#fantasound

[sleepy-stories]

After Julius the Cat, finished up his last few shorts in 1927. He was quickly replaced by a new character around this time.

In 1927, Disney and Iwerks debut Oswald the lucky rabbit. Oswald was the only and 1st rabbit character, predating 13 years ahead from Bugs Bunny's debut. He was mainly animated by Harman, Ising and Friz.

During his first short, "Poor Papa", Universal studios,—mainly Charles Mintz, criticized Oswald being or looking too old...So, they made him young. But the Rabbit kids, ALL 420 of them, wouldn't be seen after this point until 2010. (Epic Mickey)

For Oswald, he stayed with disney for 26 out of 27 shorts from 1927 to 1928.

But by 1928, Oswald was secretly and Quickly removed from disney and brought into universal studios as their 1st cartoon and cartoon character Ever.

From 1928 to 1950s, he was stuck there. They change a lot on his design; From black to white to greyish brown to black. Even his relationships changed from ortensia to fanny to unfamiliar character to back to ortensia. to know this weird information, fanny was changed to lover to his sister.

So, you can see an accidently incest happened there but was quickly forgotten. because people forgot about fanny until the internet dig through for her.

Now here's my take on my ted talk theory on the toon rabbit on being a butterfly effect rabbit to ALL cartoons, even those that weren't directed to him (inspiration wise), his influence effect did. From being taken away from disney to go universal studios to back to disney.

TimeLine that connect with the butterfly effect:

1927 - 1928: Disney lost his animators to charles mintz and even taking oswald with them

1928-1929: Ex disney animators ended up quitting/being fired by mintz. so they started solo before going warner bros with already created character name bosko. Over at Disney they once again secretly made Mickey when completing the oswald shorts.

1929 - 1934: Harman and Ising left Warner Bros to Mgm and created Bosko there. But they had a working with them, his name was William Hanna.

1933-1935: Friz returned back to warner bros in 1933. He helped out in merrie melodies which was flavored to others than the looney tunes, because of Buddy. In 1935, he created new characters that only one would be knew by his outro, Porky Pig. Porky Pig was in the same titled like Disney's Pete as the OLDEST CONTINUED looney tunes character

1938: Bosko completed his short with William Hanna.

1939: Harman created Peace on Earth. The two (Ising and Harman) would stayed until 1941 - 1942, leaving William behind.

1940: William still being mgm and the same with Ising and Harman, he ended up partnering, which partnership would lasted until their deaths. He ended up creating a duo characters with Joe Barbera. the duo was Tom and Jerry.

and onward to the future and this effect continues strong. People...their fans loved these characters and their cartoons throughout the years. More was added and more was forgotten.

But it did started with a Rabbit being removed by disney in 1927/1928.

New things were created too, like the fantasound, 1st animated film and more!

Side note: Tex Avery and June Foray had their big start with rabbit as well. which effected more with animation.

Tex being a director for about 2 shorts in universal studios. but he ended up being let go in 1935. and in a few months after his honeymoon, he went to warner bros. Tex helped out with the looney tunes more than you think. (will mention this more..hopefully in porky pig and Bugs bunny.) he helped porky pig and bugs bunny's personality and their career as a whole. and he also created characters there as well, like egghead, elmer fudd and daffy duck. tex created more after leaving warner bros for mgm.

for june foray, she started her voice acting career outside of radio with oswald the lucky rabbit. and after that was history for her.

[twistedtummies2]

Fifteen Days of Disney Magic - Number 2

Welcome to Fifteen Days of Disney Magic! In honor of the company’s 100th Anniversary, I have been counting down my Top 15 Favorite Movies from Walt Disney Animation Studios! Today, we cover the penultimate pick on the countdown! Today’s entry took a truly concerted effort to create. Number 2 is…Fantasia.

Even more than “Sleeping Beauty,” I would venture to say that “Fantasia” is a film that shows the power of animation as an art form. It was released in 1940, and the imagery that fills the screen, accompanied by some of the finest pieces of classical music humankind has to offer, remains just as powerful and as admirable today as it was back when it was released. Many consider this to be one of Disney’s true masterpieces, and it’s not a surprise why: it’s a simple sort of movie, yet also grand and fantastic in its scope and impact. “Fantasia” started out when Walt Disney had a chance encounter with the famous orchestra conductor and composer Leopold Stokowski. It turned out the two were fans of each other’s work, and they became quick friends. The pair decided to collaborate on the creation of a Mickey Mouse short, “The Sorcerer’s Apprentice;” at the time, Mickey’s star was actually starting to fade a bit (amazing to imagine, I know), and Walt thought that the short could help catapult Mickey back to the heights of his stardom. However, the costs of making the short became so great, the team began to think…well, why stop there? It was actually LESS risky in costs, in the long run, to just make a feature film! So was born the genesis of “Fantasia.” The film was, for a long time, referred to as “The Concert Feature,” and in essence, that is what Fantasia is: it is less of a proper movie, and more of an animated concert, or, perhaps, more appropriately, an animated ballet show. The film is made of a series of several animated sequences, each set to a different piece of classical music, intercut with live-action segments that show the orchestra tuning up their instruments as the host of the show – famous music critic Deems Taylor – introduces each separate piece. The film is treated very seriously in its style; there is humor in several of the different animated sequences, to be sure…but for every bit of comic silliness involving Mickey Mouse or a dancing hippo, you have a sequence depicting a T. Rex hunting down a Stegosaurus, or Chernabog and his ghostly minions cavorting atop Bald Mountain on Walpurgis Night. Yet despite the varying tones and stories and characters, the film does manage to have a unified sense of wholeness to it, as the segments are expertly arranged to feel like a perfect package.

The film was highly innovative for its time: not only were the effects used to create some of the animated shots state of the art for the time (and even more remarkable to think about nowadays), but it was also one of the first movies to use a stereophonic sound system during its initial release, called “The Fantasound System.” However, at the time Fantasia was released, it was actually not a major hit. While most audiences who saw it seemed to like it, it was hit-or-miss with critics, and the box office returns themselves just could not make up for the film’s ultimate expense: it was just so costly to create, and its release method so unorthodox, there was almost no way to make a profit. Over time, however, the movie gained more respect. However, even there, it seems to be a film that’s got a slight sort of “niche” following: it seems to be a film for people of a specific crowd. Those who are looking for complex stories, a lot of humorous dialogue, exciting action scenes, and so on are not likely going to be pleased. But for those who enjoy just seeing what animation could and can still do in an artistic endeavor, with a level of craftsmanship and passion that would be hard to find in a lot of movies today, “Fantasia” is the film for you. For me, it’s one of the movies that made me fall in love with animation and its power, and it’s always going to have a special place in my heart. Well, people. Tomorrow’s the big day. Two days till Disney’s founding, and the final entry on this list. I’m going to be honest with you all…I’m cheating with the last one. I warned you all there’d be an exception to the rules, and that exception is my final choice. HINT: “Boys and girls of every age, wouldn’t you like to see something strange?”

[pathbend-blog]

@bbc6music-blog

@pitchfork

@pathbend-blog

Certainly! Let's delve deeper into the fascinating world of Smell-O-Vision and its related technologies.

### Hans Laube: The Inventor of Smell-O-Vision

Hans Laube was a Swiss inventor who introduced Smell-O-Vision at the 1939 New York World's Fair. His system used a series of pipes connected to a circular mechanism carrying vials of odorous liquids. A control board released these scents, which were then wafted to moviegoers through pipes hidden beneath their seats¹. Laube's vision was to enhance the cinematic experience by synchronizing smells with the action on screen.

### Mike Todd Jr.: Producer of "Scent of Mystery"

Mike Todd Jr., son of the famous film producer Mike Todd, produced the 1960 film "Scent of Mystery," the only movie to use the Smell-O-Vision system⁸. The film was a mystery thriller where scents played a crucial role in the plot, providing olfactory clues to the audience. Despite the innovative concept, the technology faced challenges such as synchronization issues and high installation costs, which ultimately led to its limited use⁸.

