They follow the same direction and Marlin eventually hears Nemo calling. But the reunion doesn’t last long, as Dory is caught in a fish net with hundreds of other fish. Nemo has an idea to save her and goes into the net, telling Marlin to get all the fish to swim down together. Marlin agrees to help, though concerned he’ll never see his son again. The fish are confused initially but work together to swim down, moving the net lower to the ocean floor. The net crashes down, freed from the boat, and the fish swim out. Dory is fine, but left on the bottom of the net is an unconscious Nemo. Marlin swims to him, and he regains consciousness. Marlin then tells Nemo all about his journey, and how he met a 150-year-old sea turtle. They all go home.

At home, Dory has joined the sharks in their bid to not eat fish, and Marlin has become calmer, even being funny for once! Nemo is back at school, and Squirt has joined as an exchange student. Marlin waves goodbye to his son for the day, and Nemo quickly swims back to hug him, saying he loves him. We also learn that the tank fish have broken the dentist’s new filter and had to be removed in plastic bags. They have managed to roll themselves down the harbour and into the sea, pleased with themselves – but wondering what they do now!

CHARACTERS & CAST

Marlin is an incredibly overprotective father, wanting to keep Nemo from harm at all costs. This is because Nemo is his only son, and he has firsthand experience of just how dangerous the ocean can be. He wants Nemo to be safe. Yet this causes friction between him and his son, as Nemo believes his dad doesn’t believe he is capable of looking after himself, even during a day at school. It’s because of this argument that Nemo even swims out to the boat in the first place, trying to prove to his dad that he is fine on his own. If they hadn’t had that conversation, I don’t think Nemo would’ve been taken by the diver. Because of this guilt, Marlin realises he has to put his fear about the ocean aside to rescue his son, knowing the fear of losing him is much worse than anything he’ll experience out at sea.

Albert Brooks was cast as Marlin. Brooks made his acting debut in Taxi Driver (1976), being cast as Tom. He went on to appear as Aaron Altman in the comedy-drama Broadcast News (1987), for which he was nominated for Best Supporting Actor at the Academy Awards.  For voice work, Brooks had voiced a few characters in episodes of The Simpsons (1989-present), leading to him voicing the character of Russ Cargill in The Simpsons Movie (2007). In more recent years, Brooks has been cast as Bernie Rose in the Ryan Gosling film Drive (2011), and was the subject of the documentary Albert Brooks: Defending My Life in 2023. He is set to appear as Governor Bill in Ella McCay (2025).

Dory is the complete opposite of Marlin, not having any fear, perhaps because she can’t remember what fear even feels like, thanks to her short-term memory loss. Dory doesn’t seem to know where she’s going in life so Marlin’s quest gives her a purpose, and something useful to do. She is initially annoying to Marlin, with her forgetfulness and obsession with singing and repeating things over and over again! Dory likes Marlin’s friendship though, seemingly not remembering where her friends are, and doesn’t like the idea of Marlin leaving her, as he tries to do numerous times on their journey, due to his worry about Dory’s unpredictable behaviour. Dory is easily the funniest character in Finding Nemo, and the movie wouldn’t be the same without her. She is the comic next to Marlin’s “straight man”, with their bouncing off each other leading to many good moments and quotable lines.

Dory was voiced by comedian Ellen DeGeneres, who began her career in stand-up comedy. She later starred in the ABC sitcom Ellen (1994-98), which ran for five seasons. Following that, DeGeneres hosted award shows, like the Grammy Awards in 1996 and 1997, as well as the 2001 Primetime Emmy Awards. She starred in the Epcot attraction Ellen’s Energy Adventure at Walt Disney World. This attraction ran from 1996 until 2017, and also starred Bill Nye the Science Guy. Ellen later hosted her own talk show, The Ellen DeGeneres Show, from 2003 until 2022, as well as the game show Ellen’s Game of Games (2017-21). The daytime talk show was popular, winning multiple Daytime Emmy Awards during its time, however, by the late 2010s, allegations had started to surface around a toxic workplace environment, as well as complaints around DeGeneres herself. Since the end of her series, DeGeneres has mostly retreated from the spotlight, and even moved to the UK in late 2024. DeGeneres won the Annie Award for Outstanding Voice Acting; the Kids; Choice Award for Favorite Voice from an Animated Movie; and the Saturn Award for Best Supporting Actress for her role as Dory.

Nemo is Marlin’s curious son. He wants to know all about the ocean and the creatures in it, like sharks and sea turtles. He is frustrated that his father doesn’t seem to think he can do anything for himself, even swim well because of his “lucky fin”. By swimming out to sea and touching the boat, he is aiming to show his father he is perfectly fine, but instead, this gets him taken from the ocean and put into a fish tank. Nemo is scared initially of this new environment and the other fish, but they quickly come to be friends, finding ways to ensure he doesn’t end up as a gift to Darla. Gill in particular comes to be Nemo’s “father figure” whilst away from his dad. With help from him, Nemo is freed and reunited with his father. On returning home, Marlin has made some changes to his parenting style, allowing Nemo more space and the chance to be his own fish.

Alexander Gould voiced Nemo. After Finding Nemo, Gould went on to voice Bambi in the direct-to-video sequel Bambi II (2006), and was cast as Twitch in the children’s comedy film How to Eat Fried Worms (2006). He also had a starring role as Shane Botwin in the comedy-drama series Weeds (2005-12). Gould won Young Artist awards for his roles as both Nemo and Shane Botwin, in 2004 and 2007, respectively.

The “tank gang” consists of an eclectic mix of fish and sea creatures. First, we have Moorish idol fish Gill, who seems to have been taken directly from the ocean, like Nemo, whereas the others were bought online. Gill is the most determined to escape, seeing Nemo as the perfect opportunity to get out, since he is small enough to get in and out of the filter mechanisms. Gill is mysterious, not revealing many details about his life, other than to say his fin was damaged from his escape plan to get into the dentist’s toilet, by landing on dental tools. At first, Gill doesn’t seem to care about Nemo’s safety, seeing him as a tool to get out of the tank, but it soon becomes clear that he does care about Nemo and does not want him to end up with Darla. Him and the others want Nemo to get home to his father.

Gill was voiced by Willem Dafoe. Dafoe first rose to fame with his role as Sergeant Elias in the war movie Platoon (1986), receiving an Academy Award nomination in the Best Supporting Actor category for his role. Dafoe would go on to be nominated in this category twice more: as Bobby in The Florida Project (2017) and as Max Schreck in Shadow of the Vampire (2000). Dafoe would earn a further Oscar nomination for Best Actor for his portrayal of Vincent Van Gogh in At Eternity’s Gate (2018). Dafoe is also known for his role as the Green Goblin in the 2002 Spider-Man movie and its subsequent sequels. More recently, Dafoe starred alongside Emma Stone and Mark Ruffalo in Poor Things (2023), playing Dr. Godwin Baxter. He also portrayed David Tebet in Saturday Night (2024).

As for the rest of the tank gang, we have Bloat the blowfish, who blows up whenever he gets stressed out. Generally, he is a big lovable fish. There is also Peach, the starfish who is a good lookout in the office, knowing when the dentist is doing an exciting procedure or whether he has left the room, since she is stuck to the sides of the tank most of the time. Bubbles is a yellow tang fish who has grown very attached to a little treasure chest in the tank that releases bubbles, hence his name. There is also Gurgle, a royal gamma fish who is obsessed with cleanliness, even insisting Nemo is “decontaminated” by Jacques, the cleaner shrimp, who naturally cleans the tank a lot, on learning Nemo was in the ocean. Deb is a striped damselfish, who is a little bit crazy, believing that her reflection in the tank is her sister Flo. I think Deb in particular has been in this tank a little bit too long!

Brad Garrett voiced Bloat. Garrett starred as Robert Barone in Everybody Loves Raymond (1996-2005), alongside Ray Romano, for which he won three Primetime Emmy Awards for Outstanding Supporting Actor. Known for his distinctive, deep voice, Garrett has voiced other characters for Disney and Pixar, including Dim in A Bug’s Life (1998), Gusteau in Ratatouille (2007), Hook Hand in Tangled (2010) and Eeyore in Christopher Robin (2018). Alison Janney voiced Peach. Janney won multiple Primetime Emmy Awards for her role as C.J. Cregg in The West Wing (1999-2006), going on to appear in various movies including The Help (2011), playing Charlotte Phelan; Bombshell (2019), being cast as Susan Estrich; and, most recently, A Simple Favour (2025), playing Aunt Linda. Janney also won numerous awards, including an Academy Award and a BAFTA for Best Supporting Actress, for her portrayal of LaVona Golden, Tonya Harding’s mother, in I, Tonya (2017).

Bubbles was voiced by Stephen Root. Root was cast as Jimmy James in the sitcom NewsRadio (1995-99), alongside Dave Foley and Vicki Lewis. Root has also voiced the characters of Bill Dauterive and Buck Strickland on King of the Hill (1997-2009, 2025-present). In recent live-action, Root can be seen as Neil Mullin in Bombshell (2019); Jim Hudson in Get Out (2017); and as Tony in Paint (2023). Gurgle was voiced by Austin Pendleton. Pendleton was cast as John Gibbons in the movie My Cousin Vinny (1992), and appears as Marty in Christmas with the Kranks (2004). He was part of the ensemble cast who won a SAG award for A Beautiful Mind (2001). Vicki Lewis was cast as Deb, who played Dina Reams in the Disney Channel Original Movie Den Brother (2010), and Ms. Knightslinger in the DCOM Upside-Down Magic (2020), as well as appearing as Ms. Bitterman in a few episodes of the Disney Channel series Sonny with a Chance (2009-11). Lewis is also known for her role as Beth in NewsRadio. The voice of Jacques was provided by Joe Ranft, who was an artist at Pixar. His first pieces of work included pitching and storyboarding the Green Army Men sequence for Toy Story (1995). He also voiced other characters for Pixar’s movies, including Wheezy in Toy Story 2 (1999) and Heimlich in A Bug’s Life (1998). Ranft died in a car accident in 2005, during production on the movie Cars (2006) which he co-directed[1]. Ranft worked on story for all Pixar films up until then.

There is also Nigel the pelican, who is a friend of the “tank gang”, visiting them often, wanting to get a look at the dentist treating his patients. Apparently, this is a fun activity for animals; not so much for humans! It is because of Nigel that Marlin is able to get into the dentist office, although things take a turn when it is believed that Nemo is dead. Geoffrey Rush was cast as Nigel. Rush has appeared in many projects on stage and screen over the years. He won the Academy Award for Best Actor for his portrayal of pianist David Helfgott in the movie Shine (1996). Rush continued to be nominated for his film roles over the years, including in the Best Supporting Actor category for his roles as Phillip Henslowe in Shakespeare in Love (1998) and Lionel Logue in The King’s Speech (2010). He also won a Primetime Emmy for Outstanding Lead Actor for playing the title role in the HBO movie The Life and Death of Peter Sellers (2004). Rush is also known for playing Captain Barbossa in Disney’s Pirates of the Caribbean film franchise.

The sharks Bruce, Anchor, and Chum are the biggest threat to Marlin and Dory on their search for Nemo, although Dory doesn’t even realise it. They are fine at the start, vowing not to eat fish, and Chum seems to be the one who is most likely to go off the rails. Instead, Bruce smells Dory’s blood when she hits it on the mask and he goes crazy, desperately wanting to eat them. Anchor and Chum try to stop Bruce, attempting to diffuse the situation by saying Bruce never knew his father – which is such a good excuse for wanting to eat someone, isn’t it? In the end, the sharks fear dying from an exploding mine and forget all about Marlin and Dory, giving Bruce an opportunity to come to their senses. By the end of Finding Nemo, Dory and Marlin have befriended the sharks, with Dory helping the sharks on their journey to “vegetarianism”.

