Atlantis - Das Geheimnis der verlorenen Stadt (2001) | 41. Disney Meisterwerk

**Norimaki** · 04.08.2000, 00:15

Hab' mich gefragt, ob hier jemand auch schon den Atlantis-Trailer gesehen hat...
Mir hat er auf jeden Fall ziemlich gut gefallen;
Der Film scheint richtig ernst zu werden!
Atlantis ist sowieso ein ziemlich faszinierendes Thema, oder?

------------------
Who flies afar from the sphere of our sorrow is here today and here tomorrow.

**Dominik** · 04.08.2000, 08:28

Wo kann man den Trailer sehen? Gibts den im Internet zum Download? Falls ja, wo???

------------------
The ultimate Phantomias Fanpage
Phantomias Forum

**Norimaki** · 04.08.2000, 10:47

Den Trailer gibt's bei http://www.darkhorizons.com
runterzuladen. Schau einfach in der Trailer-Liste nach!
Der Film selbst kommt allerdings leider erst im Juni 2001 raus... *sniff*

------------------
Who flies afar from the sphere of our sorrow is here today and here tomorrow.

**Dominik** · 05.08.2000, 08:31

Ja, in Amerika kommt er im Juni 2001 raus, aber bei uns erst im Nov/Dez 2001, denn der Film was im Amiland im Juni rauskommt, kommt bei uns erst zu Weihnachten. Danke für die URL!

------------------
The ultimate Phantomias Fanpage
Phantomias Forum

[Dieser Beitrag wurde von Dominik am 05. August 2000 editiert.]

**Dominik** · 05.08.2000, 08:37

Jetzt hab ich mir den Trailer angeschaut und er ist einfach genial!!! Der Film wird sicher der beste Film, den Disney seit langem prodziert hat!

------------------
The ultimate Phantomias Fanpage
Phantomias Forum

**T-Bone** · 31.03.2001, 16:20

Am 15.Juni läuft endlich Atlantis in den Staaten an, leider erst im Dezember bei uns...Der Film dürfte sehr interessant werden, da er u.a. sich dadurch von anderen Disney-Filmen unterscheidet, daß diesmal nicht gesungen wird und es sich im Grunde um einen Disney-Action-Film handelt...Den Trailer gibt es, wie die meisten wahrscheinlich wissen, bei www.disney.com ! Die Animatoren der Hauptcharaktere sind im übrigen:

John Pomeroy animiert Milo James Thatch
Ron Husband animiert Dr. Joshua Sweets
Yoshu Temora animiert Helga Sinclair
Mark Sores animiert Captain Rourke
Preston Whitmore animiert Cookie
David Crutman animiert Wilhelmina Packard
Russ Edmonds animiert Vinnie Satorini

**Kukki-chan** · 04.04.2001, 16:42

Atlantis? Achja, schon gehört... Das ist doch dieser Abklatsch von "Nadia", oder?

**Dominik** · 04.04.2001, 19:09

Stimmt leider. Näheres dazu hier.

**T-Bone** · 05.04.2001, 23:23

Folgendes steht auf dem Newsboard:
Hat Disney geklaut?
Schon bei dem Film Der König der Löwen gab es Beschwerden, daß die Handlung stark an die japanische Zeichentrickserie "Junguru Tatei" (Kimba der weiße Löwe) erinnere. Auch beim neusten Disney-Film Atlantis soll es zahlreiche Parallelen zu einer japanischen Serie geben: "Nadia - The Secret Of Blue Water" (Die Macht des Zaubersteins, lief 1996 auf RTL II).

Meiner Meinung nach wird immer irgendjemand behaupten, irgendwas sei irgendwo geklaut...Bei Quentin Tarantino heißt es bspw. auch, er habe für "Reservoir Dogs" bei einem Eastern geklaut usw.! Selbst wenn es so wäre, daß es geklaut wäre (ob nun bei Disney oder Tarantino), kann man immer noch davon ausgehen, daß diese beiden durch die einmalige Umsetzung die Nase vorn haben... (Ich hab glaub' ich zu viel mit Tarantino argumentiert...na ja, Ihr wißt schon, wie ich's meine!) Was meint Ihr?

**Hate** · 05.04.2001, 23:51

Hier ist der Stand der Diskussion im feindlichen Lager, im Anime City-Forum.

**T-Bone** · 06.04.2001, 00:21

Danke für den Link, doch da geh ich lieber gar nicht erst drauf, da ich Anime hasse...