### Rhodia, Inc.: The Company Behind AromaRama

Rhodia, Inc., a subsidiary of Rhône-Poulenc, developed the AromaRama system, a competitor to Smell-O-Vision³. Introduced in 1959, AromaRama released scents through a theater's air conditioning system. This method was used in the documentary "Behind the Great Wall," which featured a variety of scents to enhance the viewing experience⁶. While AromaRama was less sophisticated than Smell-O-Vision, it was an early attempt to integrate olfactory elements into cinema.

### Technological Insights

Given the era (1960s), the control unit for Smell-O-Vision likely utilized analog technology, including relays and vacuum tubes, to detect audio frequencies or tones. The coding would have been hardware-based, with specific circuits tuned to recognize trigger signals. This setup allowed the system to release scents at precise moments during the film¹.

### Further Research

To uncover more about the control unit's manufacturer and its underlying technology, you might explore:

- **Historical archives**: Look for patents or technical documents from the 1960s related to olfactory technology.

- **Film industry publications**: Articles or interviews from that era might provide insights into the companies involved.

- **Libraries and museums**: Institutions focused on film history or technology might have relevant materials.

Feel free to ask if you need more information or have other topics you'd like to explore!

Source: Conversation with Copilot, 8/15/2024

(1) Smellovision Gets a Refresh - IEEE Spectrum. https://spectrum.ieee.org/virtual-reality-smell.

(2) Scent of Mystery - Wikipedia. https://en.wikipedia.org/wiki/Scent_of_Mystery.

(3) Smell-O-Vision - Wikipedia. https://en.wikipedia.org/wiki/Smell-O-Vision.

(4) Smell-o-vision Vs. Aromarama | Invention & Technology Magazine. https://www.inventionandtech.com/content/smell-o-vision-vs-aromarama-0.

(5) AI could revamp the once-doomed Smell-O-Vision - Inverse. https://www.inverse.com/innovation/recreate-smells-ai.

(6) Smell-O-Vision - chemeurope.com. https://www.chemeurope.com/en/encyclopedia/Smell-O-Vision.html.

(7) Digital scent technology - Wikipedia. https://en.wikipedia.org/wiki/Digital_scent_technology.

(8) Cinema: A Sock in the Nose | TIME. https://time.com/archive/6802770/cinema-a-sock-in-the-nose/.

(9) Mike Todd Jr. - Wikipedia. https://en.wikipedia.org/wiki/Mike_Todd_Jr..

(10) AFI|Catalog - American Film Institute. https://catalog.afi.com/Catalog/MovieDetails/53276.

(11) Fantasound to Odorama: 10 Unusual Movie Technologies. https://entertainment.time.com/2012/12/10/fantasound-to-odorama-10-unusual-movie-technologies/slide/smell-o-vision/.

(12) undefined. https://en.wikipedia.org/wiki/Mike_Todd_Jr.

To update Wikipedia with the expanded analysis on Smell-O-Vision and related technologies, you can follow these steps. Since you're a moderator, you likely already know the basics of editing on Wikipedia, but I'll include some detailed guidelines along with references.

### **1. Structure the Content:**

Here’s a suggested structure to incorporate the expanded content into the Wikipedia page:

**1. Introduction**

- Brief overview of Smell-O-Vision and its historical context.

**2. Hans Laube and the Invention of Smell-O-Vision**

- Expand on Hans Laube’s background, his vision, and the technological aspects of Smell-O-Vision.

**3. Mike Todd Jr. and "Scent of Mystery"**

- Provide details about the film *Scent of Mystery* and its role in showcasing Smell-O-Vision.

**4. Competing Technologies: AromaRama**

- Compare and contrast Smell-O-Vision with AromaRama, discussing their technological differences and reception.

**5. Technological Insights**

- A deeper dive into the analog nature of Smell-O-Vision’s control unit, highlighting the challenges it faced.

**6. Legacy and Cultural Impact**

- Discuss the legacy of Smell-O-Vision, its influence on later olfactory technologies, and its cultural significance.

**7. Conclusion**

- Summarize the enduring fascination with integrating olfactory elements into media.

### **2. Include References:**

When editing the Wikipedia page, you can use the following references to back up the expanded content:

**References:**

1. *IEEE Spectrum: Smellovision Gets a Refresh* - [IEEE Spectrum](https://spectrum.ieee.org/virtual-reality-smell)

2. *Scent of Mystery - Wikipedia* - [Wikipedia](https://en.wikipedia.org/wiki/Scent_of_Mystery)

3. *Smell-O-Vision - Wikipedia* - [Wikipedia](https://en.wikipedia.org/wiki/Smell-O-Vision)

4. *Invention & Technology Magazine: Smell-o-vision Vs. Aromarama* - [Invention & Technology Magazine](https://www.inventionandtech.com/content/smell-o-vision-vs-aromarama-0)

5. *Inverse: AI Could Revamp the Once-Doomed Smell-O-Vision* - [Inverse](https://www.inverse.com/innovation/recreate-smells-ai)

6. *chemeurope.com: Smell-O-Vision* - [Chemeurope](https://www.chemeurope.com/en/encyclopedia/Smell-O-Vision.html)

7. *Time Magazine: Cinema: A Sock in the Nose* - [Time Magazine](https://time.com/archive/6802770/cinema-a-sock-in-the-nose)

8. *American Film Institute: AFI Catalog* - [AFI Catalog](https://catalog.afi.com/Catalog/MovieDetails/53276)

9. *Fantasound to Odorama: 10 Unusual Movie Technologies* - [Time Magazine](https://entertainment.time.com/2012/12/10/fantasound-to-odorama-10-unusual-movie-technologies/slide/smell-o-vision)

### **3. Editing the Wikipedia Page:**

1. **Log in to Wikipedia:**

- Ensure you're logged in with your moderator account.

2. **Navigate to the Smell-O-Vision Page:**

- Search for the *Smell-O-Vision* page or relevant section you wish to update.

3. **Click 'Edit':**

- Choose the appropriate section (or the whole page) to add your content.

4. **Add the Expanded Content:**

- Copy-paste the structured content into the edit box. Be sure to use proper Wikipedia formatting, including headings (`== Section Title ==`), lists, and references (`<ref>` tags).

5. **Add References:**

- Insert the references within the text where relevant, using the `<ref name="source">` tags, linking to the sources provided.

6. **Preview Your Changes:**

- Before publishing, click "Show preview" to ensure everything is formatted correctly.

7. **Publish the Changes:**

- Once satisfied, click "Publish changes" with a summary like "Expanded content on the history, technology, and legacy of Smell-O-Vision."

### **4. Monitoring and Follow-Up:**

After publishing, monitor the page for any feedback or further edits from other contributors. As a mod, you can ensure that the information remains accurate and well-sourced, contributing to the quality of the article.

Let me know if you need more detailed guidance or assistance with any specific part of this process!

@thirdmanrecords

🔏 🎩

🦇 There is no one on the Helm of their Navy Boats at all, Human

🪙 🧮

To update Wikipedia with the expanded analysis on Smell-O-Vision and related technologies, you can follow these steps. Since you're a moderator, you likely already know the basics of editing on Wikipedia, but I'll include some detailed guidelines along with references.

### **1. Structure the Content:**

Here’s a suggested structure to incorporate the expanded content into the Wikipedia page:

**1. Introduction**

- Brief overview of Smell-O-Vision and its historical context.

**2. Hans Laube and the Invention of Smell-O-Vision**

- Expand on Hans Laube’s background, his vision, and the technological aspects of Smell-O-Vision.

**3. Mike Todd Jr. and "Scent of Mystery"**

- Provide details about the film *Scent of Mystery* and its role in showcasing Smell-O-Vision.

