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Sky Captain and the World of Tomorrow Art Book

2004 dieselpunk film by Kerry Conran

Sky Captain and the World of Tomorrow
Skycaptainposter.jpg

Theatrical release poster
Directed by Kerry Conran
Written by Kerry Conran
Produced by
  • Jon Avnet
  • Sadie Frost
  • Jude Law
  • Marsha Oglesby
Starring
  • Gwyneth Paltrow
  • Jude Law
  • Giovanni Ribisi
  • Michael Gambon
  • Bai Ling
  • Omid Djalili
  • Angelina Jolie
Cinematography Eric Adkins
Edited by Sabrina Plisco
Music by Edward Shearmur

Production
companies
  • Filmauro
  • Brooklyn Films
  • Natural Nylon
Distributed by Paramount Pictures (Worldwide)
Filmauro (Italy)[1]

Release date
  • September 17, 2004 (2004-09-17)

Running fourth dimension

 106 minutes
Countries
  • United Kingdom
  • Italy
  • United states[2]
Languages
  • English
  • German
  • Tibetan
Budget $70 million[1]
Box office $58 million[1]

Sky Helm and the World of Tomorrow , often shortened to Sky Captain , is a 2004 science fiction activeness-adventure film written and directed by Kerry Conran in his directorial debut, and produced by Jon Avnet, Sadie Frost, Jude Law and Marsha Oglesby. It stars Jude Constabulary, Gwyneth Paltrow, and Angelina Jolie. It is an example of "Ottensian" (pre-WWII) dieselpunk.[three]

Conran spent four years making a black and white teaser using a bluescreen fix in his living room and a Macintosh IIci. He was able to testify it to Avnet, who was so impressed that Avnet spent 2 years working with him on his screenplay. No major studio was interested, but Avnet convinced Aurelio De Laurentiis to finance Sky Captain without a distribution deal (a worldwide distribution deal would afterward happen with Paramount Pictures).

Virtually 100 digital artists, modelers, animators, and compositors created the multi-layered 2D and 3D backgrounds for the live-action footage, while the entire picture was sketched out via manus-drawn storyboards and then recreated every bit CG animatics. Ten months prior to shooting the live-activity scenes, Conran first shot them with stand-ins in Los Angeles, and then converted that footage to animatics so the actors could accurately envision the film.

Sky Captain received largely positive reviews, particularly for the style of filming that was used; some criticism was directed at the plot and characterization. Despite being a box office bomb, generating merely $58 one thousand thousand on a $70 million budget, the movie has since gained a following and is regarded as a cult archetype. Information technology was one of the beginning major films, forth with Casshern (2004), Immortal and Sin Metropolis (2005), to be shot entirely on a "digital backlot", blending actors with CG surroundings.

Plot [edit]

In a technologically advanced 1939, the zeppelin Hindenburg 3 moors itself atop the Empire State Building. Aboard the airship is Dr. Jorge Vargas, a scientist who arranges for a package containing two vials to exist delivered to Dr. Walter Jennings. Subsequently, Dr. Vargas vanishes.

Polly Perkins, a reporter for The Chronicle, is looking into the disappearances of Vargas and five other renowned scientists. A ambiguous bulletin leads her to Radio Metropolis Music Hall, confronting the warnings of her editor, Mr. Paley, where she meets Dr. Jennings during a showing of The Magician of Oz. He tells her that a Dr. Totenkopf is coming for him next. All of a sudden, mysterious giant robots attack the city. The authorities phone call for "Sky Captain" Joe Sullivan, the city's hero, Perkins' old lover, and the commander of the individual air force the Flying Legion. While Joe engages the robots with his modified Curtiss P-forty pursuit fighter, Perkins photographs from the street with little regard for her prophylactic. He eventually manages to disable one robot; the rest leave thereafter. News reports show similar attacks around the globe. The disabled robot is taken back to the Legion'due south air base then that technology practiced Dex can examine it. Polly follows and persuades Joe to reluctantly let her in on the investigation. Her information takes them to the ransacked laboratory of a dying Dr. Jennings, while an assassinator escapes. Just before he dies, Jennings gives Polly the ii vials and states that they are crucial to Totenkopf'south plans. Polly hides the vials and withholds the information from Joe. They return to the Legion's base just before information technology comes under attack from squadrons of ornithopter drones. Dex tracks the origin of the signal controlling the drones and notes information technology on a map before his capture.

