Fantasia ( film) - Wikipedia
Fantasia is a American animated film produced by Walt Disney and . [the soundtrack timidly comes to the center of the screen] Atta soundtrack. Now And here, first of all, we meet a group of fabulous creatures of the field and forest. Fantasia is a American animated film produced by Walt Disney and released by Walt . Intermission/Meet the Soundtrack: The orchestra musicians depart and the Fantasia title card is revealed. After the intermission there is a brief jam. Intermission Meet the Soundtrack from Fantasia, not only an indispensable member but a screen personality.
In writing to Disney, he reported that Stokowski was "really serious in his offer to do the music for nothing. He had some very interesting ideas on instrumental coloring, which would be perfect for an animation medium". The union of Stokowski and his music, together with the best of our medium, would be the means of a success and should lead to a new style of motion picture presentation.
The Sorcerer's Apprentice was to be promoted as a "special" and rented to theatres as a unique film, outside of the Mickey Mouse cartoon series. An agreement signed by Disney and Stokowski on December 16,allowed the conductor to "select and employ a complete symphony orchestra" for the recording. It began at midnight on January 9,and lasted for three hours using eighty-five Hollywood musicians. He said, "because of its very experimental and unprecedented nature This was the birth of a new concept, a group of separate numbers—regardless of their running time—put together in a single presentation.
It turned out to be a concert—something novel and of high quality.
'Soundtrack' Intermission - Fantasia () - video dailymotion
Both had heard composer and music critic Deems Taylor provide intermission commentary during radio broadcasts of the New York Philharmonicand agreed he would be most suitable for the role. Disney made story writers Joe Grant and Dick Huemer gather a preliminary selection of music and along with Stokowski, Taylor, and the heads of various departments, discussed their ideas.
As selections were considered, a recording of the piece was located and played back at the next gathering. It would be perfect for prehistoric animals. There would be something terrific in dinosaurs, flying lizards, and prehistoric monsters. There could be beauty in the settings.
A rough version of The Sorcerer's Apprentice was also shown that, according to one attendee, had the crowd applauding and cheering "until their hands were red". Its opening march, "The Entry of the Little Fauns", attracted Disney to the piece which at first provided suitable depictions of fauns he wanted. On January 5,following a search for a stronger piece to fit the mythological theme, the piece was replaced with sections of Beethoven's sixth symphony.
He was also concerned about the reception from classical music enthusiasts who would criticize Disney for venturing too far from the composer's intent.
- Intermission Meet the Soundtrack
- Fantasia (1940 film)
Stuart Buchanan then held a contest at the studio for a title that produced almost 1, suggestions including Bach to Stravinsky and Bach and Highbrowski by Stokowski. Still, the favorite among the film's supervisors was Fantasia, an early working title that had even grown on Horne, "It isn't the word alone but the meaning we read into it.
The different pieces of film were then spliced together to form a complete print. He explained the work done in the Toccata and Fugue was "no sudden idea Upon review of three leica reels produced by the two, Disney rejected all three.
According to Huemer all Fishinger "did was little triangles and designs Too dinky, Walt said. Feeling his designs were too abstract for a mass audience,  Fishinger left the studio in apparent despair, before the segment was completed, in October He drew with a music score pinned to his desk to work out the choreography so he could relate the action to the melody and the counterpoint, "those nasty little notes underneath An Arabian dancer was also brought in to study the movements for the goldfish in Arab Dance.
Animation on The Sorcerer's Apprentice began on January 21,when James Algarthe director of the segment, assigned animator Preston Blair to work on the scene when Mickey Mouse wakes from his dream. John Hubleythe segment's art director, explained that it was later curtailed by Disney to avoid controversy from creationistswho promised to make trouble should he connect evolution with humans.
In the making of The Pastoral Symphony Greek mythological segment, the female centaurs were originally drawn bare-breasted, but the Hays office enforcing the Motion Picture Production Code insisted that they discreetly hung garlands around the necks. Originally black female centaurs "braided 'pickaninny' hair, shining the hooves and grooming the tails of white centaurs" appeared in the film, but this was cut out years later for racial prejudicial reasons see Controversies.
Disney then gave Hench season tickets to the Ballet Russe de Monte Carlo with backstage access so he could learn more about it. Its story closely follows the descriptions that Mussorgsky had written on his original score of the tone poem.
Despite Hurter never producing animation for Disney, the studio temporarily hired him to produce pencil sketches for the animators to gain inspiration from.
He then got Jackson to pose shirtless which gave him the images he needed. Disney wanted to experiment in more sophisticated sound recording and reproduction techniques for Fantasia. We wanted to reproduce such beautiful masterpieces The stage was altered acoustically with double plywood semi-circular partitions that separated the orchestra into five sections to increase reverberation. Each one represented an audio channel that focused on a different section of instruments: The seventh channel was a combination of the first six while the eighth provided an overall sound of the orchestra at a distance.