Bruce was voiced by Australian comic Barry Humphries, who was well-known for his comedic performances, most notably as the character Dame Edna Everage, having many TV specials as this character in the 1980s and 1990s. Humphries went on to voice the character of Braulio in Justin and the Knights of Valour (2013). He was also the Great Goblin in The Hobbit: An Unexpected Journey (2012) via motion capture. Humphries sadly passed away in 2023. Anchor was voiced by Eric Bana, who came to fame with his role as Norm “Hoot” Gibson in Black Hawk Down (2001). He later played Hector in Troy (2004), and starred as Henry in The Time Traveller’s Wife (2009), with Rachel McAdams. Bruce Spence voiced Chum. He appeared as Cookson, one of Hook’s pirates in the 2003 adaptation of Peter Pan. He went on to play Tion Medon in Star Wars Episode III: The Revenge of the Sith (2005). More recently, he appeared as Gerry in the movie The Dry (2020), with Eric Bana.

Then, we have Crush the sea turtle. Crush is a chilled-out sea turtle, just cruising down the EAC with his friends and family. Nothing bothers Crush, and he is a relaxed parent too. His son, Squirt, falls out of the current, which causes Marlin to panic. Crush tells Marlin to calm down, knowing that Squirt will find his own way back into the current, and sure enough, he does. This shows Marlin that he doesn’t need to hold on so tight to Nemo because kids are resilient and know more than their parents think. Crush was voiced by Finding Nemo’s director, Andrew Stanton. Stanton has been at Pixar since its first feature, and was a co-director on A Bug’s Life (1998) prior to Finding Nemo, continuing to be part of the Pixar Senior Creative Team. Stanton is also writing and directing Toy Story 5 (2026).

Mr. Ray is Nemo’s flamboyant school teacher. Mr. Ray likes to sing to signal his arrival, and just generally sings on his travels! Mr. Ray is a friendly teacher, although he’s not particularly strict, not even noticing four members of his class walking towards the drop-off, risking their safety. He’s too busy looking at something else with his other students. To be honest, the ratio of students to teachers is way too low here, so no wonder an incident like this occurred. Mr. Ray should really look at hiring a teacher assistant… Bob Peterson voiced Mr. Ray and he is also a Pixar employee. Peterson had worked on the earliest Pixar movie, Toy Story (1995), within the animation department, and has continued to work on other Pixar films in both a story and voice acting capacity. For example, Peterson co-wrote the screenplay for Cars 3 (2017), and co-directed Up (2009), also voicing the characters of Alpha and the much-loved Dug. Another Pixar character he has voiced is Roz in Monsters, Inc. (2001). Peterson also wrote, created, and directed the animated short series Dug Days (2021-23), and reprised his voice role of Dug.

Finally, we have John Ratzenberger, Pixar’s “good luck charm”. Ratzenberger voiced a character in every Pixar movie up until Onward (2020), later returning to reprise his voice role of Fritz in Inside Out 2 (2024). He is particularly known for voicing the character of Hamm in the Toy Story franchise. In Finding Nemo, Ratzenberger voiced the school of moonfish, the ones who like to play charades with random swimmers-by.

PRODUCTION

Pixar had already received critical acclaim for their first four movies, starting with Toy Story in 1995. With every release, audiences started to have expectations of the studio and were excited to see what they would come up with next.

It might seem like workers at Pixar would’ve started to feel confident about their movie-making abilities. Even critics were commenting on the studio’s “reliability”, and yet, within the company, all this gave the filmmakers was an increasing amount of pressure to not mess up and ruin their streak of luck.

In the case of Finding Nemo, the team working on this movie were dealing with a tightly controlled budget, after Monsters, Inc. (2001), despite being a hit, had come under fire for its extraordinary budget, with much development work not even making it into the film. They were also only too aware of Brad Bird’s The Incredibles taking much of the focus away from Finding Nemo, since everyone was expecting that movie to be their hit for 2004. Many actually thought Finding Nemo would be a flop, including CEO of The Walt Disney Company at the time, Michael Eisner, who apparently believed it would be Pixar’s first box-office bomb. During the intense production process, even director of Finding Nemo Andrew Stanton was starting to have doubts about it.

The story of Finding Nemo was devised by Stanton, with a few inspirations. One was Stanton’s childhood visits to his dentist, who happened to have a fish tank. Stanton would look at these fish and wonder what it was like to have humans staring into your home all day. He assumed that these fish all came from the ocean and must’ve been wanting to get home[2]. Another came in later life, when Stanton went for a walk with his five-year-old son to the park. He’d wanted some father-son time together; however, Stanton began to notice how he was taking away from that time by being overprotective to ensure his son didn’t get hurt. He realised he wasn’t being present enough[3]. With these two influences combined, it is clear to see how the story started to take shape, containing a similar father-son dynamic alongside a fish’s journey from fish tank to ocean, and vice versa.

Stanton had initially written a full screenplay, however, after storyboarding, the team found the story didn’t quite work. The story department began to collaborate together to help with rewrites, spending years getting to the point where the story was right and work could begin on the animation, which is pretty standard procedure, but this does mean that many elements initially present in the story did not remain in the final film.

The biggest story element not to exist in the final edit of Finding Nemo was something Stanton was enjoying experimenting with, and that was telling Marlin’s backstory through various flashbacks during the course of the movie. It was meant to gradually show the audience where Marlin’s panic around protecting his son had come from, and would’ve been split into around five flashbacks. The first saw Marlin meeting Coral for the first time, trying to get her attention. The next saw Marlin showing Coral their new anemone home. The third saw Marlin and Coral getting ready to be parents. Another had the two talking about names for their eggs, where Coral said she’d like to name one “Nemo”. The final flashback was to show the tragedy of the barracuda attack, where all but Marlin and Nemo were lost. This was going to be played alongside scenes of Nemo in the fish net with Dory at the end of the film. Although Stanton was excited to tell the story in this format, they found during early screenings of the film that by doing this Marlin wasn’t likeable enough. Stanton was advised to tell the story in a linear format, which was less interesting for him, but after spending over a year seeing people not warm to the character of Marlin, he decided he’d have to try it. Sure enough, by having the introductory scene show Marlin losing the love of his life and most of his children, audiences immediately emphasised with this character[4]. William H. Macy was initially on board to voice Marlin and recorded all of his lines. But when Pixar decided to make the film lighter, and avoid the use of all those dark flashbacks, they felt Macy was no longer right for the part and brought in Albert Brooks, to bring much-needed humour.  

There were some others changes to characters as well along the way. Crush was going to be a too-chilled-out hippie sea turtle, who didn’t seem to have much going on his brain! Pixar made test footage of Crush which used Sean Penn’s voice, taking vocals from his 1982 film Fast Times at Ridgemont High. It is unclear whether this meant Pixar intended to, or actually did, approach Sean Penn for the part, although it is known that this style of test footage was used to recruit Tom Hanks as Woody in Toy Story, and Billy Crystal as Buzz in the same film, though Crystal turned down the role[5]. Gill was also supposed to lie to Nemo about his past, something that Nemo figured out from watching a parent reading a book to their child in the dentist’s waiting room, because everything Gill had told him was in that book word-for-word. In this same scene, the tank fish were also watching a soap opera on the dentist’s TV, this apparently being their pastime instead of watching the dentist’s more complicated appointments[6]. Dory was initially being written as a male fish, however, Stanton was supposedly watching an episode of the sitcom Ellen, starring Ellen DeGeneres, as he was working on the movie. He liked how Ellen’s character on the show talked so fast and changed subject seemingly at random, and felt she’d be perfect as Dory. Megan Mullally, famed for her character Karen Walker on Will & Grace (1998-2006, 2017-20) was also approached to voice a character in Finding Nemo, however, Pixar wanted her to sound just like Karen, which Mullally did not want to do, so she was allegedly let go for this reason[7].

With the story in place, animation could begin, but not before a significant amount of research took place. Firstly, some of the filmmakers had to take scuba lessons in Monterey Bay so they could dive and look at marine life up close. They also took dives in Maui, Hawaii. Here, they learnt that the reef can be split up into three simple ideas: that there are ground masses; tall, vertical shapes; and flat, horizontal areas. This allowed the filmmakers to present this reef to an audience in an easy way. Research was also taken in Sydney and around the harbour. With the seagull chase, when Nigel the pelican is trying to get Marlin and Dory to Nemo, this was meant to go through the city, but whilst looking at the harbour, they thought it would be more recognisable to set it across the bay, as the Sydney Opera House and the Sydney Harbour Bridge are famous tourist attractions, making it easy for the audience to locate the setting of the sequence. They even did some research at a water treatment centre and sewage plant, with this being the intended setting for a sequence, following Nemo’s journey from toilet to ocean, that was ultimately cut[8]. What a waste!

The underwater world was quite difficult to recreate, as there needed to be a balance between realism and creativity. Although the animators were able to mimic actual shots in a simulation, they found this made the ocean too real, so they had to figure out a way of toning that down, but keeping some of that believability. Light was an important factor in achieving this, as they wanted to created mood as well as reflect natural times of day in the seascape. For example, it starts off as bright, blue water by Marlin and Nemo’s home, before getting darker and greener as they approach Sydney. Different types of light had to be factored in as well, such as light travelling differently through sewage water and harbour water compared to the open ocean. They even animated surge and swell in the water to reflect true activity.

On studying fish, it was decided that animating fish characters was going to be difficult. Fish don’t have any emotion in their faces, so instead, the animators turned to dogs. They saw that dogs use their eyebrows to emote, so this idea was put into the fish characters. Animating how fish move was an added challenge, since Pixar had animated non-human characters before but they had mostly walked on two legs. Here, they’d have to study how fish move their fins and propel themselves through the water[9]. They also had to explore how light goes through fish. In the end, they likened the effect to holding a gummy bear up to the light, and gave their fish this gummy sort of surface, before adding the correct texture to the skin and scales.

Other animation challenges in Finding Nemo included some effects and specific environments. One of these was recreating the anemone. After some time experimenting with ways of animating this, they discovered that covering a tennis ball with fur from Sulley in Monsters, Inc. and sticking it upside down managed to simulate the movement of the anemone, and they could just thicken the fur as needed from that point. With simulations of the large school of moonfish, they used Pisces software to make this, simply “killing” any misbehaving fish from the shot. So, although no actual fish were harmed in the making of Finding Nemo, it would seem that some computer-animated fish were! This was a similar type of process to the fishing net sequence towards the end of the film.

For some specific effects, they studied how silt moves in the ocean, specifically in relation to the rusting shipwreck that the sharks live in. When Bruce hits into parts of the ship, you can see silt, rust, and dust being kicked up. These particles move differently in water than they do in air, so they had to be animated realistically. They did the same with how a mine would explode underwater, creating a mushroom cloud of smoke, with one mine setting off the one next to it, and so on. The whale’s mouth was a particularly difficult challenge for many departments, as it is a dark environment, causing a problem for lighting, and the water trapped in the water looks and behaves differently to the ocean water, with splashes of water and smaller particles running down the whale’s tongue.

Finding Nemo contains many fun Easter eggs. For example, their famous “A113”, referencing a classroom at CalArts were some of Pixar’s animators studied, appears on the diver’s camera here, and the Pizza Planet truck appears outside the dentist’s office on the road, during the imaginary escape sequence, when we see a bag of water rolling itself into the harbour. You can also see a Buzz Lightyear toy in the dentist office, and a boy waiting to be seen by the dentist is reading a Mr. Incredible comic book, continuing the Pixar tradition of referencing their next film, in this case The Incredibles (2004). In Monsters, Inc., the movie preceding Finding Nemo, Nemo appeared as a toy in Boo’s room at the end of the film, and could be found hanging on the wall inside the door that Randall is thrown into by Sulley, also towards the end of the film. Nemo even appeared as one of the fish in the net that is destroyed by Kenai riding on a mammoth in an early scene in Disney’s Brother Bear (2003).