Joe and Polly find Dex's map and fly to Nepal so Tibet, where they observe an abandoned mining outpost and encounter Joe'due south one-time friend Kaji. Two guides working for Totenkopf strength Polly to turn over the vials, locking the duo in a room full of dynamite. Joe and Polly manage to escape but before the room explodes, knocking them unconscious and destroying nearly of Polly's film. They wake up together in the mythical Shangri-La. The Tibetan-speaking monks there tell of Totenkopf'southward enslavement of their people, forcing them to work in the uranium mines. Most were killed by the radiations, but the concluding survivor provides a clue to where Dr. Totenkopf is hiding. With insufficient fuel to make it in that location, they encounter a Purple Navy flying aircraft carrier commanded by another of Joe's former flames, Commander Franky Cook. Franky leads the assault on Totenkopf's isle lair while Joe and Polly enter through an underwater inlet. Joe and Polly notice themselves on an island with dinosaur-like creatures, which Polly hesitates to photograph every bit she has only two shots left. They find a hole-and-corner subterranean facility in a mountain, where robots are loading animals, equally well as the mysterious vials, onto a large "Noah's Ark" rocket. Joe and Polly are detected but Dex, piloting a flying barge, arrives with three of the missing scientists. They explicate that Totenkopf has given upwards on humanity and seeks to kickoff the world over over again: the "Earth of Tomorrow". The vials are genetic material for a new Adam and Eve; if the rocket reaches space, the afterburners volition ignite the temper and kill everyone on World.

Every bit the grouping attempts to enter Dr. Totenkopf's lair, one scientist is electrocuted by the defense arrangement. A hologram of Totenkopf appears, speaking of his hate for humanity and his plans to rebuild information technology equally a new master race. Dex disables the lair's defenses and the group discovers Totenkopf's mummified corpse within with a scrap of paper clutched in his manus: "forgive me". He died 20 years previously, but his machines have continued his program. Joe decides to demolition the rocket from the inside while the others escape. Polly tries to tag along only Joe kisses her and then knocks her out. Polly recovers, following Joe and saving him from Dr. Jennings' assassin, a female robot. Joe and Polly then board the rocket. Earlier the rocket reaches 100 km, when its second stage is scheduled to fire and thereby incinerate the Earth, Polly pushes an emergency button that ejects all the animals in escape pods. Joe tries to disable the rocket simply to be interrupted past the same assassinator robot. He jolts the robot with its electrical weapon then uses it on the controls, disabling the rocket. Joe and Polly use the last pod to save themselves as the rocket explodes. Joe and Polly watch the creature pods splash down around their escape pod, while Commander Melt leads a group of flying aircraft carriers towards them. Polly then uses the concluding shot on her camera to take a picture of Joe rather than the brute pods. Joe notes that she has forgotten to take the lens cap off.

Cast [edit]