**Christian P** · 06.04.2001, 23:08

Original erstellt von Nimmermehr:
wann kommt Atlantis eigentlich in Deutschland in die Kinos?

Es wird jedenfalls der nächste klassische Weihnachtsfilm. Erscheinungsdatum wie jedes Jahr Ende November/ Anfang Dezember denke ich.

Christian

**dragicmaster** · 10.04.2001, 12:48

Ich bin Zeichner im Carlsen verlag und ziemlich unparteiisch was Animes oder Disney angeht.Es ist kindisch aus trotz heraus "etwas" zu hassen was von vornerein nur dazu ausgelegt wurde Menschen zu unterhalten.Walt Disney is tot.Mein gott,habt ihr es immer noch nicht gemerkt???!!Das ist keine Sache mehr von Kunst und Animation sondern Geld und Macht!Disney hat eine Monopolstellung erreicht die witschaftlich den gesamten Globus erreicht und es geht ihnen schon längst nichtmehr darum Qualität zu vermarkten.Es grenzt an einer Unverschämtheit wie die jetztigen Leitpersonen den Konzern führen und es steht bestimmt nicht im ideologischen Sinne Disneys.Der Name allein macht Geld.Die könnten auch Luftgefüllte Tüten mit dem Namen Disney bedrucken und sie würden gekauft.

Schonmal an die wirklichkeit gedachT???Der Traum Disney ist längst ausgeträumt:Animationsstudios zittern und selbst die annähernd grössten gehen leider vor Disney zugrunde.In den 40ern versuchten die Japaner ihren Stil des heute weitverbreiteten Schlagwortes Mangas auszubauen und orientierten sich an Disney Figurnen.Im LAufe des Jahrhunderts fand eine gegenseitige inspiration seitens Disney u.Japan statt.Das ist nicht zu leugnen.Ich sag ja gar nicht das Disney schuld an allem ist.Nur almählich reicht es wirklich.Die Story von König der Löwen...bitte...das dieser Stoff aus dem Hause Tetzuka geklaut wurde sieht n'blinder.Nicht nur das die Hauptcharaktere mehr als identisch sind...

Bei Prinzessin Mononoke lief es ja noch extremer...

Buena Vista hat wohl im letzten moment die Notbremse gezogen und bringt den Film auf bitten und flehen auch in Dland raus.

**T-Bone** · 10.04.2001, 19:59

Wie man's nimmt...wer will denn heutzutage nicht Geld machen? Und wenn schon...mir haben alle neueren Disney-Werke sehr gut gefallen, an Qualität mangelt es denen nicht im Geringsten! Die einzigen Disney-Filme, die minderqualitativ sind, sind die Direct-to-Videos, wie z.B. das neueste Beispiel "Susi und Strolch 2", aber das war bei DTV's schon immer so! Die kommenden Projekte Disneys wie "Lilo & Stitch" und "Treasure Planet" dürften auch sehr gute, innovative Filme werden, mit denen Disney in eine andere Richtung geht...

[Dieser Beitrag wurde von T-Bone am 10. April 2001 editiert.]

**T-Bone** · 11.05.2001, 10:59

In an exclusive interview, Editor-in-Chief of Atlantis: The Lost Empire, Sean Hale, was able to talk with animator Frank Dietz about his work on the upcoming film and his animation career with the Mouse House.

CD: How is Atlantis different from other Disney animated features in terms of theme and animation?

FD: Well, it’s a large departure from what Disney has been pretty much known for in the sense that there’s no songs in the film, it’s a straightforward action-adventure. I like to call it “Jules Verne meets Indiana Jones” Even from a style viewpoint it doesn’t have the innocent character design. This is a little rougher around the edges.

There’s always an artist that they start with, which they use as a basis [for the characters]. For Hercules they went to a British political cartoonist Gerald Scarfe, who also did designs for Pink Floyd’s The Wall. The initial artist comes up with the look and then they marry it into what would be considered the traditional Disney style, so you get a little a bit of both.