Fantasound The Disney brothers contacted David Sarnoff of RCA regarding the manufacture of a new system that would "create the illusion that the actual symphony orchestra is playing in the theater. With one containing the picture film with a mono soundtrack for backup purposes, the other ran a sound film that was mixed from the nine tracks recorded at the Academy to four: For this, a tone-operated gain-adjusting device was built to control the levels of each of the three audio tracks through the amplifiers.
Mixing of the soundtrack required six people to operate the various pan pots in real time, while Stokowski directed each level and pan change which was marked on his musical score. To monitor recording levels, Disney used oscilloscopes with color differentiation to minimize eye fatigue.
RKO balked at the idea of distributing Fantasia, which it described as a "longhair musical",  and believed its duration of two hours and five minutes plus intermission was too long for a general release. A total of thirteen roadshows were held across the United States; each involving two daily screenings with seat reservations booked in advance at higher prices and a fifteen-minute intermission.
Disney hired film salesman Irving Ludwig to manage the first eleven engagements,  who was given specific instructions regarding each aspect of the film's presentation, including the setup of outside theater marquees and curtain and lighting cues. Patrons were taken to their seats by staff hired and trained by Disney,  and were given a program booklet illustrated by Gyo Fujikawa. He gave in as the studio needed as much income as possible to remedy its finances, but refused to cut it himself, "You can get anybody you want to edit it I can't do it.
Its running time was restored to one hour and fifty-five minutes. This edit would be the standard form for subsequent re-releases, and was the basis for the restoration.
He was a bright young lad, very anxious to learn the business. As a matter of fact, he was a little bit too bright, because he started practicing some of the boss's best magic tricks before learning how to control them.
One day, for instance, when he'd been told by his master to carry water to fill a cauldron, he had the brilliant idea of bringing a broomstick to life to carry the water for him. Well, this worked very well, at first. Unfortunately, however, having forgotten the magic formula that would make the broomstick stop carrying the water, he found he'd started something he couldn't finish. Instead of presenting the ballet in its original form, as a simple series of tribal dances, they have visualized it as a pageant, as the story of the growth of life on Earth.
And that story, as you're going to see it, isn't the product of anybody's imagination. It's a coldly accurate reproduction of what science thinks went on during the first few billion years of this planet's existence. Science, not art, wrote the scenario of this picture. According to science, the first living things here were single-celled organisms, tiny little white or green blobs of nothing in particular that lived under the water.
'Soundtrack' Intermission - Fantasia (1940)
And then, as the ages passed, the oceans began to swarm with all kinds of marine creatures. Finally, after about a billion years, certain fish, more ambitious than the rest, crawled up on land and became the first amphibians. And then, several hundred million years ago, nature went off on another tack and produced the dinosaurs. Now, the name "dinosaur" comes from two Greek words meaning "terrible lizard", and they certainly were all of that. They came in all shapes and sizes, from little, crawling horrors about the size of a chicken to hundred-ton nightmares.
They were not very bright. Even the biggest of them had only the brain of a pigeon. They lived in the air and the water as well as on land. As a rule, they were vegetarians, rather amiable and easy to get along with. However, there were bullies and gangsters among them. The worst of the lot, a brute named Tyrannosaurus Rex was probably the meanest killer that ever roamed the earth. The dinosaurs were lords of creation for about million years. Well, we don't exactly know what happened.
Some scientists think that great droughts and earthquakes turned the whole world into a gigantic dustbowl. In any case, the dinosaurs were wiped out.
That is where our story ends. Where it begins is at a time infinitely far back, when there was no life at all on earth. Nothing but clouds of steam, boiling seas and exploding volcanoes. So now, imagine yourselves out in space billions and billions of years ago, looking down on this lonely, tormented little planet, spinning through an empty sea of nothingness.
And now, we'll have a minute intermission. He's very shy and very retiring. I just happened to run across him one day at the Disney Studios. But when I did, I suddenly realized that here was not only an indispensable member of the organization, but a screen personality whose possibilities nobody around the place that had ever noticed. And so I'm very happy to have this opportunity to introduce to you the soundtrack.
Now, watching him, I discovered that every beautiful sound also creates an equally beautiful picture. Will the soundtrack kindly produce a sound? Suppose we see and hear the harp. Now, let's have a brass instrument, the trumpet. Now, how about a low instrument, the bassoon? Drop the other shoe, will you?
He was a great nature lover, and in this symphony, he paints a musical picture of a day in the country. Now, of course, the country that Beethoven described was the countryside with which he was familiar. But his music covers a much wider field than that, and so Walt Disney has given the Pastoral Symphony a mythological setting, and that setting is of Mount Olympusthe abode of the gods.
And here, first of all, we meet a group of fabulous creatures of the field and forest, unicornsfaunsPegasusthe flying horse, and his entire family, the centaursthose strange creatures that are half-man and half-horse.