Other fun references in Finding Nemo include the fact that the character Darla was named after Pixar producer Darla K. Anderson, producer of A Bug’s Life (1998) and Monsters, Inc. (2001), who believes her history of playing practical jokes on Andrew Stanton was the reason for this, thinking naming the “villain” of Finding Nemo after her was some kind of payback! You can also see witty names of boats in the Sydney Harbour sequence, such as “Pier Pressure”, “The Surly Mermaid”, “iBoat”, and “Knottie Buoy”[10].

MUSIC

Although Randy Newman had composed the music for all four previous Pixar movies, the composer for Finding Nemo was someone different. But not someone too different, as the composer was Thomas Newman, Randy Newman’s cousin!

After Finding Nemo, Thomas Newman continued to work on the music for other Pixar movies, like WALL-E (2008) and Elemental (2023). He also became known for his compositions for other hit movies, like the Bond movies Skyfall (2012), for which he won the BAFTA for Best Original Music, and Spectre (2015). Prior to Finding Nemo, Newman had composed the music for American Beauty (1999), winning the BAFTA for Best Original Music, along with a Grammy for Best Score Soundtrack for Visual Media, and was nominated for the Academy Award for Best Original Score. He would later win the Grammy award again, and be nominated for Best Original Score at the Academy Awards too, for Skyfall. Newman also won an Emmy for Outstanding Main Title Theme Music for the series Six Feet Under (2001-05), and recently composed the music for Netflix’s miniseries Monsters: The Lyle and Erik Menendez Story (2024) with Julia Newman.

The Finding Nemo soundtrack mostly consists of instrumental music, because this isn’t a Disney movie so these fish don’t sing! The score had to get across a wide range of emotions and feelings throughout the movie, as Marlin, Dory, and Nemo deal with their fair share of highs and lows, threats and happy moments. For me, I particularly like the pieces “First Day”, which is a more positive, upbeat moment, at least for Nemo as he gets ready for his first day of school, as well as “Finding Nemo”, which sees Marlin and Nemo reunited at last. “Nemo Egg (Main Title)” is also a nice song, showing Marlin vowing to protect his son for the rest of his life, although it is slightly melancholic too. Within the more tense moments, I quite like “Lost”, where Marlin is desperately trying to figure out where the boat and divers who took his son have gone, and “Friends Not Food”, as Marlin and Dory are trying to escape from Bruce. “All Drains Lead to the Ocean” is another good piece of music here.  

The only actual song to appear on the movie’s official soundtrack is the End Credits song “Beyond the Sea”. For Finding Nemo, this song, originally titled “La Mer” and performed by Charles Trenet, was performed by British singer, and former member of Take That, Robbie Williams. It features on his 2001 album Swing When You’re Winning. There was also a music video released of this song, but only with clips from the film; you won’t see an animated fish version of Robbie. “Beyond the Sea” was written by Charles Louis Trenet, Albert Lasry, and Jack Lawrence.

Other music does, however, appear in Finding Nemo, and these songs were credited. One was “Psycho (The Murder)” written by Bernard Hermann. The opening notes of this music were used when Darla appears in the dentist’s office to collect Nemo, to show that she is terrifying to the fish. “Fandango” written by Bob Bain and “The Girl from Ipanema” written by Antonio Carlos Jobim, Vinicius De Moraes, and Norman Gimbel are also both credited, although I can’t find specifically when they are used, other than they seem to be used as background music during the scenes in the dentist’s office and its waiting room.

Newman’s score won the Annie Award for Music in an Animated Feature Production, as well as the BMI Film Music Award. It was also nominated for Best Original Score at the Academy Awards, and Best Original Score at the Satellite Awards, however, it lost out to Howard Shore’s music for The Lord of the Rings: The Return of the King, and Hans Zimmer’s score in The Last Samurai, respectively. Newman also missed out on the Saturn Award for Best Music to The Lord of the Rings: The Return of the King’s score.

RECEPTION

After around three years of production on Finding Nemo, the movie was ready to be shown to the public. The premiere of Finding Nemo was held at the El Capitan Theatre in Los Angeles on 18th May 2003, before being widely released in the US on 30th May 2003, becoming the first Pixar movie to be released in the summer, and not November, although in some countries, Finding Nemo would not be released until closer to November. Finding Nemo was also released alongside a customary Pixar short. In this case, Pixar re-released a short from their past, Knick Knack from 1989, about a snowman in a snow globe desperately trying to get free so he can hang out with the other ornaments on the shelf.

November has always been considered a good time to release a movie, but so is summertime. However, it was likely still a little bit concerning for Pixar to be releasing a movie outside of their usual timeframe. Yet, they had nothing to worry about because Finding Nemo did amazingly well, both at the box office and with critics. Audiences loved it too.

Finding Nemo achieved the best opening ever at the box office for an animated picture at the time, taking $70.6 million, more than Monsters, Inc. with $62.5 million. Finding Nemo’s box-office performance was followed by Bruce Almighty, The Italian Job 2003 remake, and The Matrix Reloaded[11]. By the end of the year, it was confirmed that Finding Nemo’s domestic takings had reached just under $340 million, and the movie reached the No. 2 spot for 2003 box-office results with just over $870 million; The Lord of the Rings: The Return of the King took the top spot. Comparing these results to Disney’s animated release of the year, Brother Bear reached No. 14[12]. At one time, Finding Nemo was the highest-grossing animated movie of all time, but has been surpassed many times since.

In terms of reviews, the overwhelming majority of these were positive, although there have been some more negative comments, especially in more recent times. These include that Finding Nemo may’ve been overhyped simply because of its incredible use of computer animation; Pixar was way ahead of the competition, that is a well-known fact. Others say it was less ambitious than previous films, which I can only assume they mean in way of story, as it can get a bit samey after a while, something I understand, but the animation was clearly ambitious. There were comments that Toy Story and Monsters, Inc. are funnier Pixar films, which I agree with, and that sometimes Marlin and Dory got a bit much for some viewers, who found them grating and annoying at times. Some also say some moments in this film are too scary for young children, such as the shark scene, although I’d disagree with that.  

On the positive side, many praised the beautiful animation and casting, particularly liking the chemistry between Marlin and Dory. It was seen to be a real story, easily recognisable as a story about the human condition, with messages around parenting and loss in particular. It was entertaining, clever, and imaginative, proving to be popular with adults and children alike. It has since been lauded as a timeless classic.

Finding Nemo’s critical acclaim and financial success were rewarded with a brilliant award season. Arguably the biggest achievement was winning the Academy Award for Best Animated Feature, this being Pixar’s first win in this category. Andrew Stanton, Bob Peterson, and David Reynolds were nominated in the Best Original Screenplay category and Best Sound Editing was another category where Finding Nemo was nominated.

Finding Nemo also won the Saturn Award for Best Animated Film, and won Favorite Movie at the Kids’ Choice Awards. Pixar also swept the Annie Awards with Finding Nemo winning the Best Animated Picture; Character Animation and Design; Directing; Effects; and Writing categories. Finding Nemo won every category it was nominated in. Finding Nemo was also named Best Animated Film of 2003 by the National Board of Review.

Outside of that, the screenwriters were again nominated for Best Original Screenplay at the BAFTAs. Finding Nemo was also nominated for Best Motion Picture – Musical or Comedy at the Golden Globes but lost to Sofia Coppola’s Lost in Translation. The Golden Globes did not have a Best Animated Feature Film category until 2007.

LEGACY

Following on from its theatrical release, Finding Nemo broke more records with its DVD release, becoming the best-selling DVD of all time, still holding on to that top spot and winning awards for its bonus features and games. Some of these included behind-the-scenes footage, as well as information around marine life, presumably to encourage children to learn about the underwater environment. One of these included a television special with French oceanographer Jean-Michel Cousteau called Exploring the Reef, which also saw him being joined by Dory, Marlin, and Nemo, to explain the importance of coral reefs and other marine life in the natural world.

 A video game based on the events of Finding Nemo was also released in 2003, and Finding Nemo characters have since been added to other Disney-affiliated games, like Disney Friends and Disney Infinity.

Finding Nemo was also re-released in 3D in September 2012 for a limited time. The successful 3D re-release of The Lion King in 2011 may’ve had something to do with this. The 3D release made just under $70 million worldwide, increasing Finding Nemo’s total worldwide box-office takings to just over $940 million.

It was then announced in early 2013 that Finding Nemo would be getting a sequel, with the name being revealed as Finding Dory. It was due to be released in November 2015, however, ended up being released in June 2016. Ellen DeGeneres was confirmed to be back to reprise her role as Dory, and Andrew Stanton was confirmed as the director of the sequel after directing the original. It was announced that Alexander Gould would be unable to return to voice Nemo due to the gap between the movies and the nature of voices changing with age[13]! Finding Dory became the fifth sequel or prequel to come from Pixar. 

Due to Finding Nemo’s popularity over the years since 2003, it is no surprise that the Disney Parks have created experiences based on the film. A very early one of these was a means of promoting the movie at the parks, particularly the US parks. This was done with a moving Nemo vehicle who roamed around the parks, being spotted at Epcot at Walt Disney World in Florida, as well as featuring in a mini-parade at Disney California Adventure Park at Disneyland in California, alongside fish puppeteers and dancers. This same Nemo was also used for the Walt Disney World Christmas Day Parade in December 2003, complete with a coral reef stage and the End Credits song from the movie “Beyond the Sea” playing.

At Walt Disney World, changes to its parks to incorporate Finding Nemo began early on. The Living Seas pavilion in Epcot, first opened in January 1986, complete with the largest saltwater aquarium tank in the world at the time; a restaurant, Coral Reef Restaurant; and exhibits. Guests were even taken to this “Sea Base Alpha” in “hydrolators”, large elevators that supposedly went deep underwater but only moved a couple of inches. The Living Seas area began being re-themed to Finding Nemo in early 2004. First, Nemo’s Garden, a collection of statues of the characters from the movie, was installed outside the pavilion, remaining there to this day as a good photo spot. Then, Turtle Talk with Crush, an interactive show where guests can speak to Crush on-screen, making the show different on every viewing, opened within the old Sea Base in November 2004. The Sea Base began to be changed, with specific signage referencing the Finding Nemo characters’ real-life fish counterparts as well as Bruce’s Shark World, an interactive exhibit, being added. The Living Seas pavilion was closed in August 2005, reopening as The Seas with Nemo & Friends alongside a new attraction in January 2007. This attraction, matching the name of its pavilion, saw guests ride through the aquarium tanks, with projections of Finding Nemo characters added to the real-life marine life, as they go through scenes inspired by the movie in “Clamobiles”, ride vehicles made to look like clams. This is an omnimover-style attraction, so it is continuously moving. The ride ends with characters singing a new song, “Big Blue World”, written for a new show at Disney’s Animal Kingdom by Robert Lopez and Kristen Anderson-Lopez, the two who wrote the songs for Frozen (2013) and Frozen II (2019)[14].