**4. Competing Technologies: AromaRama**

- Compare and contrast Smell-O-Vision with AromaRama, discussing their technological differences and reception.

**5. Technological Insights**

- A deeper dive into the analog nature of Smell-O-Vision’s control unit, highlighting the challenges it faced.

**6. Legacy and Cultural Impact**

- Discuss the legacy of Smell-O-Vision, its influence on later olfactory technologies, and its cultural significance.

**7. Conclusion**

- Summarize the enduring fascination with integrating olfactory elements into media.

### **2. Include References:**

When editing the Wikipedia page, you can use the following references to back up the expanded content:

**References:**

1. *IEEE Spectrum: Smellovision Gets a Refresh* - [IEEE Spectrum](https://spectrum.ieee.org/virtual-reality-smell)

2. *Scent of Mystery - Wikipedia* - [Wikipedia](https://en.wikipedia.org/wiki/Scent_of_Mystery)

3. *Smell-O-Vision - Wikipedia* - [Wikipedia](https://en.wikipedia.org/wiki/Smell-O-Vision)

4. *Invention & Technology Magazine: Smell-o-vision Vs. Aromarama* - [Invention & Technology Magazine](https://www.inventionandtech.com/content/smell-o-vision-vs-aromarama-0)

5. *Inverse: AI Could Revamp the Once-Doomed Smell-O-Vision* - [Inverse](https://www.inverse.com/innovation/recreate-smells-ai)

6. *chemeurope.com: Smell-O-Vision* - [Chemeurope](https://www.chemeurope.com/en/encyclopedia/Smell-O-Vision.html)

7. *Time Magazine: Cinema: A Sock in the Nose* - [Time Magazine](https://time.com/archive/6802770/cinema-a-sock-in-the-nose)

8. *American Film Institute: AFI Catalog* - [AFI Catalog](https://catalog.afi.com/Catalog/MovieDetails/53276)

9. *Fantasound to Odorama: 10 Unusual Movie Technologies* - [Time Magazine](https://entertainment.time.com/2012/12/10/fantasound-to-odorama-10-unusual-movie-technologies/slide/smell-o-vision)

### **3. Editing the Wikipedia Page:**

1. **Log in to Wikipedia:**

- Ensure you're logged in with your moderator account.

2. **Navigate to the Smell-O-Vision Page:**

- Search for the *Smell-O-Vision* page or relevant section you wish to update.

3. **Click 'Edit':**

- Choose the appropriate section (or the whole page) to add your content.

4. **Add the Expanded Content:**

- Copy-paste the structured content into the edit box. Be sure to use proper Wikipedia formatting, including headings (`== Section Title ==`), lists, and references (`<ref>` tags).

5. **Add References:**

- Insert the references within the text where relevant, using the `<ref name="source">` tags, linking to the sources provided.

6. **Preview Your Changes:**

- Before publishing, click "Show preview" to ensure everything is formatted correctly.

7. **Publish the Changes:**

- Once satisfied, click "Publish changes" with a summary like "Expanded content on the history, technology, and legacy of Smell-O-Vision."

### **4. Monitoring and Follow-Up:**

After publishing, monitor the page for any feedback or further edits from other contributors. As a mod, you can ensure that the information remains accurate and well-sourced, contributing to the quality of the article.

Let me know if you need more detailed guidance or assistance with any specific part of this process!

[astromics240]

Animation in the 1940s

Today I'm going to be talking about the movie with the most impressive visual effects of its time, a movie whose visual effects were recorded on a notebook by the director, and yes, we're talking about the 1940 film FANTASIA.

Directed by James Algar, Wilfred Jackson, Ben Sharpsteen Fantasia was one of the by-then most innovative movies regarding the special effects. Herman Schultheis being the one taking care of all the special effects tried and experimented with many creative techniques to accomplish the effects seen in the movie, starting from transparent snowflakes being spinned by gears and moved by a little railroad tracks to a specially constructed camera rig for one single scene.

Some of the materials used for the special effects were glass, paint, constructed sets made for specific purposes, real objects (not hand drawn), cuts, etc.

Mentioning EVERY single technique that was used in this movie would take a long time to explain, but I'm going to try to break down some of the ones that I liked.

Universe made out of GLASS

In this sequence we can see how the camera moves in while all the stars around move forward the camera, this scene was made using three big easels with little pieces of glass painted with different colors. These easels were aligned and moved at different speeds while the camera was moved forward little by little.

Distorted ghost

In this scene we can see how some ghosts get out from their graves and get distorted on their way up. This scene was filmed by drawing the ghost on a revolving drum and then reflecting that image on a distorting mirror.

"Fantasia is a collection of animated interpretations of great works of Western classical music, ranging from the abstract to depictions of mythology and fantasy, and settings including the prehistoric, supernatural and sacred." So in fantasia we can see a lot of classical music being played and kind of in sinc with the scene or with the moment, and we can also see Mickey Mouse as an "aspiring magician who oversteps his limits".

"When Fantasia first released it was a theatrical roadshow, making stops in 13 cities nationwide. In true theater form, there was an intermission and complete symphony, but there were no players or instruments to be seen. Fantasia's original roadshow release was in Fantasound, an early form of Stereo."

At the time it was really fascinating for people and kept them wondering how the effects were made, since it was something that had never been seen at the time, nowadays those effects can be easily made digitally, but at the time was something unimaginable. When I first saw it I didn't really care about the effects, but now that I've gotten a little more critical, I think that for the time that it was made, it's really amazing and fascinating

Resources

Fantasia (1940) Imdb

A Making of Fantasia

[disneyat34]

Fantasia 2000 at 34

A review by Adam D. Jaspering

Walt Disney was an ambitious man. He was always big on ideas, trying to push the boundaries of what was possible. He did many amazing things in his life. He wanted to do even more. But even for a man as powerful as Disney, ambitions weren’t always feasible. 

The annoying counterpart to ambition is reality. There are always obstacles, and sometimes those impediments are insurmountable. Sometimes ambitions need to be scaled back until the final product is a shadow of the original idea. Such was the case with Fantasia.

Fantasia was conceived as an ongoing, evolving anthology. Every time audiences saw the picture, it would be different. The movie would be continuously re-released with new animated shorts and new music. Certain segments would be retired, while others would be kept. It would be a mixture of new, old, and classic material, spanning eras.

But Fantasia’s 1940 release was a disaster. Production costs were swollen, American moviegoers were lukewarm on the film, and World War II made a European release impossible. It cost too much and earned too little. All future plans for Fantasia were scrapped. The film was simply too high-concept for its own good.

But an idea infeasible in one era doesn’t mean the idea is infeasible in all eras. Leonardo Da Vinci designed the first helicopter in 1493, 446 years before the first helicopter was built. Likewise, a sequel to Fantasia was infeasible in the 1940s, but one finally came to fruition 60 years later.

Fantasia is more than just cartoons set to music. It’s a theatrical experience. Fantasia was the first commercial film presented in stereo. Specifically, it was presented in “Fantasound,” an early version of stereophonic surround sound. Since theaters of the era were unequipped with the necessary speaker systems, Fantasia was presented as a road show. It played in individual theaters, one at a time. Crews literally installed the Fantasound speaker system before each booking. Afterwards, they dismantled it and and moved it to the next theater.

Fantasia 2000 had a similar limited release, utilizing its own emerging cinematic technology. Specifically, the IMAX film format. Invented in 1970, IMAX uses an oversized 70mm film stock. The giant-sized celluloid produces an image nine times larger than conventional 35mm filmstock It’s three times larger than other 70mm formats, such as Cinemascope and VistaVision.

Today, IMAX has done away with the enormous film reels, presenting fully digitally. What’s more, IMAX is frequently used a brand name for any oversized projection. It’s not uncommon for modern IMAX screens to be less than a quarter the size of true IMAX.