So they got Mike Mignola [artist of Hellboy] to do the initial conceptual design and right off the bat we knew this was going to be interesting. Mike’s style is very unique he uses a lot of squared off [designs]. He’s not very round, and Disney is known for being very round, the [Mickey Mouse] ears for example, and so Mike brought something really fresh to a Disney animated feature. And so, they take what he’s done and, I’ve heard them use the term, “disnify” it, so you can still look at it and say “That’s Mike’s concepts.” Then it is brought to a level where we can animate it. It would be impossible to take Mike’s work and make it come to life, at least for a feature film, and so it becomes this sort of blend of the two, but it was really interesting. The approach [on Mike’s work] is a lot different, and you have to think a little bit differently. That’s true pretty much about every film but this one I found more so. Just looking at the planes and the angles and so forth. But I was thrilled…

Tarzan took a step away from the more traditional sort of Beauty and the Beast kind of film in that the movie didn’t come to a halt so that a character could express themselves through a song. The story in Tarzan kept moving with Phil Collin’s music as sort of a background to help tell the story.

CD: Like an underscore-

FD: Exactly. His percussion, of course, was perfect for that film. In this one, there’s no song in it at all. It really plays out like a straightforward science-fiction adventure. That was all really thrilling for us.

CD: Did you enjoy drawing a film that’s more action based?

FD: Drawing more action is a double-edged sword, (Laugh) because, generally speaking, when we’re going to do a scene, we do one drawing per two frames of film. So Drawing A –two frames. Drawing B –two frames, but whenever CG is involved in a shot, we have to put everything on what we call on “Ones” which means that there is a new drawing for every single frame and so it doubles our work, but at the same time, when you see it incorporated with the digital department with … all kinds of flying machines, and submarines, and things like that, you go “Wow!” I think if they don’t do that, what happens is you get kind of a jitter because the CG is basically moving at one speed and the traditional characters are moving at another and so you get a flicker that happens.

CD: Would you say there is any sort of sibling rivalry between CG and traditional artists?

FD: No, I don’t think so. We really are completely separate departments, and believe me, I’m more than happy to let them handle those machines. One of the vehicles in the movie is like a tank with a cone on the front of it that spins and digs through rock, and boy, I sure wouldn’t want to have to animate that! (laugh) But, no, I wouldn’t say there’s any kind of competition or sibling rivalry between us, they do their stuff and we do our stuff and we just hope that when they come together they work well. And more often than not, they do.

CD: Was there one particular character that you worked on for Atlantis?

FD: Yes. Generally speaking, we are assigned a character. Sometimes we can lobby to get on a particular character, and so there are units. There’ll be 8-12 different units depending on how many different characters there are. I worked on a great character. I really loved her. Her name is Audrey Ramirez; she’s a member of the team that goes down to find Atlantis. She’s a sixteen-year-old very feisty Latino mechanic, and her back-story is that her dad was the mechanic who had gone on these explorations, on these past expeditions, with this team of adventurers. When [her father] retired she took over and she’s just as good as he is.

She’s voiced by an actress named Jacqueline Obradors who was in the Harrison Ford movie Six Days, Seven Nights ... I loved her voice. She really helped bring the character to life for us because she just had real attitude. She’s a tough little thing, and so between the lead animator, Anne Marie Bardwell and Jacqueline’s voice acting … I just loved the character. She was great fun to work on.

CD: Besides from Mike Mignola’s concepts drawings, where were the costumes derived from?

FD: There’s an interesting mix because it takes place at the beginning of the last century... They have a very specific year, it might be 1921… so all of the costumes would reflect something somebody would wear back then, but some of it hasn’t changed. Audrey’s basic outfit was overalls with the t-shirt underneath it, and in fact, one thing that they did do in some of the initial design/concepts for Audrey was they had her wearing a sort of baseball cap pulled to the side, but what’s funny is that when they looked at it, they saw that between the baggy overalls and the hat… she almost looked like she was a rapper or something, so they came up with this other hat that was sort of bigger, sort of jauntier kind of hat that they decided worked much better.

The Atlanteans, of course, were a whole different design. The early part of the movie, before they start to take the trip to Atlantis, there’s some really wonderful film noir sequences. Claudia [Christian]’s character [Helga Sinclair], when you first meet her, and I think its in the trailer, where Michael J. Fox’s character walks into his apartment and she’s in the dark. She’s standing there in the dark, backlit by the lightning and she’s got a cigarette. She’s got the whole femme fatale look. It automatically brings back the images of the movies that were made in the 20s and 30s.

CD: Is there any character that you really enjoyed working on?