  • Jude Police force as Joseph Sullivan/Sky Helm: He commands a individual air force known equally the Flying Legion. His personal aircraft is a modified Curtiss P-40. In 2002, producer Jon Avnet showed Law the teaser trailer and the actor was very impressed by what he saw. He remembers, "All I got at that early on stage was that he'd used pretty advanced and unused technology to create a very retrospective expect."[4] Avnet gave him the script to read and some preliminary artwork to wait at. Law said "What was articulate was besides that at the center was a really peachy cinematic relationship, which you could put into whatever genre and it would work. You lot know, the kind of bickering [human relationship]. I always similar to call it The African Queen meets Cadet Rogers."[four] Avnet wanted to piece of work with Law because he knew that the actor had "worked both period, who worked both having theatrical experience, who worked on blue screen, who hadn't hit withal equally a major activeness star."[5] Law had merely finished filming Cold Mountain (2003) and was intrigued by switching from on-location filming to filming completely on a soundstage. Heaven Captain would be ane of iii Jude Law films released by Paramount Pictures in 2004, along with the remake of Alfie (2004) and Lemony Snicket's A Serial of Unfortunate Events (2004). It also was ane of six overall Jude Constabulary films released that year.
  • Gwyneth Paltrow as Polly Perkins, reporter for the New York Relate. Police believed and so much in Conran'due south movie that he became one of the producers and used his clout to get Paltrow involved. Once she was suggested for the role, Constabulary did not remember "any other proper noun coming up. It merely seems that she was perfect. She was every bit enthusiastic about the script and about the visual references that were sort of put to her, and jumped on lath."[5] Paltrow said in an interview, "I idea that this is the time to exercise a flick like this where it'south kind of breaking into new territory and it'due south non your bones formulaic activeness-adventure motion picture."[6]
  • Angelina Jolie every bit Commander Francesca "Franky" Cook, commander of a Royal Navy flying aircraft carrier. Jolie had only arrived from the gear up of Lara Croft: Tomb Raider – The Cradle of Life (2003) and agreed to work on the movie for three days. Despite her pocket-size office, she reportedly had conducted hours of interviews with fighter pilots to absorb their jargon and get a experience for the role.[7]
  • Giovanni Ribisi as Dexter "Dex" Dearborn, ace mechanic of the Flight Legion. Ribisi met with Avnet and was not sure he wanted to do the motion picture; however, afterward seeing the teaser trailer, he signed on without hesitation.
  • Michael Gambon as Mr. Paley, editor of the Chronicle newspaper in New York
  • Omid Djalili as Kaji, former comrade-in-arms from the Flight Legion
  • Bai Ling equally The Mysterious Woman, Totenkopf'due south henchwoman, who is also a gynoid.
  • Julian Curry as Dr. Jorge Vargas, a missing scientist
  • Trevor Baxter as Dr. Walter Jennings, a scientist
  • Peter Police force as Dr. Kessler, a missing scientist. Peter Law is the father of Jude Law.
  • Khan Bonfils equally one of the double-amanuensis guides working for Totenkopf (identified in the credits as "Creepy"; the other guide is "Scary")

Laurence Olivier had been deceased for nearly 13 years at the time of filming, and was depicted in the movie for the part of Dr. Totenkopf, the mysterious mad scientist and supervillain via computer manipulation of video and audio from when he was a young actor. The novelization written past Kevin J. Anderson gives the full names for Dex and Editor Paley equally Dexter Dearborn and Morris Paley.[viii]

Product [edit]

Background [edit]

Kerry Conran grew up on films and comic books of the 1930s and 1940s. His parents encouraged him and his blood brother Kevin to develop their artistic sides. He studied at a feeder program for Disney animators at CalArts, and became interested in 2-D computer animation. While there, he realized it was possible to apply some of the techniques associated with animation to live-action.[9] 2 years after, information technology seemed apparent to him that Hollywood would never take a hazard on an inexperienced, first-fourth dimension filmmaker—so he decided to make the movie himself.[7]

Influences [edit]

Conran was influenced by the designs of Norman Bel Geddes, an industrial designer who did work for the 1933 Chicago Globe'south Fair and designed exhibits for the 1939 New York World's Fair.[10] Geddes as well designed an Airliner Number 4 that was to fly from Chicago to London.[xi]

Another key influence was Hugh Ferriss, one of the designers for the 1939 New York World'due south Fair who designed bridges and huge housing complexes.[10] He was an American delineator (one who creates perspective drawings of buildings) and architect. In 1922, skyscraper architect Harvey Wiley Corbett[12] deputed Ferriss to draw a series of four step-by-stride perspectives demonstrating the architectural consequences of the 1916 Zoning Resolution. These iv drawings would later be used in his 1929 volume The Metropolis of Tomorrow (Dover Publications, 2005, ISBN 0-486-43727-two).