This new Animal Kingdom show was Finding Nemo – The Musical, which began performances at the Theater in the Wild, which used to house Tarzan Rocks! from 1999 to 2006, on 24th January 2007. This used to be an outdoor theatre but became enclosed for this new show. Finding Nemo – The Musical contained fourteen new original songs, and was a forty-minute show. It featured live actors and puppetry, such as a huge Crush puppet measuring the same size as a VW Beetle, and a Nigel the pelican puppet being 22-foot-tall. Many puppets were held up with rods by live actors. Crush himself needed four puppeteers to operate, and an additional singer, since all songs were performed live on stage. Michael Curry, who co-created the puppets for The Lion King musical on Broadway, was on hand to create these puppets. The show was directed by Peter Brosius, and choreographed by John Carrafa. Finding Nemo – The Musical won the Themed Entertainment Associate Award for Best Live Show in 2009. Guests could also own the soundtrack on CD, as I did, because it really was a fantastic show. Finding Nemo – The Musical closed in 2020 for the COVID-19 pandemic closures, and did not reopen until 2022, with a slightly shortened, altered show, and some songs were cut – including my favourite song…[15]

There is also a Walt Disney World hotel that features suites and courtyards themed to Finding Nemo, alongside those themed to The Lion King (1994), Cars (2006), and The Little Mermaid (1989). This hotel is Disney’s Art of Animation Resort, which officially opened on 31st May 2012, becoming Walt Disney World’s 26th resort. The Finding Nemo suites opened first on 31st May, with the other three sections opening in the following four months. The Finding Nemo rooms feature coral-shaped chairs, lights shaped like bubbles, a porthole mirror, and a vaguely shipwreck-themed bathroom complete with sharks on the shower curtain. The suites also have brightly coloured painted motifs and furnishings to match the coral reef in the movie. The “Big Blue Pool” is the main pool of the resort, the largest hotel pool at Walt Disney World, and includes large statues of characters and settings from the movie, like Crush, and Marlin and Nemo in their anemone. The Drop Off pool bar is nearby, as is a small children’s splash pad. Initially, the space where Disney’s Art of Animation sits, across a lagoon from Pop Century Resort, was meant as an expansion to Pop Century. Pop Century features buildings themed to a specific decade, from 1950s to 1990s, opening in 2003. A “Legendary Years” section, going from 1900s to 1940s, was planned to open in 2007, with some year markers and buildings already in place. This was never built and it was not until Summer 2010 that construction began on this leftover hotel space, with the theme changing to represent some of Pixar and Disney’s best animated films[16].

At Disneyland, specifically in Disney California Adventure Park, Turtle Talk with Crush opened in July 2005 at the Disney Animation area of Hollywood Land. The biggest Finding Nemo addition to Disneyland though was the reimagining of the Submarine Voyage ride at Tomorrowland in the original Disneyland Park. Submarine Voyage opened in 1959. Guests entered a real submarine and went underwater in a manmade lagoon. Portholes allowed guests to view the underwater scene. The story of this attraction was that you were on a voyage to the North Pole. A similar version of this ride later opened at Magic Kingdom in Walt Disney World, but themed to 20,000 Leagues Under the Sea (1954). This ride opened in 1971 and closed in 1994. The Magic Kingdom lagoon was eventually filled in, around 2004, and is now Seven Dwarfs Mine Train, opening as part of their New Fantasyland expansion in 2014. Submarine Voyage was no longer a popular attraction with guests by the 1990s, and Disneyland imagineers feared a similar future to this ride as the one at Walt Disney World. They knew it needed to be updated, and it was felt the perfect opportunity had come when Disney Animation released Atlantis: The Lost Empire (2001). This movie contains a specific chase sequence with sea monster the Leviathan, but as the movie flopped, the plans were abandoned. After seeing the success of Pixar’s Finding Nemo, a new retheme was devised. Submarine Voyage closed in 1998, and Finding Nemo Submarine Voyage did not open until June 2007. The submarines were repainted, the “wreckage” in the lagoon was changed to match the Australian coral reef setting of the movie, although some of the original ship graveyard from Submarine Voyage was kept. Finding Nemo Submarine Voyage now follows the story of visitors helping Marlin and Dory find Nemo once again and characters from the movie are projected into the water scenes, similarly to The Seas with Nemo & Friends attraction, at points throughout the ride[17].

Although the US Disney Parks appear to have the most Finding Nemo-themed experiences, there are more at the other four international parks. At Disneyland Paris, specifically at the Walt Disney Studios Park – soon to reopen in 2026 as Disney Adventure World – in the Worlds of Pixar area is Crush’s Coaster, a thrilling, spinning rollercoaster, taking you through moments from the film, including the sharks’ shipwreck and a ride through the EAC. It opened in June 2007.

At Shanghai Disneyland, there is a play area called the Junior Explorers Camp at Adventure Isle with an area themed to Finding Nemo. Two other areas are themed to The Lion King and Up (2009). At Tomorrowland in Shanghai Disneyland, there is an interactive exhibit called Pixar Adventurous Journey, with exhibits themed to different Pixar movies. One of these is Finding Nemo. At Hong Kong Disneyland, there used to be a Turtle Talk with Crush attraction, however, it was only open through the summer of 2008, and did not return. However, you can see Nemo, Dory, and Peach the starfish, though they are just stuck on wall, within the it’s a small world attraction there. At the Disney Explorers Lodge Hotel here, there is also a children’s indoor play area themed to Finding Nemo called Nemo’s Recreation Reef. At Tokyo Disneyland, specifically at Tokyo DisneySea in the American Waterfront area, guests can experience Turtle Talk with Crush, just like the US Parks, which opened in October 2009. You can also see Nemo, Marlin, and Dory on a wall within the it’s a small world attraction.

For parades and shows at the Disney Parks, Finding Nemo has frequently featured in some of these, for example, during the Disney Stars on Parade at Disneyland Paris, there is a whole float featuring the characters of Finding Nemo, including Crush, Dory, Bloat, and of course, Nemo. A small clip of Finding Nemo is shown during World of Color – Season of Light at Disney California Adventure during the festive season. Another clip of Squirt and Crush in the EAC, following by Dory and Marlin speaking to the whale, also featured within the original World of Color show, but that show has been updated so many times now, I doubt the original will come back. Nemo even flew over Disneyland’s Sleeping Beauty castle during the Disneyland Forever fireworks back in 2015 for the park’s 60th anniversary celebration, “recreating” his initiation into the “Tank Gang”.

On the Disney Cruise Line, since cruises take place on the ocean, it makes sense that Finding Nemo would be referenced on some of their cruise ships. For example, there is the Nemo’s Reef water play area on the Disney Fantasy and Disney Dream. On the Disney Wish, Disney Treasure, and Disney Destiny, “Go with the Flow”, from Finding Nemo – The Musical, is performed as part of the Disney Seas the Adventure musical stage show. You can even experience a version of Turtle Talk with Crush at Animator’s Palate on some ships.

Many pieces of merchandise have been available over the years featuring Finding Nemo characters, such as toys, clothing, games, pins, and MagicBands. Finding Nemo is one of those movies that is consistently referenced at the Disney Parks and there is no need for fans of the film to wait until a milestone anniversary to find something new.

FINAL THOUGHTS

Finding Nemo did brilliantly both commercially and critically on its release, exceeding even those at Pixar’s expectations who couldn’t believe their luck that each of their first five movies had been big hits.

The movie was not only funny, moving, relatable, full of quotable lines and memorable characters, but it had an impact of society. Finding Nemo made clownfish and blue tangs in particular globally recognised reef species, something that children can quickly point out. It’s impossible to go to an aquarium and not hear someone say “I found Nemo!”, or hear someone saying “Mine!” whenever seagulls are around.

More importantly, it made many of us think about how we as humans interact with the ocean world, and just how fragile an environment it is. Not only should we not take creatures from the sea away from their natural habitats purely to collect them, but we also need to consider whether underwater tourism, like scuba diving and snorkelling, is worth the harm and risk it can cause to reefs.


REFERENCES

[1] Credit: Jim Korkis, ‘In His Own Words: Joe Ranft’, CartoonResearch.com, 7th June 2019.

[2] Credit: Ben Sherlock, ‘Just Keep Swimming: 10 Behind-The-Scenes Facts About Finding Nemo’, ScreenRant.com, 21st February 2020.

[3] Credit: Pixar, “Visual Commentary Index”, from Finding Nemo (2003) UK DVD 2-Disc Collector’s Edition (2004).

[4] Credit: Pixar, A Lesson in Flashbacks (2012), Disney+.

[5] Credit: Jim Hill, ‘Tales of the VES: Behind-the-scenes on “Finding Nemo”’, JimHillMedia.com, 20th July 2003.

[6] Credit: Pixar, “Visual Commentary Index”, from Finding Nemo (2003) UK DVD 2-Disc Collector’s Edition (2004).

[7] Credit: Ben Sherlock, ‘Just Keep Swimming: 10 Behind-The-Scenes Facts About Finding Nemo’, ScreenRant.com, 21st February 2020.

[8] Credit: Pixar, ‘Filmmakers’ Roundtable I Finding Nemo’, Special Features Archive YouTube Channel, 16th March 2025.

[9] Credit: Pixar, “Making Nemo”, from Finding Nemo (2003) UK DVD 2-Disc Collector’s Edition (2004).

[10] Credit: Pixar, “Visual Commentary Index”, from Finding Nemo (2003) UK DVD 2-Disc Collector’s Edition (2004).

[11] Credit: The Guardian, ‘Disney finds box office gold with Nemo’, TheGuardian.com, 2nd June 2003.

[12] Credit: Box Office Mojo, ‘Domestic/Worldwide Box Office For 2003’, BoxOfficeMojo.com.

[13] Credit: BBC, ‘Finding Nemo sequel, Finding Dory, to be released in 2015’, BBC.co.uk, 3rd April 2013.

[14] Credit: Jim Korkis, ‘The Seas With Nemo And Friends’, YourFirstVisit.net, 14th May 2021.

[15] Credit: Jim Korkis, ‘Fridays with Jim Korkis: Finding Nemo – The Musical’, YourFirstVisit.net, date unknown.

[16] Credit: Jim Korkis, Hidden Treasures of WDW Hotels (2021), “Art of Animation”, pp. 147-154.

[17] Credit: Pixar, ‘Reinventing the Submarine Voyage I Finding Nemo’, Special Features Archive YouTube Channel, 16th March 2025.

The Road to El Dorado (2000)

  1. BACKGROUND
  2. PLOT
  3. CHARACTERS & CAST
  4. PRODUCTION
  5. MUSIC
  6. RECEPTION
  7. LEGACY
  8. FINAL THOUGHTS
  9. REFERENCES

BACKGROUND

DreamWorks was a relative newcomer to the animated world back in 2000.

The Road to El Dorado was only its third animated feature, but after Antz (1998) and The Prince of Egypt (1998), DreamWorks was making a name for itself already. Headed by former Chairman of the Walt Disney Studios, Jeffrey Katzenberg, DreamWorks was preparing to do battle with Katzenberg’s former employer.

The Road to El Dorado was to be an animated musical, but with the added twist of this being a buddy comedy, something that Disney Animation was experimenting with around the same time. The filmmakers over there were also producing a buddy comedy set in the ancient civilisations of South America, set to be released in 2000, so there have been numerous comparisons between The Road to El Dorado and The Emperor’s New Groove ever since. It’s even been theorised by some that Katzenberg may’ve “stolen” the idea from when he worked at Disney, just like the idea being floated around that Antz’s story was just a rehash of Pixar’s A Bug’s Life (1998), which DreamWorks released just a month before Pixar. But let’s not open up that can of worms again. I’ll be the first to say that the two films have just as many differences as they have similarities – but I still hate Antz.

Moving on. I don’t remember having The Road to El Dorado on VHS as a child, so I can’t have loved it much when I was younger, but I do remember watching it, I’m assuming on TV. It wasn’t until I watched The Prince of Egypt on Netflix a few years ago, this being another DreamWorks movie that I hadn’t watched much of when I was a child, that I rediscovered The Road to El Dorado. And yet the road to me watching this film was not simple.

Netflix are annoying and don’t put on the same programming that you get in the US and take things on and off at random. So, although The Prince of Egypt was on Netflix UK, for a limited time, The Road to El Dorado was not. I decided I’d have to get the DVD to watch it, because I just had to watch it. Soon. And because I don’t like to pay the Amazon price for a DVD, I wanted to find it somewhere cheaper. Luckily, in the UK, there is a second-hand media store that I like to get DVDs from. This particular store that had a copy was about thirty minutes’ drive away but the town was populated with strange characters that day, making it not such a pleasant experience… But I got The Road to El Dorado and went on my way, excited to see this film, which I knew had a great voice cast and some good music. I was not disappointed, even re-watching as an adult.