FD: Tarzan I really enjoyed. I liked Atlantis just as much, but these last two have been great… On Tarzan I worked on Kala, the Glen Close character, Tarzan’s adoptive gorilla mother, and I really had a great time with that too. The fun part is I work on one movie where I’m drawing a gorilla for two years, and the next movie I’m drawing this little feisty teenager. And so that’s the nice part about it … the next movie I’m drawing cows and chickens (laugh). The movie that we just started working on is called Sweating Bullets. I don’t know when it will be out because its way too early to figure that out, but I know that we’re just starting and its going to be a good two years before it ever hits theatres. It’s a comedy and it’s a lot simpler than these last two films which were very effects heavy.

As I was saying before about the CG, Tarzan had a lot of that too because they did all of these beautiful digital backgrounds called “Deep Canvas”, where the characters were traditionally drawn, but the backgrounds, the [CG] made the jungle come alive. So we had to deal with a lot of putting it on “Ones” for that too, so I’m ready to kick back a little bit and draw a couple of little duckies and chickens and cows. It’s a much simpler film, but there also doing Treasure Planet. Which is a very heavy effects film, but luckily (laugh), I worked on it for about two weeks, but that’s all I’ll be doing on it because I’m officially on Sweating Bullets.

CD: Are you part of the crew based in Disney Studios in Florida?

FD: No, I’m in California. A lot of people think that the Florida Studio is the one where all the animation comes out of but that’s not really true. They did Mulan, although we certainly helped them out a lot. They did The Goofy Movie down there, which I love, its one of my favorites actually. But the bulk of the movies are really done out in Burbank, California. I’ve been there now since 1996. The first one I did was Hercules, I came in right when they had finished up Hunchback of Notre Dame [and have done] five movies since then.

CD: How was it working on a stylized movie like Fantasia 2000’s Rhapsody in Blue?

FD: That was also Al Hershfield, based on his work very specifically, and it usually takes a couple of weeks for you to get the feel of the character, where the design is coming from. Sometimes it is not just a difference of how the character looks, but there’s a depth to the line, a curve to the line, and you sort of have to learn to adapt to whatever it is the production designer decides is going to be the style.

Hercules I remember had the characters usually utilized a lot of these sort of coil designs and so you had to train your hand to do those quickly. And believe me the first few weeks were sort of like (mimics drawing a line and erasing it repeatedly) “Ugh!” Because if you don’t nail something like that, especially something like a coil or a circle, if they’re not solid, if they’re not consistent, when you shoot the scene and look at it, it will wiggle all over the place.

CD: With Dumbo 2, Peter Pan 2, a number of other sequels coming out, which Disney Classic would you most want to work on?

FD: My favorite Disney movie, and its probably because it was the first one I had ever saw in the theatre, was The Jungle Book. I would love to work on that, but most of the sequels that come out aren’t done in our studio. Disney has a whole other studio; I think one of them is in Canada, where they do a lot of the direct-to-video sequels… They would rather keep us moving on to the next big film and use the satellite studios to create the sequels. We’re always moving forward, because we wouldn’t want to tie up all the California artists on what would end up being a direct-to-video sequel.

CD: Is Peter Pan 2 going to be a direct-to-video release?

FD: I don’t know. Originally Toy Story II was just supposed to be a direct-to-video, but once they saw the beautiful work that Pixar had done, they said ‘Wait a minute!’ we may be missing out, and it was the right decision, obviously. They might say this week that Peter Pan is direct-to-video and then next week if they feel it’s good enough, they might change their mind. I would never second-guess them. (Laugh)

CD: What are you currently working on?

FD: Sweating Bullets, the comedy which has, and this could change because very often character voices, if they’re not completely happy with an actor, might replace him halfway through the movie [has] Jennifer Tilly, Cuba Gooding Jr., and Randy Quaid.

CD: Is Randy Quaid going to be a cow or a chicken?

FD: Actually, it looks like I’ll be working on Randy Quaid’s character and he actually is the villain and he’s human.

CD: Randy’s a character in his own right-

FD: Oh yeah! He’s a big cattle rustler- perfect for Randy. (Laugh) The fun part is that we get to go to see buffalo and draw them. Just last week, before I came out here, they brought over a cow to the studio and a whole pen-full of roosters and chickens. We spent the entire afternoon outside with our sketchbooks looking at them and trying to figure out how they move and everything like that, and that’s great fun.

CD: What would you suggest to people who want to get into animation?