Regarding the 1939 New York World's Fair itself and its futuristic theme of the Globe of Tomorrow, Conran noted: "... plainly the title refers to the World Expo and the spirit of that was looking at the future with a sense of optimism and a sense of the whimsical, you lot know, something that nosotros've lost a lot in our fantasies. We're more than contemptuous, more applied, ... I recollect what this picture show attempts to do is to take that enthusiasm and innocence and celebrate information technology-to not become mired in the practicality that we're fixated upon today."[xiii]

Conran acknowledged his debt to German Expressionism, which was particularly evident in the opening scenes in New York City: "Early High german movie theatre was born of but a completely different aesthetic than what we run into nowadays. 1 of the last things I watched before starting this project was the Dr. Mabuse series that Lang had done—terribly inspirational, the utilise of fine art and propaganda even."[13]

Conran summarized his influences: "We tried to approach it almost as though nosotros lived in that era and were just another group of artists trying to make a work out of those pieces and inspirations. We wanted the moving picture to feel like a lost film of that era. If we're a footnote in the history of pulp art and Gold Age comics, that'd exist enough, that'd exist cracking. If nosotros even just inspire some people to become back and investigate some of that stuff, we'd have done plenty."[thirteen]

Heaven Captain has a number of commonalities with Hayao Miyazaki'due south anime movie Laputa: Castle in the Sky (1986). The sky pirates' focus on primitive mechanics, large airships, and military cultures is similar. Both stories center on an evil madman decision-making an island of high technology, and the search for that isle. Laputa has the evil madman searching for the isle, but Sky Helm has the island every bit the madman's base from the beginning. Sky Captain 's message is largely about the picture show genre, but Laputa has potent anti-war and anti-technology themes, found in virtually of Miyazaki'southward work.[xiv] Both pay homage to the 1941 Superman animated short The Mechanical Monsters.

Teaser trailer [edit]

In 1994, Conran began assembling moviemaking tools, including a bluescreen in his living room. He was not interested in working his way through the system and instead wanted to follow the road of independent filmmakers similar Steven Soderbergh. Initially, Kerry and his blood brother had cipher more than than "just a vague idea of this guy who flew a airplane. We would talk near all the obvious things like Indiana Jones and all the stuff we liked."[15] Conran spent four years making a black and white teaser trailer in the style of an one-time-fashioned picture show serial on his Macintosh IIci personal figurer. In one case finished, Conran showed it to producer Marsha Oglesby, who was a friend of his brother's wife and she recommended that he let producer Jon Avnet see it. Conran met Avnet and showed him the trailer. Conran told him that he wanted to make it into a movie. They spent two or three days just talking about the tone of the flick.[16]

Pre-production [edit]

Avnet and Conran spent two years working on the screenplay, which included numerous genre-related references and homages, and developing a working relationship. Then, the producer took the script and the trailer and began approaching actors. In society to protect Conran'due south vision, Avnet decided to shoot the film independently with a lot of his ain money. The producer realized that "the very thing that fabricated this flick potentially so exciting for me, and I retrieve for an audition, was the personal nature of it and the singularity of the vision, which would never succeed and never survive the development process within a studio."[5]

Avnet convinced Aurelio De Laurentiis to finance the picture without a distribution deal (Paramount Pictures would later on acquire worldwide distribution rights to the movie). Nine months before filming, Avnet had Conran run across the actors and begin rehearsals in an endeavour to get the shy filmmaker out of his shell. Avnet gear up a custom digital effects studio with a blue screen soundstage in an abandoned edifice in Van Nuys, California. A group of almost 100 digital artists, modelers, animators, and compositors created multi-layered 2D and 3D backgrounds for the live activity footage still to be filmed.

The unabridged motion picture was sketched out via hand-drawn storyboards and then re-created as computer-generated 3D animatics with all of the 2D background photographs digitally painted to resemble the 1939 setting. With the animatics as a guide, grids were created to map camera and actor movements with digital characters standing in for the existent actors. The grids were made into actual maps on the blue screen stage floor to help the actors motility around invisible scenery.[17]

10 months before Conran made the movie with his actors, he shot it entirely with stand-ins in Los Angeles and then created the whole movie in animatics so that the actors had an idea of what the film would await like and where to movement on the soundstage. To prepare for the film, Conran had his cast sentry old movies, such every bit Lauren Bacall in To Have and Accept Not (1944) for Paltrow'southward performance and The Sparse Man (1934) for the relationship between Nick and Nora that was to be echoed in the one between Joe and Polly.[7] Avnet constantly pushed for room in this meticulously designed movie for the kind of freedom the actors needed, like existence able to move around on the soundstage.