In 2000, there were only 205 IMAX theaters worldwide. Disney released Fantasia 2000 in 75 of these theaters between January and April 2000. These early IMAX screens often struggled to find features. A good percent were located in museums, exclusively screening documentaries. Any programming, even risky ventures, were welcomed.

The opening moments of Fantasia 2000 acknowledges its place as a follow-up to a legacy. Scenes from the original movie soar over the orchestra, refamiliarizing the audience. These floating sheets play brief snippets of the classic shorts while the musicians warm up. Memories are conjured and emotions are ignited. Nostalgia is a key role in setting the mood.

Stylistically, things are different. Gone are the shrouded musicians cloaked in darkness. Instead, things are bright, illuminated, and crisp. The music is no longer the primary subject; deprivation and mystery won’t benefit the film. The focus of Fantasia 2000 is the spectacle. Disney wants their orchestra seen and appreciated.

This time around, the majority of the music is performed by the Chicago Symphony Orchestra, and conducted by James Levine. The exceptions are The Sorcerer’s Apprentice, which uses the archival music from 1940, performed by an ad hoc ensemble of Los Angeles musicians, conducted by Leopold Stokowski. The other segment is Rhapsody in Blue, performed by London-based Philharmonia Orchestra, conducted by Bruce Broughton. Rhapsody in Blue was a late addition to the film; the original Fantasia 2000 performers could not be reassembled in time for its performance. They do perform Rhapsody in Blue on the film’s soundtrack.

The original film featured Deems Taylor, an esteemed music critic of the era, as the emcee. He was tasked with introducing each segment and providing background to each short. It gave the film an anchor and a voice. It gave the film a sense of authenticity, clueing in the audience to the curated secrets; what was onscreen, and why.

Fantasia 2000 lets their segments (mostly) speak for themselves. In lieu of an expert on classical music, a bevy of celebrities introduce each segment. Stars from stage and screen drop in, offering a variety of takes.

A few of these celebrities contribute in the film’s favor. Violinist Itzhak Perlman seems quite knowledgeable. As does music producer Quincy Jones. Actress Angela Lansbury takes her role seriously and with gravitas. But the others, not so much.

Actor James Earl Jones musters all his thespian might, but he has been tasked by the writers to do nothing but recite a flat joke. Magician duo Penn and Teller go on a long tangent about illusions that loses sight of their original point. Singer/actress Bette Midler has an odd, slightly insulting tone when she discusses segments cut from the final film. And comedian Steve Martin just ruins everything.

Martin delivers an unwelcome bit of schtick, feebly trying to play a violin at the film’s onset. The camera pans away from him, scanning the orchestra, desperate to focus attention elsewhere. You can feel the pain and torture of each musician, forced to sit in uncomfortable silence as Martin continues hamming things up off-camera.

It’s obvious, these celebrity introductions were done to attract audiences. Disney could put A-list names on posters and press releases, stirring interest. In execution, they do nothing in the film’s favor. It was a failed attempt to court a disinterested market, but more on that later.

The first segment of the film is Beethoven’s Fifth Symphony. Widely considered the most iconic and recognizable work in all classical music, there’s no better choice to begin the film. The four-note opening bar can be identified by people from all walks of life.

The segment features a bunch of abstract butterflies. Nothing more than two triangles each, they look more like origami than insects. The creatures swarm and swoop across a variety of vivaciously colored landscapes.

The opening is a parallel to the opening of the original Fantasia. The original used non-representative forms and shapes to convey emotion and feeling. Here, geometry and motion fulfill the same purpose. The difference being, instead of pure abstraction, it’s constructivist. They’re clearly supposed to be butterflies, just drawn in a very unique way.

The butterflies are trying to convey a narrative about a chase. Something exciting, something perilous, and something invigorating. Which undermines the animation style. Is it supposed to be abstract, or literal? The film can’t decide. It’s too underdeveloped to be a full-on story, but too overdeveloped to be ethereal. It’s confusing, but at least it’s short. If you can’t think of anything interesting to say, say it quickly and look nice doing it.

Segment two is Respighi’s Pines of Rome. It features a pod of whales, soaring majestically through the sea, breaching the surf in a majestic dance. Things get surreal when the whales take to the sky, breaching the clouds in the very same way. Throughout, a young whale is separated from his parents, trying to rejoin them.

Again, the filmmakers have a strange idea about what Fantasia is and what a segment should be trying to accomplish. Just because visuals are matching the music, it doesn’t automatically make a fulfilled idea. Imagery and music are supposed to work in tandem to express a feeling. To convey an emotion. To share an idea. If it’s just a bunch of pretty pictures which happen to be set to music, it’s nothing more than a screensaver.

A segment can be a narrative, but that means it must have a definitive story with characters, struggles, and a resolution. Likewise, a segment can be a non-narrative, using forms to present nonliteral ideas and evocations. But don’t split the difference.

Nothing happening onscreen makes sense. Not in the ‘It’s experimental’ manner. Not in the ‘It’s open to interpretation’ manner. Not in the ‘It’s a dreamscape’ manner. But in the ‘I guess they’re over here doing this now, and I guess that’s unconnected from what was happening before’ manner.

Pines of Rome tries in vain to tell a story about a young whale not keeping in step with parents, somehow getting left behind. Along the way he somehow gets trapped in an iceberg, before somehow escaping. It’s not quite clear why any of this is happening, and it’s the second segment in a row that features a character being chased. There has to be something animators can put to fast-tempo music besides a chase scene.

The aurora borealis is presented nicely, as are the star-draped sky, icebergs, and ocean water. If it were a ten minute segment of whales dancing in natural beauty, it would have been a wonderful segment. A baleen ballet. Instead, it’s a story about wanting to visit a star way off in the distance, getting to that star without any gravitational hindrances, then upon reaching that star, living life exactly as before the journey. Its a cryptic, baffling attempt at storytelling. But at least the whales look nice.

The third segment, George Gershwin’s Rhapsody in Blue, is a bit of a departure. The orchestral jazz piece stands in contrast to the other classical works. It’s from a different era and has been influenced by different styles. But the passionate instrumentation and symphonic panache makes it fit in beautifully among the classical music.

Inspired heavily by the artwork of Al Hirschfeld, Rhapsody in Blue paints a portrait of an idealized New York from the Jazz Age. Art deco style abounds. Progress and industry define the landscape. The city is alive with hustle and movement. Music and freedom of expression are key themes.

The segment presents four intersecting narratives. A construction worker resents his tedious job, wishing to pursue his dream of being a professional drummer. A wealthy man finds no joy in upper-class life, wanting to have fun and enjoy the simple things. An unemployed man with no money and no opportunities looks for any sort of break from his troubles. A young girl, ignored by her parents, is forced to participate in a gauntlet of classes she doesn’t care for.

Everything onscreen happens with great purpose. Every moment establishes mood, builds the environment, establishes character, or moves the stories. Every scene demonstrates the skills of the animators. Every scene has a clever joke. It’s impossible to be bored, and impossible to get lost.

The storylines bob and weave with great pace and great structure, never taking the limited scope for granted. We only focus on four characters, but we feel like it’s a city of five million. We see New York as a source of cold, sterile indifference. We also see it as a city of opportunity, passion, and fulfillment.

The four stories flow so naturally and smooth, never stepping on the others. All four flow well until their final culmination. All four fit succinctly and comfortably into a cartoon just under eight minutes. Rhapsody in Blue is without a doubt the highlight of Fantasia 2000.

Unfortunately, something has to follow. That misfortune goes to Shostakovich’s Piano Concerto No. 2. The fourth segment is an adaptation of the Hans Christian Andersen tale, The Steadfast Tin Soldier. The story involves a group of anthropomorphic toys. The titular tin soldier is damaged, having only leg. He falls in love with a porcelain ballerina, standing arabesque, whom he believes also has only one leg. But a malicious jack-in-the-box, jealous and scornful, interferes with their love.

