Joseph: King of Dreams

Joseph: King of Dreams is a 2000 American direct-to-video animated biblical musical drama film. The second film adaptation of the Bible from DreamWorks Animation and is to date, the only direct-to-video production they released, the film is an adaptation of the story of Joseph from the Book of Genesis in the Bible and serves as a prequel to the 1998 film The Prince of Egypt (as the biblical narrative of Joseph happens before that of Moses). Composer Daniel Pelfrey stated that the film was designed as a companion piece to The Prince of Egypt, noting that though "Joseph turned out to be very different than Prince of Egypt, it was very challenging and rewarding".

Co-director Robert Ramirez has said that whilst the reviews for the film had "generally been very good" there was a period "when the film was not working very well, when the storytelling was heavy-handed" and "klunky".

Plot[]

Joseph, the youngest of Jacob's eleven sons, is considered to be a "miracle child" because his mother, Rachel, was thought to have been infertile. Joseph grows conceited from his parents' special treatment, leading to his brothers becoming increasingly jealous of him. One night, Joseph dreams of a pack of wolves attacking the family's flock of sheep. The dream comes true, but Joseph's brothers dismiss it as a coincidence. Joseph further enrages his brothers by recounting his next dream, in which he saw them bowing before him. Led by the eldest brother, Judah, the brothers sell Joseph to a slave trader for twenty pieces of silver and take his torn coat back to their parents, convincing them that Joseph was killed by wolves.

In Egypt, Joseph is bought by Potiphar, the captain of Pharaoh's guards. He becomes a trusted servant and falls in love with Potipher's niece Asenath. Potiphar's wife, Zuleika, tries to seduce Joseph, and when he refuses, she falsely claims Joseph raped her. Potiphar orders Joseph be executed, but Zuleika begs him not to. Potiphar realizes that Joseph innocent, but orders Joseph be sent to prison to preserve his reputation. There, Joseph meets the Pharaoh's butler and baker and interprets their dreams, which soon come true. Having seen that the butler will return to his position whilst the baker is executed, Joseph begs him to tell Pharaoh about his gift, but the butler forgets to do so. Meanwhile, Asenath secretly supplies food to Joseph until she is nearly spotted by a guard and forced to drop the food, which is devoured by rats. Raging at God for his misfortunes, Joseph climbs the walls of the jail, slips and falls back down, ending up being knocked unconscious. After he wakes up, he finds renewed purpose in caring for a dying tree as he reflects on his past and begins to trust in God's plan again.

The Pharaoh becomes troubled by nightmares which none of his advisors can interpret. Remembering Joseph, the Pharaoh's butler advises him to send Potiphar to retrieve him. Potiphar apologizes to Joseph for imprisoning him, and Joseph forgives him. Joseph interprets the Pharaoh's dreams as warnings of seven years of abundance set to be followed by seven years of famine that may wipe out Egypt. He suggests that one fifth of each year's harvest should be stored for rationing. Impressed, the Pharaoh makes Joseph his minister and second-in-command, under the name "Zaphnath-Paaneah". In the following years, Joseph's guidance saves the Egyptians and their neighbors from starvation. He marries Asenath and has two sons, Manasseh and Ephraim, with her.

One day, Joseph's brothers arrive in Egypt to buy grain, offering to pay for it with the twenty silver pieces. The brothers claim they have to feed their youngest brother and Jacob. Unrecognized by them, Joseph refuses to sell them grain and imprisons one of the brothers, Simeon, until they can prove their story by bringing their youngest brother. The brothers reappear with Benjamin, Jacob's twelfth son whom he favors as he did Joseph. Benjamin tells Joseph that Rachel died and that his father was crushed by Joseph's "death". Joseph questions Benjamin on whether his father trusts his brothers to look after him and how his supposed death affected them. Benjamin says they never speak of it. Joseph then releases Simeon and invites the brothers to a feast.