Chief photography and mail-product [edit]

Conran and Avnet were able to cut costs considerably by shooting the unabridged movie in 26 days — far less than the three-to-four month schedules usually allotted to blockbuster films — on high-definition video using a Sony HDW-F900 and working entirely on 3 separate bluescreens, mainly on Stage 2 (George Lucas Stage) at Elstree Studios in London, England[eighteen] with one notable exception. Conran wrote a scene that was added later in which Polly talks to her editor in his office that was shot on a concrete ready because there was no time to shoot it on a blue screen soundstage.[7] The footage from the HD camera was run through a switcher and then through a Macintosh reckoner running Last Cutting Pro that allowed the filmmakers to line up the animatics with the live onstage footage. Conran said, "I don't know how we would accept made this movie. It's really what immune us to line upward everything, given there was nothing there."[17] Subsequently each day of shooting, footage was edited and sent overnight to editors in Los Angeles who added CG and sent it dorsum.

Later filming ended, they put together a 24-minute presentation and took it to every studio in June 2003. There was a lot of interest and Avnet selected the studio that gave Conran the most artistic control. They needed studio backing to finish the film'southward ambitious visuals. At one point, the producer remembers that Conran was "working 18 to twenty hours a mean solar day for a long menses of time. It's 2,000 some odd CG shots done in one twelvemonth, and we literally had to write code to figure out how to do this stuff!"[19] About of the post-product work was done on Mac workstations using Afterward Effects for compositing and Last Cutting Pro for editing (seven workstations were defended to visual effects and product editing). The distinctive expect of the film was achieved past running footage through a improvidence filter and so tinting it in black and white before colour was blended, balanced and added dorsum in.

Laurence Olivier, who died in 1989, posthumously appears as the villain and mad scientist Dr. Totenkopf. His likeness was produced using digitally manipulated archival BBC footage of the actor and thus adding one more than movie to his repertoire. A like technique was used two years later in Superman Returns (2006) with Marlon Brando.

Avnet cultivated a calculated release for the film by first moving its release date from mid-2004, one calendar week before Spider-Homo ii, to September. He courted the Internet press and finally made an advent at the San Diego Comic-Con with primal bandage members in an endeavor to generate some advance buzz.[19]

Soundtrack [edit]

Heaven Captain and the World of Tomorrow (Original Motion Picture Soundtrack)
Soundtrack anthology past

Edward Shearmur
Released September 7, 2004 (original), September 12, 2017 (expanded)
Genre Soundtrack
Label Sony (original), La-La Land Records (expanded)
Professional ratings
Review scores
Source Rating
AllMusic
Empire
Filmtracks
Movie Wave
ScoreNotes
SoundtrackNet

The composer Edward Shearmur wrote the pic's orchestral score in the style of Hollywood's golden-age composers, and the picture's end-title sequence featured a new recording of the vocal "Over the Rainbow" sung by the American jazz vocalist Jane Monheit, which were all featured on Sony Classical's original motion flick soundtrack recording.[20] La-La Land Records released a express edition ii-disc set in 2017 with the complete score.[21]

Sony Classical track listing [edit]

  1. "The World of Tomorrow" – ane:07
  2. "The Zeppelin Arrives" – 1:53
  3. "The Robot Ground forces" – iii:01
  4. "Calling Sky Captain" – 3:26
  5. "Dorsum at the Base of operations" – 2:49
  6. "The Flight Wings Attack" – 6:31
  7. "An Aquatic Escape" – 2:29
  8. "Flight to Nepal" – 4:38
  9. "Treacherous Journey" – 2:22
  10. "Dynamite" – 2:26
  11. "Three in a Bed" – 0:57
  12. "Finding Frankie" – 5:02
  13. "Manta Squadron" – half-dozen:33
  14. "h-770-d" – 1:14
  15. "Flying Lizard" – i:06
  16. "Totenkopf's Ark" – 5:01
  17. "Back to World" – 3:fourteen
  18. "Over the Rainbow" – three:54

La-La State Records track listing [edit]

Disc i (unreleased tracks in bold, tracks with unreleased textile in italics)