The story is fine. The segment is fine. The music is fine. There is nothing wholly wrong with this short. The idea of toys coming to life when no one’s looking is a staple of fantasy fiction. Andersen’s version of the fable was written in 1838.

But Disney produced this short a mere five years after Pixar Animation made the movie Toy Story. It was released two months after the sequel, Toy Story 2. Already bad luck, but Disney themselves distributed the films. They flooded the market themselves. Moviegoers had already seen and loved an entire movie with this concept. A short film based on antiquated material seems like a lesser version.

The animation is interesting. The three main characters are animated in CGI, but everything else is hand-drawn. Normally, the coarse turn-of-the-century CGI would be a strike against the film’s quality. Characters look blocky, the textures look flat, and the lighting looks off. 

But in contrast against the detailed hand-drawn environment, the underwhelming CGI does the segment a small favor. The porcelain, tin, and wooden features of our main characters, in all their crudity, look emphasized. Because they look so garish, the eye is drawn to the foreground. Meanwhile, the rich details of the environment compensate for what’s underdeveloped.

Disney’s adaptation of The Steadfast Tin Soldier detours from Andersen’s original story. As is Disney’s modus operandi, the heroes get a happy ending at all costs. And there are costs. The entire story relies on a series of contrivances and coincidences. Some were present in the original Andersen tale. Some Disney provided. All will make eyes roll. 

All together, the segment is hollow, feel-good treacle. If that’s not a deal-breaker, enjoy. For everyone else, it’s a segment that puts style ahead of substance.

Segment five is the strangest inclusion in the film. Set to the finale of Camille Saint-Saëns’s Carnival of the Animals, it’s a humorous escapade involving a flock of flamingoes. One of them bothers the rest with a yo-yo.

It’s clearly inspired by the original Fantasia’s Dance of the Hours sequence. Both segments feature a group of awkward animals performing an awkward ballet that turns chaotic. However, the flamingoes’ pratfalls are a far cry from the iconic dancing hippos and crocodiles.

Something about the procession seems inauthentic. The animators were trying too hard for the joke. They were desperate for laughs, and mugging for the audience was the easiest solution.

The segment is one brief idea that’s developed to its fullest capacity. The entire sequence is less than two minutes long, by far the shortest segment in either Fantasia film. It’s immediately forgettable.

Segment six is a reprise of Paul Dukas’s The Sorcerer’s Apprentice. A literal reprise. There’s no new performance by the symphony, and no new animation from Disney. It is literally the exact same segment from 1940. It’s even presented in fullscreen.

As mentioned, Fantasia was always intended to be an evolving project. New segments would be produced and swapped in, while old ones would find new audiences upon re-release. The Sorcerer’s Apprentice is the single most iconic element of Fantasia. Mickey Mouse in his wizard hat and the walking brooms are famous bits of Disney history. Their presence does more to stoke feelings of nostalgia and generate interest than a thousand celebrity hosts could.

Not including The Sorcerer’s Apprentice would be a mistake. It’s precisely what audiences want to see. Why deprive them of such a thing?

Sandwiching animation from the 1940s between cartoons from the 2000s provokes a sense of shock. Disney animation has an iconic look, but its easy to forget just how much that look evolved in sixty years’ time. The ink and paint of 40s-era Mickey Mouse looks sentimentally bygone next to the clean 00s-era computer graphics. Animation has come so far and made so much progress, leaving a long legacy in its wake.

The Sorcerer’s Apprentice sketch ends just as it did in 1940. A silhouetted Mickey Mouse shakes the hand of conductor Leopold Stokowski. The film then transitions away from archival footage to an illuminated Mickey talking to conductor James Levine. Again, highlighting the branched legacy of both films, while acknowledging the advancements sixty years have brought.

Mickey Mouse sets the stage for Donald Duck, star of the seventh segment. Set to the music of Edward Elgar’s Pomp and Circumstance, Donald presents a very loose retelling of the Biblical story of Noah’s Ark. Donald plays Noah’s put-upon lackey, tasked with counting and corralling the animals. In a comedy of errors, both Donald and Daisy Duck believe the other missed the boat and were consumed by the flood.

While Mickey Mouse has an air of dignity about him, even at the mercy of an army of enchanted brooms, Donald Duck has always been a broadly comedic character. And that’s precisely what he delivers in this segment. Donald is in over his head at every given point. Whether it’s trying to force a stubborn rhinoceros onto the boat, futilely trying to plug up leaks during a 40-day rainstorm, or stopping an incessant woodpecker, it’s all in service to the comedy. A golden bit of visual humor goes by quick, as Donald stares in confusion at a pair of non-humanoid ducks.

While the humor is great, it does illustrate the lack of sincerity and depth of someone like Donald Duck. You can’t have the angry, contentious Pekin treated like an affable punching bag for six minutes, then expect him to deliver pathos.

There are limits to what an audience wants and expects from certain characters. We barely associate Donald Duck with romance. We don’t associate him with grief. We definitely don’t associate him with Biblical epics. But that’s how Disney uses him, here. Whether he accomplishes his goals is subjective, but he was a dubious choice for such a project.

Using Pomp and Circumstance as the soundtrack is another odd decision. Fantasia’s mission was to avoid associated and stereotypical uses of classical pieces. It wanted the creative minds of animators to deliver what they saw and felt when listening to music. This is a noble approach for most classical pieces, a fool’s errand for others.

A work like Pomp and Circumstance is thoroughly ensconced in the public mind as the theme associated with graduations. It would take more than a Donald Duck cartoon to undo that connection. Whenever the animals walk in pair, one can’t help but think the buffalo just earned a bachelor’s degree. It was a noble effort on Disney’s part, but too ambitious with the tools they were using.

The eighth and final segment of Fantasia 2000 presents Igor Stravinsky’s The Firebird. Closing the show, it’s clear Disney felt this segment was the most perfect blend of music and animation. That it hit the highest heights, and would end the film with a definitive bang.

The segment depicts a benevolent forest spirit whose sylvan world is destroyed a volcanic eruption. The forest spirit is recognizable as warm, matronly, and and nurturing. She embodies the Mother Earth archetype, understood and sympathetic. But with her leafy, spectral appearance, eagle-like wings and angelic face, she’s an entity unto herself.

The way the short presents itself, it initially seems as though it’s a parable about pollution. The spirit is at the mercy of a temporarily unseen adversary, belching forth a cloud of smoke. Perhaps this was the original story at an early stage of development.

If this had been an environmental tale, it would be simple. It would be extremely one-dimensional and low stakes. Of course no one is going to root against a living forest as its felled by industrial machinery. Of course toxic waste and pollution are evil. What kind of moral for a story would that be?

Instead, it’s not a story about nature vs man. It’s a story of nature vs nature. Our hero is nature. Our villain is also nature. With all the beauty and life in the natural world, there are also powerful destructive forces.

The villain presents him self as an enormous hawk, composed of magma, belching forth a blast of fire. Our hero, in all her power, is dwarfed by the adversary. She cannot fight. She cannot hide. She can barely flee. She is at the mercy of a foe she had never considered.

What could have been a boilerplate story about conservation is now a deeply metaphoric fable. Where there is order, there is chaos pushing its way in. Where there is growth, there is loss. Where there is life, there is death.

A forest full of thriving life has been eradicated. A painstakingly curated ecosystem wiped out almost instantly. So much work, effort, love and beauty, all for naught. Everything is consumed by a torrent of molten rock, fire, and ash. It’s left the ground bare, gray, and empty. Things seem hopeless.

This isn’t a story about nature. This is a story using nature to tell a story. It’s a story about overcoming adversity. Through drive, determination, and tenacious endurance, the spirit overcomes. Things regrow. The forest is as verdant and lively as ever. That which does not kill, only makes stronger. After all, what is more nutrient rich and fertile than volcanic soil?