PLOT

The Road to El Dorado begins in Spain in 1519, where the Spanish conquistadors are preparing to sail to the New World in the hopes of finding gold. Meanwhile, two men are gambling in the streets and winning plenty of money, thanks to the loaded dice they’re using, but that’s a secret! The other players then tell these men, Tulio and Miguel, that they want to bet a map to the city of El Dorado against all their money. Miguel is very excited by the prospect of finding El Dorado, but Tulio is much more sceptical, however, he goes along with the bet. The opposition tell them they want to use their own dice, not the dice Tulio and Miguel were using. Tulio is concerned but they manage to roll successfully to win the map.

As they go to leave though, their loaded dice are revealed and needless to say, the gamblers are not happy about being hustled and go to attack Tulio and Miguel. Tulio and Miguel begin a fake fight with each other, complete with swords and an audience of people, ending up on top of a roof. They jump over the other side to get away from the men chasing them, inadvertently landing right next to a bull who begins to chase them through the city instead. Tulio and Miguel are eventually stranded at the edge of the roofs, but seeing barrels of water below them, they choose to jump into those to escape.

These barrels are lifted onto a ship, which Miguel and Tulio are unaware of. They simply plan to jump out of these barrels, but they are unable to, because a chest has been placed on top of them. This ship begins to sail away from the harbour. Later, the chest is removed and Tulio and Miguel jump out of their barrels, but are not prepared to be confronted with a whole army. The two are promptly shackled and taken to Hernán Cortés, the leader of this expedition, who wants them flogged and thrown in the brig, with the plan to put them to work on a plantation in Cuba.

With little to no plan of escape, other than an idea to hijack a row boat to sail away but this being useless unless they can get on deck, Miguel and Tulio begin to feel hopeless in the brig. That is, until an apple, meant for war house Altivo, falls into the brig. Miguel uses this apple to lure Altivo to the bars above them. He asks Altivo to look for a pry bar. Tulio thinks Miguel has gone crazy, asking a horse for help – until Altivo throws the keys to unlock themselves from the brig instead. In the dead of night, Miguel and Tulio steal supplies and get into a boat, ready to lower themselves into the sea. However, Altivo wants his apple back. Miguel tries to toss it back up to the deck for him, but misses, and the apple lands in the ocean, so Altivo jumps into the sea to retrieve it. But Altivo isn’t a great swimmer and Miguel has to jump into the water to save him. Their boat is then almost hit by the ships and in the panic to avoid them, the boat overturns. With all their strength, Miguel and Tulio manage to right it, and they, along with Altivo, begin to sail away.

With rough seas, no food, because that was lost when the boat overturned, and no idea of where they are going, all looks lost for them. Even when a seagull dies on their oar, making them think they actually have some food, fate continues to be cruel, as a shark jumps out of the ocean to eat this seagull. As time passes, Miguel and Tulio lose all hope, and start to talk to each other about how much their friendship has meant to them, as they believe they are about to die. They then look down and see that their boat has landed on a beach. Maybe they won’t die after all! Except on closer inspection, the beach is full of skeletons of dead pirates. Ah, maybe this isn’t such a great place to be… As Tulio debates getting back in their boat, Miguel looks at the map to El Dorado, after recognising an eagle-shaped rock. Sure enough, this rock is on the map! Miguel excitedly tells Tulio they should follow the map and find this “city of gold”, but Tulio isn’t so sure, believing the map to be a fake. He is eventually persuaded into trekking through the forest to find it, planning to find El Dorado, take the gold, and sail back to Spain.

Miguel, Tulio, and Altivo follow the map for days, getting into various scrapes, like having monkeys steal their clothes whilst bathing, and being attacked by numerous animals. Tulio gets covered in leeches at one point too, which is just gross. A little armadillo begins to follow the group as well. After some time, the group arrive at a large rock that resembles El Dorado on the map. Tulio is frustrated, believing this rock is El Dorado and there never was a city of gold. Miguel thinks this is all just a mistake, but Tulio angrily tells Miguel to get on the horse so they can leave.

But as fate would have it, this is not to be. A woman being chased by soldiers literally runs into them. She is carrying some sort of golden ball that she is meant to have stolen. On seeing these strange men and their horse, who resemble the image on the large rock, the soldiers take them and the woman through the fog to a waterfall, then through a cave, and placed on a boat. This boat takes them to a strange city, which turns out to be the legendary El Dorado! Miguel and Tulio are stunned. The two men are greeted by Chief Tannabok and High Priest Tzekel-Kan. Tzekel-Kan says he prophesised that the gods would come, and believe Tulio and Miguel are those gods, although the chief is less than convinced. Tzekel-Kan then sees the thief woman, and asks the “gods” to decide on her punishment. They choose to let her go. This immediately makes Tzekel-Kan suspicious who wants proof of Miguel and Tulio’s divinity. Luckily, as the two argue a nearby volcano starts to erupt, but when they stop, so does the volcano. That’s enough proof for now!

Miguel and Tulio are led to the temple, where they will stay for the duration of their visit. Chief Tannabok plans a feast for the evening, with Tzekel-Kan preferring a dawn ceremony to welcome them. Miguel and Tulio decide they’d like to have both! The chief and Tzekel-Kan then leave the “gods”. Thinking they are alone, Miguel and Tulio laugh about the ridiculousness of the situation, and begin planning the scam of the century, pretending to be gods so they can take gold from the city away with them. However, the thief woman has overheard all of this, and she wants in on this scam, as she is trying to get away from El Dorado forever, though no-one really knows why. She introduces herself as Chel. Tulio and Miguel initially refuse to let Chel in on the plan, but after realising they know nothing about gods, they agree to work with Chel, so she can assist them. Both men are attracted to Chel but they say she is “off-limits”, so things don’t get messy. Yeah, let’s see how long that lasts!

Then, it’s time for the celebratory feast for their arrival. They rationalise this scam, deciding it is in their best interests to play along with the god pretence, believing that the citizens, Chief, and Tzekel-Kan would kill them if they found out they were lying. After a night of drinking and over-indulging, the next morning, it is time for the dawn ceremony, which concerns Chel. It soon becomes clear why, as Tzekel-Kan has set up a human sacrifice for them. He wants to push a living man into the water below as a tribute to the gods, however, Tulio and Miguel put a stop to this, saying the stars are not aligned so they cannot do this today. The Chief brings his own tribute instead, in the form of gold objects. Tulio and Miguel are happy to accept that! However, they misunderstand part of this ceremony, and accidentally ask for this gold to go to “Xibalba”. They are confused to then see the gold being thrown into the water, going to Xibalba, like they said, which is the Spirit World. Tulio and Miguel ask Chel what is going and she explains, before telling the Chief that the “gods” would actually like to keep that gold. The rest of this tribute is taken to the temple.

We then see that Cortés and his soldiers have landed on the same beach that Miguel and Tulio did days earlier. Cortés sees someone has beaten him there, and orders his soldiers to begin their expedition through the forest.

After the ceremony, Miguel and Tulio start to see tension between Chief Tannabok and Tzekel-Kan. The men plan to use this to their advantage, by playing them off against each other. They also begin to think they shouldn’t push their luck and should leave as soon as possible before their ruse is discovered. Tulio and Miguel ask the Chief for a boat to be built for them so they can leave with their tribute. The Chief assumed the gods would stay in El Dorado for the next 1000 years, but says they can build them a boat, only that it will take a week to complete. Once they say they’ll ask Tzekel-Kan if he can build a boat for them quicker, this time scale is reduced to three days. It’ll have to do. Tulio asks Miguel to lie low for the next three days until they can leave. Miguel, however, wants to explore the city. Luckily, Chel wants some alone time with Tulio and encourages Miguel to leave the temple. When Tulio realises Miguel has gone against his plan, he is annoyed. Chel then turns her attentions to him and helps him forget all about Miguel…

In the city, Miguel begins to walk around, but is confused why no citizens seem to be there. Talking to a guard, Miguel learns that Tzekel-Kan ordered the city to be cleansed for them, and that nobody is allowed to be walking around it. Miguel then sees a man being hassled by soldiers and orders them to stop. Miguel seems to be intimidating the people, so he makes a small guitar and starts to play music. This impresses some of the local children who have been with Altivo the horse. This encourages the people to show Miguel around. Tzekel-Kan watches Miguel in the city, and doesn’t think he is acting as a god would so he goes to Tulio, interrupting his “alone time” with Chel. Tzekel-Kan explains to Tulio that humans are imperfect and they are like snakes or insects that need to be killed. Tulio is deeply disturbed by Tzekel-Kan’s apparent thirst for blood.

Tulio meets Miguel in the city and tells him the need to leave El Dorado right now, but Tzekel-Kan instead orders the gods to play a ball game, where they must get the ball through a hoop high up on a wall. He says it should be easy for the gods to win, even against the city’s best players. After only playing for a short time, Tulio and Miguel are falling behind quickly and simply getting more and more tired. As the ball goes out of play, Chel has an idea. She throws in their armadillo friend to pretend to be the ball. Sure enough, this works, and Tulio and Miguel start to catch up. With only a few minutes left of the game, the armadillo is taken out of a play and a real ball is thrown in accidentally by Chel. Tulio and Miguel fight to get the final shot – and they manage, with a little kick from Altivo. Tzekel-Kan demands that the losing team be sacrificed, but once again, Miguel and Tulio refuse to allow this, raising further suspicions. They order Tzekel-Kan to leave the area. He agrees to do this, having seen Miguel bleeding from a small cut on his eyebrow. Gods don’t bleed, proving that Miguel and Tulio are not gods after all. Tzekel-Kan vows to enact his revenge on them.

Miguel is later asked by the Chief to check over their new ship. Miguel pretends to see flaws in it, but in actual fact, he just wants to stay in the city longer. Chief Tannabok tells Miguel if he wants to stay in El Dorado, he would be very welcome. Miguel goes back to the temple to think about this, when he overhears Tulio saying “forget Miguel”, when he tells Chel he wants to take her back to Spain. This makes Miguel certain he’ll stay in El Dorado, believing their friendship to be over now.

But that is the least of their worries because Tzekel-Kan has brewed a potion allowing him to control a huge stone jaguar. The stone jaguar attacks the city, going after Tulio and Miguel. They jump on Altivo with Chel and ride through the city, but are soon thrown off. With Chel in danger, they tell Altivo to take her away from there. Miguel and Tulio end up being chased on foot through lava, before being cornered at the ledge near the water portal to Xibalba. Tzekel-Kan tells them they are not gods and goes to attack them with the jaguar. However, the two begin to argue, like they did in Spain with those gamblers, which allows them to punch Tzekel-Kan whilst he is distracted. They go to tie him up with vines, but the jaguar leaps out at them. They jump to the side of the ledge, meaning the jaguar jumps on to Tzekel-Kan, breaking the ledge and dropping them into the water. Tzekel-Kan eventually comes out the other side of the water, right in front of Hernán Cortés. Seeing gold jewellery on him, Cortés orders Tzekel-Kan to take him to El Dorado.

Back at the city, Miguel returns a hero and chooses to stay in El Dorado. Tulio and Chel gather up their gold and prepare to leave on the boat. However, they soon hear noises and see smoke in the distance. Tulio and Miguel believe this must be Cortés and his soldiers. They fear Tzekel-Kan is leading them to the city. Chief Tannabok wants his citizens to fight against them but Tulio and Miguel say they cannot win that fight. Tulio makes his own plan: to crash the boat against the pillars under the waterfall to block the gates to El Dorado. As the citizens collapse statues in the city to propel their boat forward to enable this plan, Tulio and Chel risk being crushed as they cannot get their sail open in time. Miguel and Altivo leap over to their boat, pulling the sail free. The only thing is, Miguel now can’t get back to the city, but he’s actually ok with that, wanting his friendship with Tulio more. As the pillars in El Dorado fall, their boat catches the wave out, and they turn it in the cave so the boat will collapse the pillars, causing a landslide, blocking any entry to El Dorado. The humans and Altivo jump at the last moment and ride the flow of water. They land on solid ground – without their gold which was lost in the water – and see Tzekel-Kan at the entrance to the city. The way is now blocked, much to Tzekel-Kan’s surprise. Believing Tzekel-Kan has lied to him, Cortés imprisons Tzekel-Kan, turning away from the area.