  1. The World of Tomorrow one:09
  2. The Zeppelin Arrives 1:53
  3. Telegram one:36
  4. Meet Polly one:33
  5. The Part 2:16
  6. The Robot Army 3:02
  7. Calling Sky Captain three:23
  8. After Robots/Meet Dex ii:58
  9. Dorsum at the Base 2:53
  10. Hanger-Car/Jennings Lab/Dr. Jennings Is Dead half dozen:05
  11. The Flight Wings Assail/Wiggly Robots 8:13
  12. An Aquatic Escape 2:32
  13. S.C. Fights the Wigglys/Where'south Dex? 2:38
  14. Flight to Nepal iv:40
  15. Treacherous Journeying 2:23
  16. Transmitter/Tunnels 3:44
  17. Dynamite ii:26

Disc two

  1. Three in a Bed 1:06
  2. Monks/New Clothes two:54
  3. Finding Frankie 5:05
  4. What Is That?/Under Set on 3:00
  5. Manta Squadron half dozen:34
  6. H-770-d 1:14
  7. Flying Lizard i:08
  8. Tales of Nanjing 2:17
  9. Ark/Robot Assault/Outside TK's Office six:26
  10. TK's Office 1:19
  11. . A Plan/Fight 3:54
  12. Action v:06
  13. . Back to Earth iii:20
  14. Over the Rainbow 3:58
  15. Cease Credits Suite 5:13
  1. Totenkopf's Ark (album version) v:05
  2. Gramophone Source—Étude Op. ten, No. iii, in E major ii:35

Reception [edit]

Box office [edit]

Heaven Captain and the Globe of Tomorrow had high box part expectations, opening in starting time place on its September 17, 2004 release date and grossing U.s.$15.5 million on its opening weekend. However, the picture only grossed $37.7 1000000 in North America, below its estimated $lxx 1000000 upkeep. It grossed $20.one million in the rest of the earth, making its final worldwide tally $57.nine million. The motion-picture show is considered a box office bomb.[22]

Kevin Conran disputed this budget figure in a 2015 interview. "I accept bully effect with that [budget effigy] personally and I'd like someone to testify me where all that coin went ... I don't back up those numbers and I never have. Nosotros walked into Jon Avnet's part that outset day and he said, 'What do you want for the production?' and we said $3 million. We could have done a version of this film for $3 one thousand thousand. It would take been blackness-and-white and sans name actors ..."

"Only fifty-fifty still, this whole affair was going to be under $twenty million. How it went from twenty to seventy, y'all tell me."[23]

Critical reception [edit]

On Rotten Tomatoes, the moving-picture show has an approval rating of seventy% based on 221 reviews, with an boilerplate rating of 6.viii/10. The site's critical consensus states: "Heaven Helm and the Globe of Tomorrow is slim on plot and label, but the visuals more than brand up for it".[24] On Metacritic the film has a score of 64 out of 100 based on reviews from 36 critics, indicating "By and large favorable reviews".[25] Audiences surveyed by CinemaScore gave the motion-picture show a grade B− on calibration of A to F.[26]

The Canadian network Space awarded it the 2005 Spacey Award for Best Science Fiction/Fantasy Motion-picture show.[27] Roger Ebert was amidst those who strongly supported the moving picture, giving it a 4 out of a possible four stars and praising it for "its heedless energy and joy, it reminded me of how I felt the commencement fourth dimension I saw Raiders of the Lost Ark. It'southward similar a pic that escaped from the imagination directly onto the screen, without having to pass through reality along the manner".[28] The film is also i of few to exist awarded v out of five stars past IGN FilmForce.[29] In his review for the Chicago Reader, J.R. Jones wrote, "This debut feature by Kerry Conran is a triumph not simply for its technical mastery simply for its expert taste".[30] Entertainment Weekly gave the motion picture an "A−" rating, maxim, "The investment is optimistic and wise; Sky Captain is a gorgeous, funny, and welcome novelty".[31]

Other critics' enthusiasm was somewhat tempered. For instance, Stephen Holden of The New York Times lauded its visuals and its evocation of a bygone era but said that "the monochromatic variations on sepia keep the actors and their adventures at a refined aesthetic distance ... At times the film is hard to meet. And as the action accelerates, the wonder of its visual concept starts giving way to sci-fi clichés".[32] USA Today said that the pic was "all style over substance, a clever parlor fob merely a deadening movie".[33] Stephen Hunter, of The Washington Mail service, called it "a $seventy million novelty detail".[34]