FD: Very simple. I always have the same answer: draw. Keep drawing. Take lessons. Don’t sit around trying to draw Mickey Mouse. Take gesture classes, life drawing, go to the zoo and draw the animals at the zoo, or if you don’t have a zoo near you, draw your dog, cat, your goldfish- but keep drawing. That’s the most important thing.

When you get to the point when you’re going to submit your portfolio to whoever, it doesn’t matter if its Disney, Fox, Warner Bros., DreamWorks, they’re not going to want to see that you can draw Mickey Mouse. They’re going to want to see that you can draw, that you have skills, that you have some sense of anatomy, that you understand how to draw something in motion. That portfolio should be full of human beings drawn quickly, what they call gesture drawings, or just life drawing.. They want to see that you can draw.

CD: How many drawings do you do per day at the studio?

FD: Depending on the complexity of a scene, I would say about an average of five drawings a day. Obviously there are some that take a lot longer than that. For example, if it’s a long shot and your character is [very small], you can get 7 -10 done in a day, and then again if it’s a real close-up where all the detail is in the eyes, the teeth, the hair; if its something that’s a little complicated, you might get only two drawings done in a day.

On Atlantis, our sister unit was [working on] the Princess Kida character, and you can see in the trailer there are shots of her suspended in air with her eyes glowing, and she’s got this big mane of hair that when she’s suspended is moving almost like it was underwater. To draw one of those drawings takes a long time because you have to keep track of each one of those strands of hair and so basically you have a drawing where … you’ll have to number in a blue pen or a red pen each one of those hair tentacles so that you can keep track of where which one is going and in which direction.

CD: Was there anything incredibly detailed about drawing Audrey Ramirez?

FD: Actually Audrey’s hair was also a challenge, although it wasn’t this mane kind of thing. The trick to it was, and this was one of the challenges of working in a style based on Mike Mignola’s artwork, was that her hairstyle was sort of blocky, but at the same time we had to make sure that it played as being soft so that it had give and take and stretch without it losing its shape. That’s a major challenge. I know I can say without a doubt, on Audrey, that was the most challenging part about her. So we liked it when she was sitting still! (laugh) It was still great fun. Great fun to work on this picture and be part of it, cause I know from seeing it as incomplete, with only partial animation done, some color, and the rest of it filled in with storyboards, that I just loved the story, and its so exciting, and not something that I’ve had a chance to work on before.

CD: Besides from being an in-betweener, is there any other part of the genre you’d like to work on?

FD: No, I’m very comfortable with a pencil. I like drawing characters. A lot of people have asked me about whether I do storyboards, and its not really what I do, I think I still have problems with perspective. (laugh) So maybe that’s it. I like to draw characters and I like to try to inject life into characters. That’s where I feel like I belong.

Credit: Countingdown.com

**T-Bone** · 11.05.2001, 20:29

Scheint wohl kein Schwein zu interessieren...der "Anime-Thread" scheint interessanter zu sein...

**Twobeers Power** · 11.05.2001, 21:39

He, ich habe mit Hilfe von Babylon das ganze Interview gelesen.
Was mir nun nicht ganz klar ist, da der Film ja keine production cels mehr beinhaltet, sondern rein CG ist, wieso gibt es dann ein scetch book? Bei Futurama wurden doch auch schon die scetches am Computer entworfen, oder ist damit eine sehr frühe Form des Charactaplanings gemeint?

**T-Bone** · 11.05.2001, 22:24

Häh? Wieso rein CG? Der Film beinhaltet nur einige CGI-Elemente, wie z.B. U-Boote etc...Der Rest ist Traditional Animation!
Zum Sketchbook: Jeder Disney-Trickfilm (und natürlich nicht NUR Disney) fängt an mit Development Art, ob nun Character Design oder Background Design etc, wo viele verschiedene Künstler Skizzen anfertigen...Mike Mignola war der Künstler, an dessen Stil man sich orientiert hat; er hat natürlich auch etliche Skizzen angefertigt...einige davon sind in dieser Sketchbook-Section zu sehen!
Toy Story 1+2 oder Das Große Krabbeln entstehen auch durch hunderte von Skizzen (Character Designs, Storyboards etc.), ehe überhaupt irgendjemand den PC anwirft...Es gibt sogar zu beiden Filmen dicke limitierte Sketchbooks, sündhaft teuer:
http://www.amazon.de/exec/obidos/ASI...079053-1500832

**Zynicus** · 11.05.2001, 22:29

Original erstellt von T-Bone & Frank Dietz:
For Hercules they went to a British political cartoonist Gerald Scarfe, who also did designs for Pink Floyd’s The Wall. The initial artist comes up with the look and then they marry it into what would be considered the traditional Disney style, so you get a little a bit of both.