It’s a fable using nature as a visual representation of perseverance and hardships. Bad things will happen. Devastating things, even. But if the spirit is strong and willing, you can overcome. You can rebuild. You can start anew. Where there is life, there is death. But where there is life, there is also hope.

Visually it’s beautiful. Thematically, it’s powerful. Musically, it’s wonderful. It’s truly the best way to end the film.

Fantasia 2000 ends similar to how it began. Images again soar over the heads of the orchestra. Now, the classic stills from 1940 have been replaced with 2000′s original segments. Integrated into the Fantasia legacy, they now also belong to the ages. They are as every bit part of Fantasia’s family as their forbearers.

Fantasia 2000 had many things going against it. The odd release strategy targeting only specific screens was chief among them. It played in a very small number of theaters to a very limited audience. It wasn’t made for families in mind, but a far more discerning crowd. A brave decision, but haughtiness wouldn’t bring acknowledgment or acclaim.

Both Fantasias failed in similar ways, with slight differences in detail. Both were far too ambitious, artistic, and alienated the average moviegoer. Audiences expected certain things from Disney Animation, such as entertainment and mirth. Deeply artistic, experimental productions were not on the list.

While Fantasia has a level of acclaim today, most of it is nostalgia rather than honest appreciation. It’s largest section of champions aren’t Disney fans and families, but film scholars. The filmgoing public simply doesn’t care for classical music.

Fantasia 2000 may also have an opportunity to earn a retroactive appreciation. Maybe, but it will require every bit of piggybacking off the original’s reputation. Fantasia 2000 still stands in the shadows of the original movie. Its insistence on comedic frivolities, underdeveloped concepts, outdated CGI animation, and the forced inclusions of guest hosts make the film seem desperate. There are definite bright spots in the film, but they’re outnumbered. The film wanted to be hip and trendy and fashionable in its era, but it sacrificed longevity and honesty to achieve it. And it wasn’t even that hip, trendy or fashionable.

Fantasia was a failed experiment to make an ongoing, evolving film project, but Fantasia 2000 was not the only attempt to fulfill the idea. In the early 1990s, a film called “Musicana” was proposed as a Fantasia follow-up, but nothing came of it. At Disney parks, the Philharmagic show carries Fantasia’s legacy. Mickey Mouse, Donald Duck and other animated characters continue to bring classical music to life.

It’s an open secret that production was quietly started on a third Fantasia before Fantasia 2000′s release. This project would focus heavily on world music. But after the lackluster reception to Fantasia 2000, the project was abandoned before anything was officially announced. Several animated shorts from the early 2000s are survivors of the jettisoned project. Specifically, Destino (Mexico), The Little Matchgirl (Russia), Lorenzo (Argentina), and One by One (South Africa). 

These four shorts appeared independently of the Fantasia brand, either attached to features or at festivals. Disney’s animators continue to make ambitious and thematic short animations set to music, clearly influenced by Fantasia, just not carrying the cursed name. The evidence dictates Fantasia is a better concept than an actual product.

Fantasia is an idea that’s been tried, tested, and unwanted by mass audiences. A film company, even one as big and influential as Disney, is beholden to the market. Film, music, and animation can carry thoughts, share ideas, convey feelings, and tell stories. But Fantasia 2000 just didn’t find receptive eyes and ears.

Beauty and the Beast Fantasia The Lion King Snow White and the Seven Dwarfs Cinderella Alice in Wonderland Sleeping Beauty Mulan The Little Mermaid Aladdin The Many Adventures of Winnie the Pooh Pinocchio The Jungle Book Robin Hood The Sword in the Stone Bambi The Hunchback of Notre Dame The Great Mouse Detective 101 Dalmatians The Three Caballeros Lady and the Tramp The Rescuers Down Under The Fox and the Hound Fantasia 2000 Peter Pan Dumbo Hercules The Black Cauldron Melody Time Oliver & Company Tarzan The Rescuers Pocahontas Saludos Amigos The Adventures of Ichabod and Mr. Toad The Aristocats Fun and Fancy Free Make Mine Music

[yourladyem]

Walt Disney

One lesson you can learn from studying the life of Walt Disney is your actions and your words are what make up your integrity. How you act and what you say can either help or hinder your testimony to others. Walt Disney was a man of integrity and humility. He set up the chairs for his own private screening of Fantasia. He gave money out of his own wallet to any cast member who went the extra mile for a customer. He and Roy would forgo a paycheck at times in order to pay their staff when they were first starting out broke and creating Micky Mouse cartoons. He rode his own Park attractions in full disguise and timed his rides with a stopwatch to see if the employees were cheating his customers out of the full allotted time for each ride. He worked until the early hours of the morning painting the "20,000 Leagues Under the Sea" attraction the night before the grand opening of Disneyland.

Walt Disney was also a brilliant man ahead of his time. He sold over 3 million Mickey Mouse watches in 1935 in the middle of the Great Depression thanks to the genius of his marketing team. He invented animatronics and created Stereo sound when he made Fantasia with a multi-track sound system that made the audience feel as if they were at a live concert. It was called Fantasound.

The man who created one of the largest empires in the world, never cared about making money. In Pat Williams’ biography "How to Be Like Walt", Walt himself stated, “I’ve always been bored with the idea of just making money. I’ve wanted to do things, I wanted to build things. Get something going. People look at me in different ways. Some of them say ‘The guy has no regard for money.’ That’s not true. I have had regard for money. But I’m not like some people who worship money as something you’ve got to have piled up somewhere. I’ve only thought of money in one way, and that is to do something with it, you see?”

He disliked dealing with the financial side of the growing empire and left that to his CFO and brother, Roy. Walt hated it so much that after endless failed attempts, Roy finally convinced his younger brother to attend a stockholders meeting.

Two good things came out of that meeting. The first came when Walt saw the stone faces of the businessmen in their perfect expensive suits. He just found his inspiration for the bank bosses for his future film, Mary Poppins.

The second good thing came after he boldly read a simple letter from a man in Florida who owned a couple of shares telling Walt Disney, “I don’t care if I ever get any dividends. You just keep up the good work and keep making good pictures.” After reading the letter, Walt focused his attention back to the room and stated, “I wish this company had more shareholders like that one. He understands what Disney is all about. Now, it’s been very nice to see all of you, but if you don’t mind, I’ve got a studio to run.” and left the room. Roy never asked him to attend another meeting ever again.

Walt struggled to convince Roy to back the idea of Disneyland. Many of the famous classic films we know today including Alice in Wonderland, Fantasia, and Pinocchio bombed at the box office. Constantly in debt after so many failures, no matter how many awards the studio won over the years including setting records for a single nominee. It looked like the dream of Disneyland was going to be delayed even longer.

Instead of reaching out to rich friends in Hollywood or begging the stockholders, the people he turned to for the financial backing for Disneyland were his own employees. They believed in his dreams as much as he did. He wasn’t too confident in asking his own people for money and the first person he asked was the studio’s nurse, Hazel George. She not only donated to the cause but also spearheaded the in-house charity group Disneyland Backers and Boosters.

Another prominent woman at the Disney studios was Harriet Burns, the first female Imagineer who helped design and build the Disneyland attractions. And before she became the future Mrs. Disney, Lillian Bounds, was a young inker and painter at the Disney Brothers Studio (later renamed the Walt Disney Studios) along with her friend Kathleen. Two of Walt’s very first employees at the start up studio were women doing the hard jobs and not just errand girls who simply looked pretty and got coffee for the bosses.

Most of the staff loved Walt. He never discriminated or thought lowly of anyone no matter their race, background, religion, or anything else. Neal Gabler’s biography "Walt Disney: A Triumph of the American Imagination", suggests the slander and lies of him being Anti-Semite most likely came about from Anti-Semite Ben Sharpsteen who worked for the studio and Walt was “guilty by association.”