Tulio and Miguel, although sad to have lost their gold, are happy that they saved El Dorado and have allowed it to be kept a secret forever. They then leave with Chel and Altivo – who unbeknownst to the others is sporting golden horseshoes – ready for a new adventure.

CHARACTERS & CAST

In all honesty, Miguel and Tulio do not begin The Road to El Dorado as good people. They are crooks and scammers, hustling people out of their money on the streets in Spain. Somehow, they have been made to be “lovable rogues” in this movie, but if you really think about it, they aren’t people you’d actually want to come across! Having said that, they are very likeable characters, although they have differing personalities. Tulio is the cynical one, the realist, whereas Miguel is the idealist, the dreamer. Tulio comes up with most of the plans, being quick to think on his feet, whereas Miguel sits back and takes things at a calmer pace. Tulio wants nothing more than to get their gold and leave El Dorado before they are discovered to be scamming the city and its people, however, Miguel wants to experience what the city has to offer and talk to the people, which is where he comes to the realisation that El Dorado is a great place to live, not something they should be exploiting. This causes friction in their friendship and they almost go their separate ways, until Miguel sees Tulio in danger and knows he’ll have to sacrifice his future life in El Dorado to save him and repair their friendship.

Strangely for an animated movie, the voice actors for Tulio and Miguel, Kevin Kline and Kenneth Branagh, recorded their lines together. This has happened on occasion, but for the most part, actors will record their lines separately from the rest of the cast. For The Road to El Dorado, this process helped to create the necessary chemistry these characters have to have, as well as increasing the potential for great improvisation of lines and humorous moments. This was specifically noticeable in the sword fight between Tulio and Miguel in Spain whilst they are trying to distract and get away from those chasing them for the money they basically stole. Kline and Branagh were even recording their lines with swords in hand! Despite both Kline and Branagh being classically trained serious actors, they were happy to do something different and be silly for their roles in this film. Kline and Branagh also both starred in the movie Wild Wild West (1999) alongside Will Smith, so The Road to El Dorado did not end up being the only time the two actors would work together. Although I have not seen Wild Wild West, I doubt this was their finest hour, so let’s talk about some of their career highlights instead!

The Road to El Dorado was not Kevin Kline’s first experience voicing a character for an animated movie, as he voiced Phoebus in Disney’s The Hunchback of Notre Dame (1996), my all-time favourite movie, even reprising the role for the direct-to-video sequel. Also for Disney, Kline appeared as Maurice, Belle’s father, in the live-action remake Beauty and the Beast (2017). Kline began to make a name for himself in the 1980s, performing as The Pirate King in the opera The Pirates of Penzance, first for the New York Shakespeare Festival in Central Park, before the show moved to Broadway. Kline won a Tony Award for his performance and reprised this role in the subsequent 1983 film. On screen, he starred in the drama Sophie’s Choice (1982) alongside Meryl Streep, and with John Cleese and Jamie Lee Curtis in the comedy A Fish Called Wanda (1988), for which Kline won the Academy Award for Best Supporting Actor. More recently, Kline has voiced Calvin Fischoeder in the animated comedy series Bob’s Burgers (2011-present), being nominated for a Primetime Emmy for his role and in 2024, he was cast as Stephen Brigstocke, opposite Cate Blanchett, in the AppleTV+ series Disclaimer, being nominated at the Golden Globes, Screen Actors Guild Awards, and the Critics’ Choice Awards for the role. Kevin Kline was nominated for a Kids’ Choice Award for Favorite Voice From an Animated Movie for his role as Tulio, but lost out to Susan Sarandon’s role in Rugrats in Paris: The Movie (2000).

Sir Kenneth Branagh is well-known for being a great Shakespearean actor, both on stage and screen, having both directed and starred in numerous film adaptations of Shakespeare plays, such as Henry V (1989) and Hamlet (1996), both nominated at the Academy Awards: for Best Director and Best Actor for Henry V, winning for Best Direction at the BAFTAs; and for Best Adapted Screenplay for Hamlet. Branagh played the title roles in these films, and starred as Benedick in Much Ado About Nothing (1993), opposite Dame Emma Thompson as Beatrice, and as Berowne in a musical version of Love’s Labour’s Lost (2000), which was an interesting take on the play! He also directed Belfast (2021), which won the Academy Award and Golden Globe for Best Original Screenplay, and was nominated in the Best Picture and Best Director Oscar categories too. It won the BAFTA for Outstanding British Film. Branagh has also appeared in various other roles. For example, he has recently portrayed Hercule Poirot in a series of movies based on Agatha Christie’s novels, also directing the movies, starting with Murder on the Orient Express (2017), and was cast as Niels Bohr in the Best Picture-winning Oppenheimer (2023). Branagh also appeared as Commander Bolton in Christopher Nolan’s Dunkirk (2017). On the more comedic side, Branagh was cast as Sir Alistair Dormandy in the comedy-drama The Boat That Rocked (2009) and he became popular with a new audience for his role as Gilderoy Lockhart, my favourite Defence Against the Dark Arts teacher, in Harry Potter and the Chamber of Secrets (2002), my favourite Harry Potter film. Branagh is set to appear in The Devil Wears Prada 2 (2026) which sounds great to me. Another role to mention is Branagh’s portrayal of former UK Prime Minister Boris Johnson in the docudrama series This England (2022), which covered the British government’s response to the COVID-19 pandemic.

Tulio and Miguel take up much of The Road to El Dorado’s focus, however, there are a small selection of supporting characters to mention. One of these is Chel, the confident, devious citizen of El Dorado, who we first meet trying to escape from the city with seemingly some of El Dorado’s gold. She does not get away and instead, tries to get in on Tulio and Miguel’s scheme, seeing this as her ticket out of El Dorado, somewhere she doesn’t want to be for reasons we never find out. Chel spends much of her time trying to save Tulio and Miguel from being discovered as just ordinary humans and not gods, using her knowledge of El Dorado and its cultures and practices to help them fit in with the customs. Chel also has an ongoing flirtation with Tulio, which lead to some not-so-Disney love scenes! Chel is a great female character, very different from the princesses that Disney Animation were creating at the time, both in looks and personality, however, it is a little bit of a shame that Chel had to be the woman who breaks up the bromance, because that happens in so many stories. It might have been better for her to simply be an addition to the scam, and not necessarily a love interest – but I guess it all worked out in the end, and Miguel seems happy enough with Chel and Tulio as a couple.

Rosie Perez was chosen to voice Chel, and they found her delivery of lines very funny and perfect for the sassy, feisty character. Perez herself enjoyed having the freedom to act in a more over-the-top expressive way for an animated movie. Prior to The Road to El Dorado, Perez had appeared in White Men Can’t Jump (1992), which starred Woody Harrelson and Wesley Snipes, as the character Gloria Clemente, before going on to be cast as Muriel in the comedy It Could Happen to You (1994) with Nicolas Cage and Bridget Fonda. She was also nominated for Best Supporting Actress at the Academy Awards for her role as Carla Rodrigo in Fearless (1993), which starred Jeff Bridges. In more recent years, Perez has appeared in movies like Pineapple Express (2008) as Officer Carol Brazier, and The Counselor (2013) as Ruth.

Another citizen of El Dorado is Tzekel-Kan, although he is not just an ordinary human. Tzekel-Kan is a High Priest, capable of magic and prophesising the future. Tzekel-Kan has a total superiority complex, despising humans, and even Chief Tannabok, who doesn’t seem to like Tzekel-Kan’s opinions and views of the world. I don’t know why the Chief doesn’t have the power to just banish him if that’s the case, but I don’t know who ranks higher, a High Priest or a Chief, in this city so maybe he can’t! Tzekel-Kan is so pleased to have gods in El Dorado because he believes they’ll agree with his way of thinking, that human blood is the best kind of sacrifice…Instead, he gets Miguel and Tulio who don’t believe in blood shed and human suffering. This immediately makes Tzekel-Kan suspicious and it turns out his suspicions were spot on. And yet, despite not being gods, they still manage to deceive him and cause him to almost fall to his death in the water. On coming to the surface, Tzekel-Kan is met with Hernán Cortés, and wanting revenge on everyone in El Dorado, he plans to show Cortés the way so he can destroy El Dorado and reap the rewards of all that gold. But once again, Tulio and Miguel stop him, and Tzekel-Kan becomes a prisoner of Cortés. Well, I hope, as a High Priest, he knows all about karma! 

Armand Assante voiced Tzekel-Kan. Assante had appeared in both big and small screen projects before being cast in The Road to El Dorado. For example, he played John Gotti in the TV movie Gotti (1996), winning the Primetime Emmy for Outstanding Lead Actor in a Miniseries or Special for his portrayal, being nominated in the same category at the Golden Globes and the Screen Actors Guild Awards. He was also cast as Roberto Texador in the crime thriller Q&A (1990), where Assante was nominated for Best Supporting Actor at the Golden Globes. He later plated Odysseus in the miniseries The Odyssey (1997), earning himself another nomination at the Golden Globes, this time for Best Actor in a Miniseries of Television Film. Assante was also nominated for a Primetime Emmy and a Golden Globe for Best Supporting Actor in a Series, this time for his role as Richard Mansfield in the miniseries Jack the Ripper (1988). Assante was nominated at the Annie Awards for Best Voicing Acting by a Male Performer for his role in The Road to El Dorado. He lost to Tim Allen as Buzz Lightyear in Toy Story 2 (1999).  

For Chief Tannabok, he seems uncertain by Miguel and Tulio’s arrival in El Dorado, being slightly dubious of their motives as well as their desperation to leave, wanting the citizens to build them a boat quickly to take plenty of the gold tribute away with them. To be honest, I don’t think the Chief ever really thought Miguel and Tulio were gods; he doesn’t seem to believe in Tzekel-Kan’s prophecy, and I think their refusal or misunderstanding of the city’s rituals was a big give-away. Maybe Chief Tannabok just allowed these visitors here in the hopes they’d find a way to get Tzekel-Kan to leave! The Chief warms to Miguel quite quickly, even offering him a home in El Dorado, which Miguel quickly accepts, believing Tulio wants them to go their separate ways anyway. He even seems a little bit sad, although understanding, when Miguel jumps onto the boat to save Tulio and Chel being crushed, meaning he’d never be able to get back to El Dorado.

The filmmakers chose Edward James Olmos as the voice of Chief Tannabok, as his naturally warm voice matched the presence of a chief who is the heart and soul of his city. Edward James Olmos had been cast as Jaime Escalante in Stand and Deliver (1988), being nominated for an Academy Award and a Golden Globe for Best Actor for his performance. He also won a Golden Globe and an Emmy for his role as Martin Castillo in Miami Vice (1984-90), later winning ALMA awards for his role as Abraham Quintanilla Jr. in Selena (1997) and for his performance as William Adama in Battlestar Galactica (2003-09). He returned to animation many years later, to voice Chicharrón in Pixar’s Coco (2017).

There is one non-human character that is important to the cast of characters in The Road to El Dorado too and that is Altivo, the pampered warhorse, meaning supreme or proud in Spanish who technically belongs to Hernán Cortés, but is quite happy to go along with Tulio and Miguel instead[1]. Altivo even has an opportunity to return to his owner at the end of the movie but chooses to go away with Tulio, Miguel, and Chel, who definitely treat him with the respect he deserves. Altivo reminds me of Maximus from Disney’s Tangled (2010), who has a personality without the need to have a real voice. Like Maximus, once away from military duty, Altivo really just wants to eat apples and be loved! Altivo does have a “voice artist”, despite not speaking. This actor was Frank Welker, who has a long history of voice acting for Disney and non-Disney projects, voicing many animal characters, including Abu the monkey and Rajah the tiger, as well as the Cave of Wonders, in Aladdin (1992); Flit in Pocahontas (1995); and Pegasus in Hercules (1997) for Disney; and Totoro and the Catbus in the 2005 English dub of My Neighbor Totoro and even Scooby-Doo for numerous animated Scooby-Doo specials and series. He has also voiced Fred in some of these.