Homages [edit]

First-time director Conran incorporated many references to classic genre films into his own movie:

The work of those artists and writers from the pulps and Aureate Age of Comic Books like Airboy was really the template for united states. To some extent we stole from it, to some extent we expanded on it – hopefully nosotros added enough of our ain sensibility. Nosotros tried to arroyo it almost equally though we lived in that era and were but some other group of artists trying to make a work comprised of those pieces and inspirations. We wanted the film to experience like a lost movie of that era.[35]

The regular army of giant robots seen in the film – both flying over the metropolis and afterward diverse models in Sky Helm'southward massive warehouse, peculiarly one designated as number "five" – are a homage to the Paramount Pictures Superman cartoon The Mechanical Monsters (1941), produced by Fleischer Studios. The radio signal tower calling for Sky Captain is a stylized version of the color RKO logo. The behemothic robots estrus rays use the same sound effects every bit the Martian flying machines from the 1953 version of The War of the Worlds.

When early in the motion-picture show newspaper clippings from effectually the world are shown, in the Japanese newspaper the iconic silhouette of Godzilla is clearly visible. Similarly, during the New York sequence when Heaven Captain deploys a bomb to finish a behemothic robot, the shape of King Kong tin be seen on the Empire State Edifice in the background.[36] During the underwater dogfight sequence, a light momentarily displays the wreckage of a ship with the name Venture – the tramp steamer that sailed to Skull Isle in the 1933 version of King Kong. The same scene shows what appears to be the wreckage of the RMS Titanic, and an aboriginal underwater metropolis which seems to be a nod to the fable of Atlantis.

The villain's master logo bears striking similarities to the logo for Red Skies,[37] a game universe that some critics noted bears stylistic and plot similarities to the picture show.[38] [39]

Lurid magazines and comic books [edit]

The Flight Legion is a homage to pulp magazine and comic book heroes such as G-8 and his Battle Aces, Helm Midnight, and the Blackhawk squadron. Production designer Kevin Conran, the brother of manager Kerry Conran, based the design of the flight humanoid robots, in function, on the helmet worn by the DC Comics superhero Adam Strange and the flight controls for Commando Cody's rocket-pack.[twoscore]

See also [edit]

  • Carmine Skies
  • Decopunk
  • Dieselpunk
  • Pulp mag
  • Retro-futurism

References [edit]