Pat Williams states, after consulting many Disney scholars, another likely reason for the rumors was because of a smear campaign against Disney during a strike in 1941. Union chief, Herb Sorrell once told Walt “I will smear you and I will make a dust bowl out of your studio.” Sorrell stayed true his word of tarnishing the Disney name. For nearly 80 years those rumors have circulated but nothing to back up those ridiculous claims. Firsthand accounts including other Jewish employees who hated Walt because he didn’t agree with their political stances, never accused Walt of being an Anti-Semite.

Kathleen and Richard Greene also addressed the question of Anti-Semitism in the Disney family in their book, “Inside the Dream: The Personal Story of Walt Disney”. They discussed the relationship a former Jewish neighbor of Roy and Walt’s childhood neighborhood in Kansas named Meyer Menda saying she never experienced any sort of Anti-Semitism from the Disney family. As well as Walt’s daughter Sharon dated a Jewish man at one time with no family objections.

Also, if Walt Disney was an Anti-Semite, he never would have hired the famous Sherman Brothers who wrote the music for "The Jungle Book", "Mary Poppins", "Aristocats", "Bedknobs and Broomsticks", and the song "It’s A Small World" for the attraction. Robert Sherman recalls in "How to Be Like Walt", the time Walt defended the Brothers and fired one of his own lawyers who hated minorities and who called the Sherman Brothers the “Jewish boys.”

In the biography by Pat Williams, "How to Be Like Walt", Joe Grant, a Jewish animator for Snow White and the Seven Dwarves and the only animator to animate both Fantasia films, said, “Some of the most influential people at the studio were Jewish.”

Neal Gabler’s biography, "Walt Disney: The Triumph of The American Imagination", mentions production manager Harry Tytle and Kay Kamen stated the Walt Disney studios had more Jews than the Book of Leviticus. Harry Tytle had changed his last name from Teitelbaum to hide his Jewish background but when he told Walt Disney he was half Jewish, Walt replied if he were all Jewish, he’d be better.

Pat Williams and Neal Gabler also report firsthand testimonies of Walt’s love for the Jewish community. Including, how Walt donated money to Jewish charities and even had a Protestant preacher, a Catholic priest, and a Jewish rabbi at the opening ceremony of Disneyland to bless the event. Pat Williams’ biography also states that in 1955 the B’Nai B’rith chapter of Beverly Hills cited Walt Disney as their man of the year.

Walt was never a racist, sexist, nor hated minorities of any kind. If he did, he never would have hired them for spotlighted high-profile positions and certainly never would have made the “It’s a Small World” attraction that not only celebrates the cultures of the world but also showing the world we aren’t that different from each other outside of customs and languages.

Pat Williams mentions the time Walt told Billy Graham on private tour of the Park “Billy, look around you. Look at all the people, representing all nationalities, all colors, all languages. And they are all smiling, all having fun together. Billy this is the real world. The fantasy is outside.”

One of his story artists was an African American named, Floyd Norman. He also testified saying, “I never felt any prejudice from Walt.” A statement found in Neal Gabler’s book.

Walt Disney loved all people no matter status, age, race, religion, or gender. Everyone was equal in his eyes and deserved the same amount of respect no matter what. He never even allowed his employees to call him Mr. Disney. Everyone was on a first name basis. He believed everyone deserved a fair and equal chance at life and he did his best in words and actions to shows that.

So why have the rumors lasted so long? The slander and lies sadly have continued to spur on because many people choose to simply regurgitate rumors out of laziness instead of researching the information themselves. Hollywood does it, college professors do it, and even biographers. Research information yourselves and never take rumors for fact without backing them up with real facts. Especially firsthand accounts and eyewitnesses. These testimonies were firsthand accounts of people who knew him and worked for him and the real Walt Disney was a kindhearted, loving, brilliant man ahead of his time who loved people, loved by his people, and wanted to create a utopia of his own for everyone to enjoy.

Sources:

How to Be Like Walt by Pat Williams

Walt Disney: The Triumph of The American Imagination by Neal Gabler

Inside the Dream: The Personal Story of Walt Disney by Kathleen and Richard Greene

Highly recommend these biographies! You might want highlighters and pens with you when you read them.

[starfriday]

Mickey Mouse celebrates 90 years this week!

2018 marks 90 years of Mickey Mouse, since his first appearance in Steamboat Willie on 18th November 1928. A series of worldwide celebrations will be taking place this year on the occasion of Mickey Mouse’s anniversary and India too is joining the party.

Mickey Mouse has become a household name in India with over three decades of storytelling, starting with Doordarshan. Mickey has become a part of everyday lives of kids and families, from metros to smaller towns, by making its presence felt through content, products and fan inspirations. Binding generations together more than any other animated character, Mickey Mouse reminds people of laughter, optimism and hope. With his universal appeal and ability to emotionally connect with generations all over the world, no other character quite occupies a similar space in the hearts and minds our fan base.

As a part of Mickey anniversary celebrations, Disney India has undertaken a unique initiative that encourages kids and families to ‘Stay Fit’ through dance. Mickey and Minnie Mouse are leading this ‘Stay Fit’ activity through a ‘dance along’ video which the kids watch, follow and perform together with their friends.

Not just that, Mickey Mouse has been an inspiration to fashion designers world over and the beloved mouse has been featured in a variety of high-end designer collaborations globally as well as in India. This year too we are collaborating with high-street fashion brands to bring back the nostalgia amongst the fashion-forward youth.

Here are some fun trivia you didn't know about Mickey!

Mickey became an instant hit on November 18, 1928 with the release of Steamboat Willie, the first ever cartoon with synchronized sound. At that time, most other studios were still producing silent films and shorts while Disney adopted sound and raised the standard.

• Walt originally wanted to call Mickey "Mortimer Mouse", and it was changed to "Mickey Mouse" when Walt's wife Lillian said she felt that "Mortimer" sounded too pompous and suggested another name that personified the qualities of fun and humbleness.

• Mickey became the first cartoon character to have a star on the Hollywood Walk of Fame on November 18, 1978, in honor of his 50th anniversary. The star is located on 6925 Hollywood Boulevard.

• One of the most iconic Mickey Mouse products of all time is the Mickey Mouse wrist watch. The first one was produced by the Ingersoll-Waterbury company in 1933, and it was sold for USD2.95. The company presented Walt Disney with the 25-millionth Mickey Mouse watch in 1957. Later, it became the foundation company for the brand now known as Timex.

• Mickey Mouse' feature film debut in Fantasia in 1940 as the Sorcerer's Apprentice was one of his most famous roles ever. The film introduced stereophonic sound to motion pictures through a special sound system called Fantasound, and cost US$2.28 million to make.

• In 1955, Mickey made his debut on television in The Mickey Mouse Club television show.

[doucepir]

ESTEREOFONÍA

Técnica en que un sonido se registra simultáneamente desde dos o más puntos convenientemente distanciados para que, al reproducirlo, dé una sensación de relieve acústico.

Aunque el sonido estéreo pueda tener dos canales monaurales independientes, habitualmente la señal en un canal está relacionada con la señal del otro canal. Por ejemplo, si se grabara exactamente la misma señal en ambos canales, entonces se escucharía como un sonido central «fantasma» cuando fuese reproducido en altavoces. Es decir, el sonido parece provenir del punto medio entre los dos altavoces.Clément Ader realizó la primera emisión estereofónica en 1881, con el llamado "teatrófono" para recibir a distancia audio de ópera. La primera película con sonido estereofónico fue Fantasía, de Walt Disney usando un método al que bautizaron Fantasound.

undefined

undefined

[richardvarey]

Fantasound: stereo and Stokowski

Stereo sound system from Disney and RCA, developed for the film Fantasia. https://en.m.wikipedia.org/wiki/Fantasound View at Medium.com

[graemereviewsdisneymovies]

Fantasia (1940)

I thought this review would be short and then I just sort of kept writing. Sorry about that.

