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15 Facts About Finding Nemo

Although we now recognize 2003's Finding Nemo as one of Pixar’s most critically and commercially successful films, the underwater masterpiece didn’t exactly kick off production as a guaranteed goldmine. Here are a few little-known facts about the rocky road leading up to the film’s status as a bona fide blockbuster.

1. THE FILM WAS INSPIRED BY THE DIRECTOR’S OVERPROTECTIVE NATURE.

“Autobiographical” isn’t exactly the first adjective you’d expect to assign to a road comedy about marine life, but Finding Nemo co-writer-director Andrew Stanton’s story came from a very personal place. As a relatively new father during the film’s development, Stanton found himself at odds with his proclivity to veer into overprotective territory, much in the way viewers see Marlin combating his neuroses in raising his son Nemo. He also had a love for all things aquatic that dated back to a childhood fascination with his dentist’s fish tank, so Stanton used this lifelong interest as a funnel for a deeply emotional story about the challenges of being a good father. 

2. STANTON WROTE A SCRIPT LONG BEFORE HE WAS “SUPPOSED TO.” 

Pixar’s multitiered film production process begins with a basic premise pitch to the creative higher-ups, followed by (for all greenlit projects) a written story treatment. Stanton already had a script completed before this second step took place, the only Pixar project to proceed in this manner. 

3. IT TOOK ONLY ONE WORD TO GET THE GREEN LIGHT FOR FINDING NEMO. 

“You had me at ‘fish.’” That is precisely what John Lasseter, Pixar’s chief creative officer, said to Stanton following his exhaustive pitch for his passion project.

4. THE MOVIE’S ART TEAM WENT THROUGH MARINE TRAINING PRIOR TO PRODUCTION. 

In order to get the look and the feel of Finding Nemo’s characters and atmosphere just right, Pixar’s in-house art team was required to take courses and audit lectures in marine biology, oceanography, and ichthyology while enrolling in scuba diving classes. 

5. DOGS WERE USED AS MODELS FOR THE FISHY FACIAL EXPRESSIONS. 

While the Pixar team’s extensive research on the denizens of the deep yielded a wide variety of spectacular shapes and colors perfectly suited to an animated feature, the underwater populace proved consistently lacking when it came to one anatomical component. The dull eyes of the average finned critter weren’t especially conducive to building expressive characters, so Pixar had to look elsewhere for its optical models. The crew chose one of the most openly expressive members of the animal kingdom on which to model the eyes of its fish characters: dogs.

6. THE ORIGINAL SCRIPT HAD A DIFFERENT TREATMENT FOR THE BARRACUDA INCIDENT.

At first, Stanton kept the inspiration for Marlin’s overprotective attitude—the loss of his wife and all but one of their unborn children in a barracuda attack—a secret to reveal gradually through intermittent flashback sequences. Ultimately, this technique made the revelation obvious and anticlimactic while making Marlin feel substantially less likable, so the script changed. 

7. GILL WAS A VILLAINOUS CHARACTER IN AN EARLIER VERSION OF THE STORY. 

While the combination of somber coloration, a scowling beak, and the menacing vocals of Willem Dafoe render Nemo’s fish tank pal Gill an intimidating presence, we learn soon enough that he is in fact a good guy who has the best interests of his fellow captives at heart. The original cut of Finding Nemo was more ambiguous about Gill’s integrity, however, making him the owner of a falsified identity that he swiped from a nautical-themed children’s book housed in the dentist’s waiting room. 

8. MEGAN MULLALLY WAS FIRED AFTER PRODUCERS HEARD HER REAL VOICE.

In the early 2000s, Megan Mullally was best known for her Will & Grace character, the rude and eccentric Karen Walker. Chief among the character’s recognizable characteristics was her high-pitched voice, which Pixar producers apparently thought would be perfect for an animated fish. Upon hiring Mullally to voice an undisclosed character in the movie, the crew discovered that the actress’ natural voice was of average pitch and that Mullally was unwilling to reproduce “the Karen voice” for the film. As such, Mullally was dismissed from the Finding Nemo cast. 