After the feast, Joseph has his golden chalice concealed in Benjamin's bag. Upon its discovery, he orders that Benjamin shall be punished, but the brothers offer themselves in his place to Joseph's surprise. After Joseph questions their motives, Judah confesses to having sold Joseph into slavery, a crime that has haunted him and his brothers for twenty years, and says that they cannot return home without Benjamin, as it would break both their father’s heart and their hearts to lose another son and brother. Shocked and touched by this, Joseph decides to reveal himself to them, and they reconcile. Joseph reunites with Jacob and meets his brothers' families after inviting them to live in Egypt. The film ends with the Hebrews entering Egypt, unaware of the many hardships they would face in years to come.

Voice cast[]

Ben Affleck - Joseph speaking voice
- David Campbell - Joseph singing voice
Mark Hamill - Judah
Richard Herd - Jacob speaking voice
- Russell Buchanan - Jacob singing voice
Maureen McGovern - Rachel
Jodi Benson - Asenath
Judith Light - Zuleika
James Eckhouse - Potiphar
Richard McGonagle - Pharaoh
Dan Castellaneta - Auctioneer, Horse Trader
René Auberjonois - Butler
Ken Hudson Campbell - Baker
Steven Weber - Simeon, Slave Trader
Jess Harnell - Issachar / Lead Trader
Piera Coppola - Zuleika's servant, Additional Voices
Emily Eby - Servant
Matt Levin - Benjamin
Kevin Michael Richardson - Potiphar's guard, Jail Warden

Additional voices[]

Royce D. Applegate
Roger Aaron Brown
Debi Derryberry
Murphy Dunne
Jessica Gee
Nicholas Guest
Wendy Hoffman
Luisa Leschin
Randall Montgomery
Jonathan Nichols
Bibi Osterwald
Michelle Ruff
Doug Stone

Production[]

Conception and Development[]

Development for Joseph started while The Prince of Egypt was being made, so the same crew worked on both films, and the wide group of ministers served on both projects as consultants. Work on the animated movie was based in Los Angeles and Canada, and nearly 500 artists contributed to the project."

Executive Producer Penny Finkelman Cox and DreamWorks worker Kelly Sooter noted the challenge in telling a Bible story faithfully yet still making it interesting and marketable: "we had to take powerful themes and tell them in a way that's compelling and accessible for all ages". They also noted that though it was destined to be a direct-to-video project from the beginning, "the quality of the animation does not suffer ... Our approach to the movie was to develop it with the same quality and storytelling that we did with [The] Prince of Egypt." Creatives involved also noted that "one of the most challenging parts of the movie was creating Joseph's dream sequences, which look like a Van Gogh painting in motion". Nassos Vakalis, who helped storyboard and animate the film, said "I had to travel a lot to Canada to see work done in a few studios that were subcontracting part of the movie". Composer Daniel Pelfrey explained, "I must say the writers and directors did a great job staying true to the story and bringing it into a presentation for a contemporary audience."

Early work[]

Ramirez explained the early stages of the film's production:

December of 1997 was a great time on the production. While the script was being fleshed out, Paul Duncan (the head background painter) and Brian Andrews (story artist) were creating some phenomenal conceptual artwork. Francisco Avalos and Nasos Vakalis were doing storyboards based on a rough story outline. Weeks later we started assembling a very talented story crew that included artists that had both television and feature experience. We had a script that was well-structured and followed the Bible story fairly accurately. Once the First Act was storyboarded, we filmed the panels, recorded a temp vocal track with music, and edited it all together to create the storyreel. We were excited and ready for our First Act screening for Jeffrey Katzenberg, which was set for an early weekend morning in the New Year of 1998.