Die Entwrfe von Scarfe unterschieden sich, wenn ich mich recht erinnere, ziemlich stark von den "glatten" Disney-Vorgaben, es gab mal irgendwo die Vorlagen zu sehen.

Mike’s style is very unique he uses a lot of squared off [designs]. He’s not very round, and Disney is known for being very round, the [Mickey Mouse] ears for example, and so Mike brought something really fresh to a Disney animated feature.

Das exakte Gegenstück zu Pinocchio sozusagen?

With Dumbo 2, Peter Pan 2, a number of other sequels coming out

Mein Gott, noch mehr Abklatsch? Die melken die Kuh wirklich bis auf das Gerippe!

Warten wir´s ab, bevor wir uns die Köpfe einschlagen und beurteilen den Film dann anhand der laufenden Bilder. Ich maße mir jetzt keine Beurteilung von Atlantis anhand einiger Abbildungen, die ich gesehen habe, an (vor allem nicht, ob es Nadia auf amerikanisch ist), noch auf Grund eines Interviews. Abwarten und Tee trinken.

(Was übrigens ist "Babylon"?)

**T-Bone** · 11.05.2001, 22:46

Babylon, denke ich, müßte ein User sein...

Auf der The Emperor's New Groove-DVD ist eine etwas längere Sneak Peek von Atlantis zu sehen...mich hat's umgehauen!

Einen Teaser gibt's hier (falls nicht eh schon bekannt):
http://disney.go.com/disneypictures/

**Twobeers Power** · 11.05.2001, 23:11

Das ist mir jetzt neu, mal langsam jtzt. Meine amerikanische connection sagte mir das Atlantis rein im Computer entstehe und daher auch keine cels anfallen, da ich blöderweise cel Sammeln als Hobby habe, und interessiert wäre ich da nämlich schon an einen - Allerdings habe ich bisher nur von älteren Disney Filmen cels gesehen, von neueren weniger. Gibt es da überhaupt Internet Quellen ausser ebay.com???

Sehr seltsam, *grübel*

Babylon ist kein user, sondern ein sehr schlaues Übersetzungsprogramm. Mittlere Maustaste auf das Wort, schon stehts in deutsch da *sehr nützlich*

**T-Bone** · 11.05.2001, 23:51

BTW: Ein sehr interessantes Interview, wie ich finde...Interessierte können sich übrigens derzeit über den PREVIEWS die Comic-Adaption im amerikanischen Original bestellen; dort gibt es u.a. auch eine Sketchbook-Section mit einigen Development-Artworks zu Atlantis von Mike Mignola...

**T-Bone** · 12.05.2001, 01:15

Ist doch Quatsch, das sieht man doch mit bloßem Auge, daß Atlantis gezeichnet ist und Cels benutzt worden sind (nichts gegen Dich, sondern Deine amerikanische Connection)...Zwei Rough Animation-Zeichnungen gibt's hier zu sehen...

http://members.nbci.com/villains/atlantis.htm

Ein Beispiel für die CGI-Animation siehst Du hier:
http://disney.fuitadnet.com/ComingUp...trailer_16.jpg

[Dieser Beitrag wurde von T-Bone am 12. Mai 2001 editiert.]

[Dieser Beitrag wurde von T-Bone am 12. Mai 2001 editiert.]

**Twobeers Power** · 12.05.2001, 12:09

OkOk, auch ich bin lernfähig, nebenbei, hatte Herkules cels?

Also bezüglich amerikanische Filme ist meine connection eigentlich mehr als gut, sie hat schließlich an Futurama mitgearbeitet, allerdings kann es schon sein, dass sie sich auch mal getäuscht hat.

Wenn du mir nun noch sagen kannst, wo man solche cels herbekommt, wär ich dir dankbar.

Für anime Serien habe ich meine Online stores, wo man das für Schweinegeld bekommt.
Last Unicorn (Letztes Einhorn) cels wären eine schöne Wertanlage in den letzten Jahren gewesen (so von $20 auf $2000), tja -_-

Von westlichen Serien hab ich zwar vereinzelt mal von Dschungelbuch und alten Disney Kurzfilmen cels gesehen, aber wie gesagt, von neueren Filmen....kann mir wer helfen?