The final character to mention is Hernán Cortés, the leader of the conquistadors and the head of the expedition to the New World. He is cruel and cold, not letting anything impact on his focus and their mission: to find as much gold and resources in the New World as possible. Tulio and Miguel first meet Cortés after inadvertently boarding his ship. Cortés comes up with a harsh punishment for them, locking them in the brig and intending to sell them as slaves in Cuba. Later, Cortés appears close to El Dorado and instructs Tzekel-Kan to take him to the city so he can take all its gold for himself. Thankfully, Tulio and Miguel block the path because Cortés and his soldiers would’ve most definitely destroyed it, and he later takes out his annoyance on Tzekel-Kan for “lying” about the way to the city. Cortés was a real Spanish conquistador whose expedition to the New World led to the fall of the Aztec Empire, bringing large areas of the land under Spanish control[2].

Cortés is an exceptionally intimidating villain, but strangely enough he was voiced by the same man who voices one of the most beloved animated characters in the world. Randomly, Jim Cummings, the current voice of both Winnie the Pooh and Tigger for Disney, voiced Hernán Cortés. Cummings has been a frequent contributor to not only Disney voices, voicing numerous characters for the Studios since the mid-1980s, including Ed the hyena in The Lion King (1994) and Ray in The Princess and the Frog (2009), but also for other studios including voicing Luca in DreamWorks’ Sinbad: Legend of the Seven Seas (2003), and Featherstone in Gnomeo & Juliet (2011).

PRODUCTION

To begin a look at the production of The Road to El Dorado, we first need to see how its animation studio, DreamWorks, came to be. And to do that, surprisingly, we need to go back to The Walt Disney Company in the 1980s.

In 1984, Ron Miller, Walt Disney’s son-in-law, was removed as CEO of The Walt Disney Company, leading to a management shake-up. Frank Wells, who had previously worked at Warner Bros., and Michael Eisner, coming from Paramount Pictures, took over the running of the company, as President and Chief Operating Officer, and Chief Executive Officer respectively. They became the first people to have been brought in to Disney management from “the outside”. Eisner and Wells then employed Jeffrey Katzenberg, also from Paramount Pictures, to become Chairman of the Walt Disney Studios, including the animation department, however, Katzenberg’s background was in live-action, not animation, so this led to tensions with the animators, at least initially and especially on the first movie he oversaw, The Black Cauldron (1985), which was basically a disaster from start to finish.

Katzenberg would later be able to prove his worth, by guiding the company into its “Renaissance Era”, putting Disney Animation back on top once again, with movies like The Little Mermaid (1989), Beauty and the Beast (1991), and The Lion King (1994).  After the tragic death of Frank Wells in a helicopter accident in April 1994, it became clear to Eisner and Roy E. Disney, Walt Disney’s nephew and Vice Chairman of the company and Chairman of Disney Animation at the time, that Jeffrey Katzenberg wanted to take over from Frank Wells as president of the company. A news article proclaiming Katzenberg as the saviour of Disney animation would be the final straw, with rumours surfacing of Katzenberg’s imminent departure from the company. At the red-carpet premiere of The Lion King in June 1994, Katzenberg refused all interviews, knowing his position was on unsteady ground. He was forced to resign from the company in October 1994[3].

So, now what was Jeffrey Katzenberg do? Well, it was quite simple actually. He co-founded a whole new studio, DreamWorks SKG, alongside Steven Spielberg and David Geffen, with Katzenberg being heavily involved in the animation division. This animated department released its first movie, the computer-animated Antz, in 1998. There was some controversy around Antz, as it had some story similarities to Pixar’s A Bug’s Life, information which Katzenberg may’ve seen during his time at Disney, though there is no concrete evidence that this story was “stolen”. But it is quite telling that Katzenberg aimed to steal the spotlight from Disney and Pixar by releasing Antz just under two months before A Bug’s Life. Antz is a more mature movie than A Bug’s Life and it feels like it was aimed at a slightly older audience though. Next for DreamWorks Animation was The Prince of Egypt (1998), with violence and adult themes as per the biblical content it was based on.

Both of these films did well financially and critically, although A Bug’s Life did ultimately outgross Antz, and Disney’s Mulan (1998) outgrossed The Prince of Egypt[4]. Still, Katzenberg was showing that he could run an animation studio without Disney, and that it would be successful. And now was time for their third film.

There were a few sources of inspiration for The Road to El Dorado, though the legend of the lost city of El Dorado itself was a primary one. The story of El Dorado began in the 16th and 17th centuries, when Europeans believed that the New World, or the Americas, had vast amounts of wealth and gold, so searches and expeditions were taken to find this place called El Dorado, meaning “the golden one”, where much gold was said to be.

In the early 16th century, Spanish conquistadors arrived in South America where they heard stories about tribes in the Andes, in what would now be Colombia, and their ceremony of succession. In this ceremony, an imminent ruler was covered in gold dust and taken to a sacred lake, with gold being thrown into the lake as an offering to the gods. The Spanish named this chief “El Dorado”. But they believed that since these people had so much gold, there must’ve been a specific place where it all came from. The Spanish even partially drained one of these Colombian lakes, Lake Guatavita, in 1545 to find the gold that had been thrown in there. They could see gold around the edge of the lake, but they were unable to reach it. Even Sir Walter Raleigh attempted to find El Dorado for the British on two separate occasions. On his second trip in 1617, Raleigh was too old to travel and stayed at their camp, sending his son Wyatt to explore with the others, who was then killed by the Spanish. Raleigh returned to England, where in 1618, King James I ordered his beheading, in part for engaging in conflict with the Spanish on this expedition[5]. So, El Dorado was never discovered, because it was never a real place.

As well as this, DreamWorks also turned to classic comedies like Bing Crosby and Bob Hope’s Road to… films, where places like Morocco, Zanzibar, and Bali were explored. It was initially meant to be a more serious straightforward historical adventure based on the book Conquest: Montezuma, Cortés and the Fall of Old Mexico by Hugh Thomas, however, the tone of the movie changed when Katzenberg decided the studio should make a movie that was different to their previous movie The Prince of Egypt, a serious biblical story. Many reviewers and critics couldn’t help but notice some story points from the film The Man Who Would Be King (1975), adapted from the 1888 novella of the same name by Rudyard Kipling, within The Road to El Dorado. I’ve not seen it so I wouldn’t know, but apparently the discovery by Tzekel-Kan that Miguel and Tulio were not gods after seeing Miguel bleed was just like a scene in The Man Who Would Be King.

Production on The Road to El Dorado took four and a half years to complete, with the story line changing often during this time. Although it may be seen as a creative blessing to be making a movie without a strict plot to follow, this was seemingly a nightmare for the filmmakers. It was discussed whether this movie would ever be made at all, and jokes were made that the movie should in fact be titled El Dorado: The Lost City on Hold. Because of this, staff morale was incredibly low at times. Strangely enough, a similar movie from Disney, The Emperor’s New Groove (2000), also a buddy comedy adventure film set in the ancient civilisations of South America, became famed for its complicated production story.

There are less details available around the specific story changes of The Road to El Dorado, however, the original concept seems to have been a serious, historical narrative, with some more realistic depictions of the conquistadors’ destruction of the lands, before becoming an adventure comedy. Another story change was that Miguel’s character was meant to die and come back to life, making the natives believe he was a god. Some of the love scenes with Chel were meant to be raunchier too, but this ultimately was lessened.

The story for The Road to El Dorado was written by Terry Rossio and Ted Elliott, who also co-wrote the screenplay for Aladdin (1992) and contributed to the story of Treasure Planet (2002) for Disney, alongside directors of both films John Musker and Ron Clements. Rossio and Elliott later co-wrote Shrek (2001) for DreamWorks, winning the BAFTA Award for Best Adapted Screenplay, and the Annie Award for Writing in a Feature Production. Rossio and Elliott also wrote the screenplays for some of the Pirates of the Caribbean films.

During production, the directors of The Road to El Dorado changed, adding to the disfunction of the movie’s production process. Initially, Will Finn and David Silverman were named directors of this film. Will Finn had previously been an animated at Disney before working on The Road to El Dorado, animating key characters such as Cogsworth in Beauty and the Beast, and Iago in Aladdin. After his experience at DreamWorks working on The Road to El Dorado, it would appear that Finn went back to Disney to write and direct Home on the Range (2004). David Silverman has a long history of working on The Simpsons (1989-present), both as an animator and as a director. Silverman also directed the feature-length The Simpsons Movie (2007), as well as some of the more recent short specials for Disney+, such as Rogue Not Quite One (2023) and May the 12th Be with You (2024). Silverman also co-directed Pixar’s Monsters, Inc. (2001), alongside Pete Docter and Lee Unkrich, and directed the animated movie Extinct (2021), released globally on Netflix.

The new directors of The Road to El Dorado came to be Don Paul and Eric “Bibo” Bergeron, who took over around 1998. Don Paul has been credited as a visual effects producer for various animated movies, such as DreamWorks’ Shrek, The Prince of Egypt, and How to Train Your Dragon (2010), and Blue Sky Studios and 20th Century Fox’s Rio (2011) and Ice Age (2002). Prior to The Road to El Dorado, Bergeron had worked as an animator on movies like FernGully: The Last Rainforest (1992) and Disney’s A Goofy Movie. He went on to co-direct DreamWorks’ Shark Tale (2004) and work as a story artist on Sinbad: Legend of the Seven Seas (2003) and Flushed Away (2007) for the studio.

To ensure a level of authentic representation of the South American culture, a research trip was taken by the filmmakers, who headed to Mexico to study Mayan cities, like Tulum, Chichen-Itza, and Uxmal. They also hired John M.D. Pohl, an archaeologist from the Fowler Museum of Cultural History in Los Angeles to consult on aspects of the film[6]. On their visit, the creative team found inspiration from the temples and forests in Mexico, which helped production decide on what their city of El Dorado would look like. Since El Dorado was not a real place, and was meant to be an unknown, untouched paradise, they were able to be creative with their creation of this city. They made the city colourful, full of colours you’d typically associate with South American cultures, such as magentas, terracottas, and teals. The city of El Dorado, and the lush forest encompassing it, is in stark contrast to the muted tones of the stone and slabs that we first see in the movie when Tulio and Miguel are in Spain. There is very little colour in these scenes, other than the bright blue and bright red tops the main characters are wearing. Obviously, gold is a necessary colour in The Road to El Dorado too, however, to get the true metallic nature of gold to come across on screen, the animators knew this would not be achievable with traditional paintwork, so any gold in the movie was rendered on computers to make it look more realistic.

The Road to El Dorado is actually a showcase of the traditional 2D animation with many computer animation techniques, like the gold rendering. For example, new software was created to help with some of the water effects, which are notoriously different to animate traditionally. This was particularly useful for the sequence of the boat crashing through the gates to El Dorado, to realistically show how the water would move and splash in real-life. Other special effects used in this movie include scenes with lava and the stone jaguar chasing Miguel and Tulio through the city[7]. Sometimes it was a little jarring to see the 2D animation and the 3D effects together in the same scene, but it was only 2000 and many animation studios were still experimenting with the new technologies on offer, so it would never have looked seamless at this point.

MUSIC

Music has always been a vital element of any movie, but particularly around the late-1990s and early 2000s, many animated movies featured plenty of songs, sometimes sung by the characters, and sometimes not.

For The Road to El Dorado, DreamWorks managed to reunite the team that worked on the music for Disney’s The Lion King, which won multiple awards, including Grammys, Oscars, and Golden Globes, both for the score and the songs. This team consisted of singer-songwriter Elton John, songwriter and lyricist Tim Rice, and composer Hans Zimmer.