Screening and production troubles[]

Ramirez explained how things turned awry at the film screening:

When the lights came on in the screening room, the silence was deafening. All the execs put down their yellow legal notepads and headed down the hall to the conference room (which for me felt miles away). When we all sat down, Jeffrey looked up and said three words: "Nothing made sense." He was right. Nothing made sense. We followed the Bible story tightly. The script had structure. We storyboarded it word for word, yet it fell flat on its face. It all suddenly felt like a horrible, horrible disaster, and the worst part of it all was that I didn't know how to fix it. I was deeply confused, and our aggressive production schedule didn't allow for the story re-working that usually takes place on a theatrical feature. Share Stallings, one of our creative executives on the project, was very supportive and offered encouragement to the crew. She assured me that at least two sequences could be saved by clarifying some visuals and re-writing some dialogue. I couldn't see it at the time, although she turned out to be right. The only thing I could think about was that "nothing made sense."

A new vision[]

Ramirez explained the shift from disjointed set pieces to a character-driven story:

The following Monday morning I was going over the notes compiled after the First Act screening, when I heard a group gathering outside my door. It was the story crew. They were dying to know how the screening went ... I had to tell them the truth. "What do you mean, it bombed?" asked a board artist who two weeks prior to the screening had pitched a successful sequence. "The sequences are based on good ideas ... good concepts, but when we cut them together they don't connect," I responded. "Something's missing." After having some intensive story meetings with Steven Hickner and Penny Finkleman-Cox (Executive Producers), I knew we had to throw away 90% of what we had. They both brought great knowledge and experience, and proved to be the driving forces behind the project. They directed our attention toward focusing more on the characters and their relationships to each other, instead of always thinking in terms of plot and structure ... The lead editors on Joseph -- Mike Andrews and Greg Snyder -- often had only a few days to cut music and edit many sequences that were constantly being rewritten even as they dropped in the last few sound effects for the next day's screening.

Cracking the story[]

Ramirez explained they cracked the story by returning to the basics of storytelling.

When we started analyzing the characters in Joseph, we began to work from the inside out as opposed to just putting together a story. Once we delved into the minds of these characters and dissected their personalities, we started making some important breakthroughs. What does Joseph want? To be a part of his brothers' lives and reunite with his family. What does Judah, Joseph's older brother, want? He wants the love and positive attention that his father Jacob reserves only for Joseph. What does Jacob want? Jacob wants to show the world how much he loves his favorite son, Joseph. Why does Jacob love Joseph so much more than his other sons? Because Joseph is the spitting image of his favorite wife. He's the first-born son of the woman he waited for all his life to marry. Once we discovered the "wants" of the main characters, it was simple to figure out what actions they would take to satisfy them. Another important discovery was finding the voice of each individual. Once we had a deeper understanding of our characters and what made them tick, the scenes had a new spark of life that had been missing all along. The characters were now driving the scenes, instead of vice versa. In time, ideas that were born out of character helped blend sequences so that they flowed into each other instead of feeling disconnected.

Casting and approach to characters[]

Mark Hamill, who was cast as Judah, Joseph's eldest brother, explained that the choices he made regarding his character:

Judah starts out at a high station in his family structure, and that's all disrupted by this little child who claims to have visions of the future, he says. Eventually, it causes Judah to lead all the brothers against Joseph. I don't think of him as a villain. In many ways, he's like all people, wondering, "How will this affect my own life?" He's self-centered and has to re-evaluate all his preconceived notions.

Ramirez explained one of the main themes in the film by analyzing how Joseph reacts upon seeing his brothers for the first time after they sold him into slavery:

These 'strangers' turned out to be his brothers. Now it was Joseph's turn. Would he follow his initial gut instinct and enslave them? Abuse them? Kill them? Or would he rise above hatred and forgive them? In a nutshell, that's what the crux of the story is about: forgiveness

Jodie Benson was thrilled to be cast as Joseph's wife, Asenath, after seeing the work that had been done with Moses in The Prince of Egypt. Benson didn't audition for the part, and was instead offered it. Unlike some of the other characters, she provides both the speaking and singing voices in her role. It took twelve days to record her lines, and the only other voice actor she worked with was the singing voice for Joseph, David Campbell. Benson explained her character is the "voice of reason and the voice of trying to do the right thing to reconcile [Joseph] with his brothers". Her character was given a much larger role than what is presented in The Holy Bible.