9. ALBERT BROOKS REPLACED ANOTHER BIG STAR. 

Although Brooks’ background in films like Broadcast News and Mother seems like it would have made him an obvious candidate to play the high-strung Marlin, the first actor cast in the role was William H. Macy. The Fargo star recorded his dialogue for an early screening of Finding Nemo, but producers ultimately felt that he lacked the warmth required for the role of the father fish. 

10. THE DIRECTOR RECORDED ALL OF ONE CHARACTER’S DIALOGUE WHILE LYING ON A COUCH. 

Stanton never intended to commit his voice to the final cut of Finding Nemo, but only to sub in as a placeholder until the right actor could be cast to play Crush, the easygoing sea turtle with the California accent. Perhaps due to his understanding of his vocal contribution as merely temporary (or maybe, in fact, to get into the “slacker” mindset of his character), Stanton recorded all of Crush’s dialogue while lying on a couch in the office of his co-director, Lee Unkrich.

11. THE CEO OF DISNEY THOUGHT FINDING NEMO WOULD BE A FAILURE. 

The combination of a poorly cast Marlin, an unsympathetic Gill, and the running flashbacks made the earliest versions of Finding Nemo feel pretty dismal. Still, nobody was quite as defeatist as Michael Eisner, the Walt Disney Company's then-chief executive officer. Eisner predicted the underwater adventure would be a “reality check” for the yet unchallenged Pixar. Eisner’s only positive spin was that a commercial struggle would be helpful during contract renegotiations with the Disney subsidiary. Of course, Eisner’s judgment, and fund-cutting aspirations, came up short when Finding Nemo became Pixar’s highest grossing film (a superlative it would maintain until the release of Toy Story 3 in 2010). 

12. THE MOVIE’S POPULARITY LED TO POPULATION STRESS FOR CLOWNFISH.

Children were so taken with the adorable Nemo following the release of the film that demand for clownfish as pets instantly skyrocketed. Excessive capture and sale of the ocean dwellers led to a steep decline in the organic population of the species; some natural habitats, such as the waters surrounding Vanuatu, saw a 75 percent drop in clownfish numbers. 

13. THE MOVIE ALSO LED TO SOME MISGUIDED FISH LIBERATION MOVEMENTS. 

On the other hand, Finding Nemo’s anti-tank agenda did provoke a few ecologically-minded viewers to set their aquatic captives free. Unfortunately, not everyone took the necessary steps to ensure that their newly liberated pet fish were being transported to amenable waters. Certain marine communities suffered from the introduction of predatory and venomous species in unnatural locales, resulting in, once again, ecological imbalance. 

14. SEVERAL ORGANIZATIONS RELEASED “ANTI-FLUSHING” PUBLIC SERVICE ANNOUNCEMENTS FOLLOWING FINDING NEMO. 

While tanked fish Gill’s proclamation that “all drains lead to the ocean” contains a grain of truth, the movie fails to acknowledge the fact that a flushed fish is unlikely to survive a trip down the typical drain. Water treatment company JWC Environmental and Australia’s Marine Aquarium Council were among those to offer public warnings that flushing would prove fatal to any pet fish. The former organization suggested that a movie that realistically portrayed a household sea creature’s voyage through the municipal sewage system would be more accurately titled "Grinding Nemo."

15. A CHILDREN’S BOOK AUTHOR UNSUCCESSFULLY ACCUSED FINDING NEMO'S CREATORS OF PLAGIARISM.

A year before the release of Finding Nemo, French author Franck Le Calvez self-published the children’s book Pierrot Le Poisson-Clown, featuring a young clownfish on a quest to reunite with his estranged mother. (In fact, Le Calvez first wrote the story as a screenplay in 1995, but was unable to generate interest in the concept.) After Pixar’s admittedly similar tale hit theaters, Le Calvez sued the studio for copyright infringement, but lost two lawsuits and was ordered to pay $80,000 in damages and court costs.