  1. ^ a b c "Sky Helm and the World of Tomorrow (2004)". Box Office Mojo. December 21, 2004. Retrieved July sixteen, 2015.
  2. ^ "Sky Helm and the World of Tomorrow (2004)". British Film Institute . Retrieved May xiv, 2021.
  3. ^ Piecraft; Ottens, Nick (July 2008), "Discovering Dieselpunk" (PDF), The Gatehouse Gazette (1): 4, 8, ix, retrieved October 17, 2012
  4. ^ a b Murray, Rebecca. "Heaven Captain Himself Discusses Heaven Captain". About Entertainment. Archived from the original on Nov 5, 2007. Retrieved April ii, 2007.
  5. ^ a b c Murray, Rebecca. "Jude Law, Giovanni Ribisi, Kerry Conran, and Jon Avnet Interview". About Entertainment. Archived from the original on January eight, 2008. Retrieved April 2, 2007.
  6. ^ Douglas, Edward (September fourteen, 2004). "The Making of Sky Captain - Part 3!". ComingSoon.cyberspace. Archived from the original on June 5, 2008. Retrieved December 20, 2012.
  7. ^ a b c d Axmaker, Sean (September sixteen, 2004). ""At the cusp of a renaissance": Kerry Conran". GreenCine Daily. Archived from the original on October 13, 2007. Retrieved March 29, 2007.
  8. ^ Anderson, Kevin J. (June ane, 2004). "Sky Captain and the Globe of Tomorrow". Film novelization (paperback). Onyx. p. 246. ISBN0-451-41163-3.
  9. ^ Richards, Olly (July 16, 2015). "How Kerry Conran Saw Hollywood's Future". The Telegraph. Telegraph Media Group. Retrieved July sixteen, 2015.
  10. ^ a b Knowles, Harry (February two, 2004). "More than on Sky Helm and the World of Tomorrow". Ain't It Absurd News. Retrieved March 29, 2007.
  11. ^ Soar, Danny. "The BEL GEDDES # 4 - A Fine Road Not Taken". Archived from the original on March 4, 2010. Retrieved October 6, 2015.
  12. ^ "Harvey Wiley Corbett". Artnet.com. Retrieved August 29, 2011.
  13. ^ a b c Claw, Walter (Oct 3, 2004). "Sky's Not the Limit: Kerry Conran on beingness a pioneer of Tomorrow". FilmFreaks.net. Archived from the original on August 6, 2007. Retrieved Oct twenty, 2007.
  14. ^ "Moria : Sky Captain and the world of Tomorrow : Review". Moria.co.nz. Retrieved July xvi, 2015.
  15. ^ Cerise, Smilin' Jack (January 31, 2004). "Fending Off Alien Robots, but Still Time to Flirt". CHUD.com.
  16. ^ Douglas, Edward (September vii, 2004). "The Making of Heaven Helm—Part 1!". ComingSoon.net. Archived from the original on June 5, 2008. Retrieved December twenty, 2012.
  17. ^ a b Cellini, Joe (September 2004). "Sky Captain Flies to Large Screen". Apple Pro/Video. Archived from the original on February 2, 2007. Retrieved April ii, 2007.
  18. ^ "Cinematography - cinemat".
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  23. ^ Richards, Olly (July 16, 2015). "How Kerry Conran saw Hollywood's future—then got left behind". The Telegraph . Retrieved July 21, 2015.
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  28. ^ Ebert, Roger (September 17, 2004). "Sky Captain and the Earth of Tomorrow". Chicago Sun-Times . Retrieved April 2, 2007.
  29. ^ Oliver, Glen (September sixteen, 2004). "Sky Helm and the Globe of Tomorrow". IGN. Retrieved March 30, 2007.
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  32. ^ Holden, Stephen (September 17, 2004). "Fending Off Alien Robots, but Still Time to Flirt". The New York Times . Retrieved March 30, 2007.
  33. ^ Puig, Claudia (September 16, 2004). "Sky Helm is digitized to death". Us Today . Retrieved January 24, 2008.
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  36. ^ "Dauntless New Globe: The Making Of The World Of Tomorrow". Sky Captain and the World of Tomorrow Special Collector'south Edition DVD. Paramount Pictures. 2004.
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  39. ^ "Crimson Skies: High Road to Revenge – Second Opinion". Retrieved April 17, 2009.
  40. ^ "The Art of World of Tomorrow". Sky Captain and the World of Tomorrow Special Collector'south Edition DVD. Paramount Pictures. 2004.

Further reading [edit]

  • "Brave New World" Role ane and 2 - Heaven Helm and the World of Tomorrow Special Collector'due south Edition DVD (Paramount Pictures, 2005)
  • "The Art of Globe of Tomorrow" - Sky Helm and the World of Tomorrow Special Collector's Edition DVD (Paramount Pictures, 2005)
  • "Macs aid Sky Captain save the day, win converts" by Brad Cook Mac Earth (September 30, 2004)
  • "A Retro Future" - by Christopher Probst. American Cinematographer. (October 2004)
  • "Rhapsody in Bluescreen" - by Jeff Jensen. Entertainment Weekly. (September 17, 2004)
  • "Mr. Invisible and the Secret Mission to Hollywood" by John Hodgman. The New York Times. (March 14, 2004)

External links [edit]

  • Sky Captain and the World of Tomorrow at IMDb
  • Sky Captain and the Globe of Tomorrow title listing at the Cyberspace Speculative Fiction Database
  • Sky Captain and the Earth of Tomorrow at the TCM Movie Database
  • Sky Captain and the World of Tomorrow at the American Film Institute Catalog
  • Heaven Captain and the World of Tomorrow at AllMovie
  • Sky Captain and the Earth of Tomorrow at Rotten Tomatoes
  • Sky Captain and the World of Tomorrow at Metacritic
  • Sky Captain and the World of Tomorrow at Box Function Mojo

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Source: https://en.wikipedia.org/wiki/Sky_Captain_and_the_World_of_Tomorrow