Music[]

Score[]

All songs were produced and arranged by Danny Pelfrey, and he also composed the score. Hans Zimmer, the composer for The Prince of Egypt, had approved of Pelfrey taking over his role after the latter, a relative unknown at the time, did a couple of interviews at DreamWorks. Pelfrey explained "Through the process [Zimmer] gave me input as to what they like to hear, mostly through the arranging and production of the songs. After that he got too busy but he gave me the foundation and communication skills I needed to successfully complete the project". After receiving the job, Pelfrey read as many different translations of the original Bible text as he could, to find story nuances that he could incorporate. In regard to his collaboration with DreamWorks, he said "Before starting the input was pretty sketchy, but it was an ongoing process with lots of dialog with writers, producers and directors along the way. Jeffery Katzenberg always ultimately approved everything. He was directly involved with the entire process." He also explained "I had never done a musical before ... [and Zimmer] helped me incorporate the sounds from Prince of Egypt as well as guided me in the song production".

Pelfrey used choral choirs sparingly in his score, with notable examples being "a small female group in the beginning for what I was calling God's theme, and in the big scene at the end, which was the reunion of Joseph, his brothers and Jacob, his father". This was because the effect reminded him of angels, adding "I also I think it was more appropriate to the sonic tapestry and created a more uplifting feeling". He described his musical style in the film as "World/Orchestral", noting that the instruments used were more regional than specifically Egyptian, incorporating Duduk, Ney, Rebaba, Ban-Di, Bansuri, Moroccan Flute, Zampona, and a great variety of percussion including Djembe, Darbuka, Dholak, Udu etc. In regard to using instrumentation from an inaccurate historical context, he said "I always thought ... that the exact historical and geographical use of the instruments is not as important as the evocative or dramatic effect ... So, I didn't really concern myself too much with 'right place, right time'. A temp-track was made for the score, though Dreamworks "were not too attached to it"; some parts were tracked with "Fantasia on a Theme by Thomas Tallis" by Vaughan Williams.

Pelfrey said "Since I had never done a musical before, it was interesting to note the difference between producing these songs as opposed to doing a record. In a musical, the songs advance the story and I had to help that process, as well as make the songs belong to the fabric of the film and the palette of the score. Although this was animation, it certainly did not call for a cartoon approach, due to the depth of the story. The film needed more of a live-action treatment to the score. "Joseph: King of Dreams also allowed me to work with the best producers in the business and helped make this a very successful experience both personally and professionally." He explained "[Lucas Richman] is the reason the Symphonic Suite from Joseph was created. He contacted me about wanting to present it in a concert he was doing in Knoxville where he is the conductor and music director, so I created the suite especially for them. He has created a vibrant and thriving orchestra there and they were all very welcoming to me." It was performed in LA by the Los Angeles Jewish Symphony in August 2010.

Songs[]

Template:Track listing

Score and songs were released in 2000 in CD format only for promotional purposes without release to a mass audience.

Release[]

As the first and only DreamWorks Animation direct-to-video film, Joseph: King of Dreams was released by DreamWorks Home Entertainment on VHS and DVD on November 7, 2000. Special features included "Sing-a-long songs, storybook read-a-long programming, an interactive trivia game, and printable activity and coloring sheets". The film was released by 20th Century Fox Home Entertainment on DVD on May 13, 2014, as part of a triple film set, along with DreamWorks Animation's The Road to El Dorado (2000) and Sinbad: Legend of the Seven Seas (2003). The film was re-released by Universal Pictures Home Entertainment on DVD on June 5, 2018, and released on Blu-ray for the first time on January 22, 2019.

The direct-to-video film was "made available to Christian retailers, but mainly [would] be sold in traditional retailers such as Walmart and Target and video stores." The financial success of Joseph would to some degree influence whether more animated Bible stories would be released by DreamWorks.