All images courtesy of Disney Screencaps

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Why Mickey Mouse Could Soon Be in the Public Domain
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Mickey Mouse debuted to the world in the 1928 animated short Steamboat Willie, and has since transformed into an icon recognized around the world. But the mouse’s status as Disney's exclusive property is under threat. As Ars Technica reports, Steamboat Willie is set to enter the public domain in 2024, and unlike in previous years, there have been no moves from Congress to stop that from happening. Once it does, in theory, anyone could use Mickey's image for free.

This is the third time the cartoon has been on the verge of losing its copyright protection. The first came in the 1970s, back when copyright terms only lasted 56 years. That meant every book, song, and movie made in 1923 was scheduled to lose its protected status in 1979, and Steamboat Willie would follow on its 56th anniversary in 1984. But in 1976, under pressure from companies like Disney, Congress extended the statute to 75 years, keeping all works made after 1923 from becoming public domain until 1998 or later. Mickey remained safely out of the public domain for another two decades. Then, when copyright terms were again scheduled to expire in 1998, Congress extended them a second time, this time to 95 years.

Now, the clock is ticking down for these older works once again as the 2018 expiration date of that copyright extension nears. Only this time, it looks like Congress may let them become public property without a fight.

Today’s constituents tend to care more about copyright law now than they did in 1976 or even in 1998. The rise of online streaming and easily accessible pirated content has made the issue more relevant to the life of the average person than ever before. The defeat of the Stop Online Piracy Act (SOPA) in 2012 made this clear to legislators. That bill, which would have empowered law enforcement to punish or block sites sharing pirated content, was so controversial that it sparked protests across the web. Because of the sheer scale of that public response, lawmakers are now hesitant to change any existing copyright protections, including those set to expire on January 1, 2019.

But even if those protections expire, Disney could still find a way to prevent rival studios from using Mickey’s image when 2024 rolls around. While copyrights are designed to be temporary, trademarks have the potential for serious lasting power. That’s because copyrights only protect a single work of artistic expression (in this case, the film Steamboat Willie), while trademarks are attached to images and logos that represent a brand (so Mickey Mouse, the character). As long as Disney can prove that Mickey has evolved beyond his first screen appearance into a symbol that’s synonymous with its corporation, he’ll remain a protected property. And if you take a look at their theme parks, cruise ships, media, and the dozens of Hidden Mickeys they've hidden in their movies, you’ll see that they can easily make that case.

But few works of art made in the 1920s have taken the same path to corporate dominance as Mickey Mouse, even other works made famous by Disney (like Winnie the Pooh, first introduced in A.A. Milne's stories in 1926). Even if Disney manages to protect Mickey, the public should have a big new batch of copyright-free content to access in the next few years.

[h/t Ars Technica]

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The One Phrase Disney Theme Park Characters Aren't Allowed to Say
Matt Stroshane, Disney/Getty Images
Matt Stroshane, Disney/Getty Images

The 14 Disney theme parks located around the world attract so many attendees each year that the company recently decided to increase admission for peak times by 20 percent to help decrease crowd congestion. Anaheim’s Disneyland is such a popular tourist attraction that some days the park is actually at capacity.

What keeps visitors packed in like sardines? The promise of a suspended reality—one that treats the various Disney characters as though they had just stepped out of a movie. There’s a laundry list of employee policies to help sustain that illusion, and Travel + Leisure recently uncovered one of the most interesting ones: Actors dressed as Disney characters are never allowed to say “I don’t know” to guests.

The motivation is understandable: Disney never wants people to feel as though they need to wander around looking for information. If they pose a question to, say, a Disney Princess, the actor is expected to communicate with other employees or areas of the park in order to find the answer. If Elsa doesn't know where the nearest restroom is, she's tasked with finding out before your kid's bladder gives up.

If a guest is looking for general directions, there’s also protocol for how to point. Performers are not allowed to use their index finger by itself. Instead, they use it in conjunction with their middle finger. In addition to index finger-pointing being considered rude in some cultures, legend has it that the gesture was partly inspired by Walt Disney himself, who once roamed the park grounds pointing at structures with two fingers that pinched a cigarette.

[h/t Travel + Leisure]

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