The Road to El Dorado consists of six original songs, all written by Elton John and Tim Rice. Elton John performs all of them, basically being a singing narrator, except for one. The opening song is “El Dorado”, which is accompanied by a short opening sequence, showing a stylistic creation of the city of El Dorado by the gods. I do like this song, and it gives a quick introduction to the audience about what they are going to see.

Following that is my favourite song in the film, “The Trail We Blaze. This song plays as Miguel, Tulio, and Altivo navigate the forest, following the map to El Dorado, which turns out not to be the easiest journey! It’s a brilliantly positive, upbeat song detailing the excitement of adventure, and it regularly gets stuck in my head.

I also like “It’s Tough to Be a God”, which comes into the movie after Miguel and Tulio have arrived in El Dorado. Here, they are arriving at the feast put on to welcome them to the city, and the two are discussing the pros and cons of this scam to pretend to be gods. It’s a fun number, full of colour. “It’s Tough to Be a God” is the only song in The Road to El Dorado that Elton John did not sing. Instead, it is performed by Kevin Kline and Kenneth Branagh as their characters Tulio and Miguel. The two of them said that Hans Zimmer, who was the producer on the film’s songs, was funny and encouraging, but also a good taskmaster, making them do numerous takes of the song, which was difficult for all involved apparently! 

Moving on from the fun and adventure, from this point, the remaining three songs are more emotional and heartfelt, matching the tone of the movie, as Tulio and Miguel start to drift apart from each other. This next song is “Without Question”, which is used as Miguel starts to integrate with the people of El Dorado and learns to love this new city, and potentially starts to feel guilty about his and Tulio’s con. It’s a sweet, calming song.

The last song to appear in the movie is “Friends Never Say Goodbye”, which sees Tulio preparing to leave the city with Chel and their gold, whilst Miguel plans to stay there. This seems to signal the ending of their friendship as Miguel believes Tulio is more bothered about his new life with Chel instead of him, and the two only say a brief “good luck” to each other. It’s not the best song in the film but it is still somewhat emotional.

Finally, there is the End Credits song “Someday Out of the Blue”, which was co-written by Patrick Leonard, as well as Elton John and Tim Rice. A music video was made to go alongside this song, despite it not being heard in the film. In the video, Elton John begins singing as his live-action self before becoming an animated version of himself, transported into the animated world of El Dorado. Some clips from the movie are also used here.

The score for The Road to El Dorado was composed by Hans Zimmer and John Powell. Zimmer composed the score for DreamWorks’ previous film, The Prince of Egypt and is also known for his work on Inception (2010), Interstellar (2014), and Dunkirk (2017), being nominated for Best Original Score at the Academy Awards for all these movies, winning the award for his music on Dune (2021), alongside a Golden Globe for Best Original Score for this movie too. Zimmer has won Grammy awards for Best Score Soundtrack for Visual Media for both his work on The Dark Knight (2008), alongside James Newton Howard, and Dune: Part Two (2024). Zimmer has won numerous other awards for his music over the years, and returned to compose the music for other DreamWorks’ movies many times. John Powell was no stranger to DreamWorks’ either, as he had previously worked with Harry Gregson-Williams on the music for DreamWorks’ Antz, going on to work on Shrek and Chicken Run (2000) together, before working solo on the How to Train Your Dragon animated trilogy for the studio. More recently, Powell returned to work on the How to Train Your Dragon 2025 live-action remake, and is credited as a co-composer of the score, alongside Stephen Schwartz, on Wicked (2024) and Wicked: For Good (2025). Zimmer and Powell collaborated again on the music for DreamWorks’ Kung Fu Panda franchise.

The soundtrack for The Road to El Dorado received mixed reviews, with some loving the songs, and others hating them. I personally find them catchy and really like most of them. In terms of awards, at the Annie Awards, Hans Zimmer, John Powell, Elton John, and Tim Rice were all nominated for Outstanding Achievement in Music, but this award was won by Randy Newman for his work on Toy Story 2. At the Saturn Awards, Hans Zimmer was nominated alongside John Powell for Best Music, and Zimmer was also nominated alongside Lisa Gerrard in this same category for their work on Gladiator (2000). Best Music was actually won by James Horner for How the Grinch Stole Christmas (2000). Hans Zimmer did however win the Best Composer award at the Critics’ Choice Awards for both his work on Gladiator and The Road to El Dorado.

Elton John worked with songwriter and producer Patrick Leonard to produce an album containing songs from the movie, although these songs are not the official versions you hear in the movie itself, for example “It’s Tough to Be a God” features on this album, but is performed by Elton John and Randy Newman, as well as songs inspired by the movie and a selection of the soundtrack’s score[8]. “Someday Out of the Blue” from this album peaked at No. 5 on the Billboard Adult Contemporary chart, and at No. 49 on the US Billboard Hot 100.

RECEPTION

The Road to El Dorado was finally released on 31st March 2000, with reportedly next to no competition at the box-office at the time in terms of competing family-friendly movies.

Yet, even with a kid-centric marketing campaign that included a promotional tie-in with Burger King, giving away toy figurines of characters from the movie with their children’s meals, The Road to El Dorado struggled at the box-office. With a budget of $95 million, The Road to El Dorado only gained back $76.4 million at the box-office[9]. The movie was easily beaten by the end of the year by other family movies such as Disney’s Dinosaur; How the Grinch Stole Christmas; and Chicken Run, which was also released by DreamWorks, although a co-production with Aardman Animations.

It’s not entirely clear why this movie didn’t do well at the time, although the more mature humour, which appears to have been used in the official trailer, may’ve been off-putting to parents of small children, and others thought the film would be more historical, with the overall tone of the movie confusing audiences.

Those are just two opinions, but there are a mixture of criticisms and comments around what makes The Road to El Dorado good and bad. On the positive side, many appreciated the colourful artwork and the fast-paced nature of this fun adventure movie. The voice acting of Kenneth Branagh and Kevin Kline was also largely praised, as well as that of Armand Assante’s ability to great a larger-than-life, theatrical villain. Although it was not seen to be as good as DreamWorks’ two previous movies, Antz and The Prince of Egypt, The Road to El Dorado was still considered to be a fun movie, and a step in the right direction for this animation studio which was taking on the greats of Disney and Pixar. There were some who stated The Road to El Dorado was much better than Disney Animation’s Dinosaur, which was released two months later, in May 2000.

However, on the other side, some said the plot was boring and didn’t consist of much adventure at all. Some also did not like the music, saying it was forgettable or just all-around bad, despite the songs being written by the legendary Elton John and Tim Rice. I’m afraid I have to disagree with this comment; I have at least three of their songs from this movie stuck in my head on a regular basis. There were complaints that The Road to El Dorado did not take the subject matter seriously enough, since The Road to El Dorado is basically about colonisation and the conquering of land. This was something that many felt Disney’s Pocahontas had managed to do, getting the balance right – although there was plenty of criticism at the time around the historical inaccuracy of that film.

There were also comments around this movie’s PG rating, due to some animated nudity, mild sexual references, mild language, and threat and peril. This may’ve been a reason for parents not taking their children to the cinema to see The Road to El Dorado, leading to the low box-office numbers. It is worth noting that many animated movies these days are rated PG now, so this doesn’t seem to be an issue anymore. I will also point out that The Road to El Dorado is rated U, our equivalent of G, in the UK, meaning it was likely also rated the same in Europe and other areas of the world.  

In later years, reviews of The Road to El Dorado have been more kind, with many fans writing endless reviews about why this movie is brilliant. I wouldn’t go that far, but I would say it is decent, not competing with DreamWorks’ Shrek or Madagascar franchises, or some of Disney’s best, but I’d say it’s a similar level to other animated movies I enjoy like Thumbelina (1994). They have their imperfections, but the voice casting and music keep me entertained and singing for days.

The Road to El Dorado’s lacklustre reception was met with a similar response during awards season, although to be fair, the Academy Awards didn’t even have a Best Animated Feature category at the time, and I’d like to think The Road to El Dorado would’ve been on the shortlist had it existed back then. At the Annie Awards, The Road to El Dorado was nominated in seven different categories, including Production Design; Storyboarding; Character Animation; and Effects Animation; as well as the Outstanding Achievement in an Animated Theatrical Feature. Pixar’s Toy Story 2 (1999) took the win for the Animated Theatrical Feature and Storyboarding. Disney’s Fantasia 2000 (1999) won for Production Design, Effects Animation, and Character Animation.

LEGACY

Apparently, there were initially plans for The Road to El Dorado to become a movie franchise, perhaps resembling the Road to… comedy films, which spanned seven movies and were an inspiration for The Road to El Dorado. However, these plans were quickly scrapped when the movie did not perform well. Some fans are hoping for a live-action remake though, and after DreamWorks has given the live-action treatment – unnecessarily, I think – to the How to Train Your Dragon animated trilogy, perhaps they’ll get round to looking at The Road to El Dorado. But I wouldn’t get your hopes up.

Apart from that, there was a video game developed based on the storyline of The Road to El Dorado, which was called Gold and Glory: The Road to El Dorado. You can also buy merchandise online, like T-shirts, and posters, although many of these are fan-made.

Although The Road to El Dorado specifically did not inspire a franchise, there have been other movies in the years since which either reference a search for El Dorado directly, like Paddington in Peru (2024), or others that look at similar lost civilisations like Jungle Cruise (2021). This shows that family movies around adventure are still alive and well, with legendary cities and lost worlds continuing to be a source of inspiration.

FINAL THOUGHTS

In my view, The Road to El Dorado was unfairly treated on its release.

I’m not even sure why. Most of the time, animated movies are judged against other animated movies, sometimes from the same studio, at times from different ones, and this tends to be the reason why a new animated movie suffers harsh criticism.

In 2000, The Road to El Dorado had little competition from animation studios. It’s not like Disney were doing well with their movies in 2000s, releasing Dinosaur and The Emperor’s New Groove specifically in 2000, and Pixar had only made three feature-length movies by this point, Toy Story, A Bug’s Life, and Toy Story 2, albeit great ones. So, why The Road to El Dorado was judged to be bad at the time, I have no idea.

Fair enough, The Road to El Dorado is not super unique, but it contains great characters, in part thanks to the casting of brilliant actors, and colourful animation. The story is simple, yes, but it is uncomplicated and unpretentious. It has some jokes for the kids, and some more mature ones for the adults, something that DreamWorks was later praised for in movies like the Shrek franchise, so I’m at a loss why just one year before Shrek came out, that The Road to El Dorado didn’t seem to match up to critics’ expectations.

Regardless of this critical blip, I am glad to see that The Road to El Dorado has since cultivated a loyal set of fans, with help from the internet and its ever-growing craziness and virality. It deserves more attention than it gets, because the buddy comedy has always remained a favourite with audiences, and continues to be a familiar genre for the masses.

The Road to El Dorado also has its part to play in the history of animation, and showcases some real technological advancements alongside the nostalgia of 2D animation, which seems to have died a death in the mainstream ever since the early 2000s.


REFERENCES

[1] Credit: DreamWorks, “Behind the Scenes Featurette”, from The Road to El Dorado (2000) UK DVD (2001).

[2] Credit: BBC, ‘Hernando Cortés (1485-1547)’, BBC.co.uk, date unknown.

[3] Credit: Don Hahn, Waking Sleeping Beauty (2009).

[4] Credit: Scott Mendelson, ’15 Years Of DreamWorks Animation And Its Complicated Legacy’, Forbes.com, 2nd October 2013.

[5] Credit: Willie Drye, ‘El Dorado’, NationalGeographic.com, date unknown.

[6] Credit: Lorenza Munoz, ‘Bumpy Road to ‘El Dorado’’, LATimes.com, 29th March 2000.

[7] Credit: DreamWorks, “Behind the Scenes Featurette”, from The Road to El Dorado (2000) UK DVD (2001).

[8] Credit: DreamWorks, “Behind the Scenes Featurette”, from The Road to El Dorado (2000) UK DVD (2001).

[9] Credit: James White, ‘The Road to El Dorado is a Hidden DreamWorks Gem’, Collider.com, 18th January 2022.