Book tie-ins[]

Nashville publisher Tommy Nelson, the kids division of the Christian publishing company Thomas Nelson Inc., partnered DreamWorks to publish four companion book titles based on the film, and has exclusive publishing rights to Joseph ("a read-along tape, a sticker storybook, a 48-page hardcover storybook with illustrations from the film, and a smaller hardcover storybook which retells the story of Joseph"). One of them, My Sticker Storybook: Joseph and his Brothers (published on 1 Nov 2000) was a sticker storybook that followed the plot Joseph, and was written by Dandi Daley Mackall. The 48-page storybook (published on 1 Nov 2000, and sometimes subtitled "Classic Edition") featured images from the film, a retelling by Mackall, and was a "stand-alone book, as well as a splendid companion to the video", also written by Mackall. Joseph, King of Dreams: read-along (8 Mar 2001) was a full-color storybook and accompanying cassette which "capture[d] all the emotional and dramatic high points". Written by Catherine McCafferty, it included the song "Better Than I" and dialogue from the film. A fourth book was published as well.

Critical reception[]

The film received mixed to positive reviews from critics. While praising the film's merits including animation, storytelling, and music, much of the criticism came with comparing it negatively to its theatrically released predecessor The Prince of Egypt. The song You Know Better Than I was singled out for praise by numerous critics, as were the van Gogh-inspired dream sequences. Many noted that the animated hieroglyph effects were similar to those from Prince, and suggested that the film stuck closer to the Bible source material than the previous film had.

The Movie Report gave the film 3/4 stars, writing "while clearly not on the level of that 1998 classic, it is a solid piece of work that is about on par with the SKG's spring theatrical release The Road to El Dorado"... Joseph is a new technical benchmark for straight-to-tape animated features, putting Disney's chintzy home video efforts to shame. It added "Bucchino's work is downright forgettable; the only song making the slightest inkling of an impression is Joseph's--and the film's--central number, Better Than I". ChristianAnswers.net gave the film 4/5 stars, writing "Although the visual effects were not as outstanding as in The Prince of Egypt, the storyline does stay closer to the biblical version". The site added "The music was enjoyable, especially the song Better Than I". "CommonSenseMedia rated the film 3/5 stars, writing "The animation is accomplished. Particularly compelling are the dream sequences, which almost look like animated Van Gogh paintings", however noting "it lacks [The Prince of] Egypt's poignant tunes and powerful storytelling". The Los Angeles Times wrote "with its beautiful, big-screen quality, flowing animation and striking computer-generated imagery--and with its dignity and heart--is a fine telling of the biblical story". Variety said "King of Dreams has just as much cross-generational appeal as its predecessor, and doesn't make the mistake of skewing primarily toward moppets. To put it another way: This is family entertainment in the best sense of the term, for which many families will be immensely grateful."

Accolades[]

Year	Nominee / work	Award	Result
2000	"Better Than I"	Video Premier Award for Best Song	Template:Won
2001	Joseph: King of Dreams	Silver Angel Award for Feature Film	Template:Nominated
2001	Joseph: King of Dreams	Annie Award for Outstanding Achievement in an Animated Home Video Production	Template:Nominated
2001	Penney Finkelman Cox (executive producer) Steve Hickner (executive producer) Jeffrey Katzenberg (executive producer) Ken Tsumura (producer)	DVD Exclusive Video Premiere Award for Best Animated Video Premiere	Template:Won
2001	Eugenia Bostwick-Singer Marshall Goldberg Raymond Singer Joe Stillman	DVD Exclusive Video Premiere Award for Best Screenplay	Template:Won
2001	Ben Affleck (voice) Luc Chamberland (animation director: Joseph)	DVD Exclusive Video Premiere Award for Best Animated Character Performance	Template:Nominated
2001	Rob LaDuca Robert C. Ramirez	DVD Exclusive Video Premiere Award for Best Directing	Template:Nominated
2001	Daniel Pelfrey	DVD Exclusive Video Premiere Award for Best Original Score	Template:Nominated