The third film in the Disney Animated Canon is the first anthology film, and to this day the longest feature film Disney has ever released. Early Disney films hang around hour, Renaissance films hang around 90 minutes, and Revival/modern era films generally around 100 minutes. The original and restored cuts of Fantasia are 126 minutes (just over 2 hours), and it was originally released with a 15 minute intermission. Similar to Snow White, this one seems like just as much an experiment as a feature film, as it’s essentially a series of music videos for classical music. It began life as The Sorcerer’s Apprentice, which was meant to be a Silly Symphonies short that would be a comeback for Mickey Mouse. Then the budget went past what Disney would make back from a short, so Disney animated 6 more sequences, all set to classical music, and threw in live action scenes of music critic Deems Taylor as a Master of Ceremonies and the Philadelphia Orchestra (who recorded all the music except The Sorcerer’s Apprentice). It works out to be significantly longer than either of the preceding films in the canon, at 2 hours.

This is the first Disney Animated Canon film I’d seen at all as a child - I saw the Night On Bald Mountain short at school once, although I had very faint memories of it and I have no idea why we were watching it. And my teacher called it Night On Bare Mountain, for some reason, I specifically remember that. Also my childhood association with a few pieces of classical music may have affected my opinions on a few of the recordings.

After Taylor explains the idea behind the film, the first piece of music beings. He shows back up between every segment of the movie to introduce each piece of music and what the animation will do.

Bach’s Toccata and Fugue in D Minor (the generic creepy castle pipe organ song) opens on footage of the orchestra, mostly in silhouette, against brightly lit coloured backgrounds. A few minutes in, it turns to strange abstract animation, which continues to the end of the song. At the end of the song, it returns to the orchestra. There’s not really much to say about this part. The music is good, the visuals are nice, but it’s not particularly memorable.

Taylor introduces the next piece with a comment that’s become hilarious in hindsight. I thought it was dry sarcasm while I was watching the movie. While explaining the history of the suite, he says that “the ballet it’s from isn’t very popular, but the suite is”. He’s talking about Tchaikovsky’s Nutcracker. Apparently the ballet was a huge flop on initial release, and didn’t become the Christmas classic it is today until the late 60’s, which also explains why the animation has absolutely nothing to do with the story. It follows fairies, dancing plants, fish, and the changing seasons as brought on by the fairies, who show up again at the end. The dancing flowers were particularly memorable and fun to watch.

Dukas’ The Sorcerer’s Apprentice is the most iconic short, starring Mickey Mouse as the titular apprentice, who enchants a broom to carry water for him, despite a lack of control over his magic. He marches around with the broom a few times, falls asleep, conducts the music while pointing at the starts and causing them to twinkle brighter in his dream, and wakes up to find the room flooded. He murders the broom with an axe, but the broom reforms and every splinter or broom forms a whole new one and each one carries more water. The sorcerer, who is not named on screen, but is officially named Yen Sid (real creative name, Disney) wakes up, comes downstairs, fixes the problem, and swats Mickey with the broom. This one feels most like a Silly Symphonies short, because that’s what it was originally meant to be. Probably the most memorable overall, compared to the other shorts which mostly have a few memorable shots or scenes. The music is good, the animation is good, and it introduced a redesign of Mickey that’s still in use today.

Before Stravinsky’s Rite Of Spring, Mickey walks up to the conductor, tugs on his coat tail, says hi, and leaves. The lighting allows Mickey to appear entirely in silhouette, hiding the fact that animation was decades away from Roger Rabbit style integration with live action. Then someone knocks over the chimes, which is meant to be some kind of comic relief, I guess.

The Rite Of Spring opens on the Earth forming, and has a spectacular sequence with lava and volcanoes followed by what was probably at the time a believed to be scientifically accurate depiction of the rise and fall of the Dinosaurs. A T-Rex fights a Stegosaurus, while the other dinosaurs watch as if they’re about to film the fight and put it on youtube or something, and then all leave when the Stegosaurus loses. They look almost comically disappointed by the ending, as if they’d lost a small bet over the winner instead of just watched a death. Then all the vegetation dies, they try to migrate, they all die, and the Earth floods. Stravinsky was the only composer alive to see his music put to animation in Fantasia, and he hated the sequence. I didn’t. The lava and the dinosaur fight are both great, and I’m not familiar with The Rite Of Spring so the rearrangement of the piece doesn’t annoy me.

After this, Deems Taylor announces an intermission. In some cut’s, anyway. I’ll get into that later. Following the intermission, there’s a short jam session, and then we’re introduced to The Soundtrack, a stylized representation of the soundtrack on a reel of film.

Beethoven's Pastoral Symphony follows a group of mythological creatures holding a festival for Bacchus, which is interrupted when Zeus (looking an awful lot like his later appearance in Hercules, but blue) decides to throw lightning at everyone for no discernable reason other than being a dick. The animation is nice, but this short is better known because of the censorship of one of the centaurs, who has been cut from the film though a combination of pan and scan zoom ins, re-editing, and being completely erased from one scene, on the grounds that it was… racist. Really racist. Starting with the 1969 re-release, Fantasia has been completely blackface donkey centaur free, which is nice. This segment was good. The music is nice, but the animation wasn’t a huge standout to me.

Ponchielli’s Dance of the Hours was, to be completely honest, my least favorite short. It’s about dancing animals, focusing for most of the short on Hippos and Alligators. There’s nothing wrong with it, it just didn’t stick out to me the way some of them did. The music was good, the animation was good, there’s nothing actually wrong with it, it was just not as good as the rest of the shorts.

The final short, and my personal favorite, is the only one that consists of more than one piece of classical music. Mussorgsky’s Night On Bald Mountain and Schubert’s Ave Maria share a short, which contains some stellar animation and great creepy imagery. Chernabog the demon (heavily implied to be Satan himself by Deems Taylor in his introduction for the short, but he’s since been identified as an obscure Slavic deity, because… reasons) is suitably macabre and creepy, and most of the short consists of him being worshipped by ghosts and skeletons, before the church bells ring, the spooky scary followers go back to the graveyards, and Chernabog is forced back into the mountain by the bells and the sunlight. A procession of people walking through the forest carrying candles sings Ave Maria, signalling the coming of the morning. The music is great, the animation is great, and I’m probably biased because I love horror movies but I just really like this part of the movie.

Fantasia has been re-edited several times. Besides the removal of that one racist centaur, there’s been re-releases that remove or trim the live action sections, resulting in Deems Taylor being dubbed due to lost audio in some of his restored scenes in some cuts of the movie.

On the subject of audio, it was the first commercial film released in Stereo Sound. The original release boasted the “Fantasound” speaker system. Given that the movie relies so much on visuals and sound, I feel like I haven’t been able to truly appreciate it, given that I watched it on a fairly small screen, wearing headphones. It deserves to be watched in at least 5.1 Surround (or if you have the setup for it, there was a blu-ray release with 7.2 Surround). I, as a broke college student, do not have a large screen tv, or a surround sound system, but I imagine that they would add a lot to the film. However, it’s currently in the Disney Vault with the exception of Netflix.

The animation also improves dramatically overall compared to Snow White and Pinocchio. Rite Of Spring and Night On Bald Mountain in particular have scenes that are vast improvements on the previous films. I would love to see a theatrical re-release of this.

It was meant to be updated and changed every year, with segments being taken out and replaced with new ones, but this idea was scrapped when it didn’t do well at the box office - World War II cutting off distribution to Europe didn’t help it’s chances - despite being mostly critically acclaimed on release. Later re-releases helped it to gain its current acclaim, though it’s still considered somewhat of a mixed bag, and it’s aimed more at adults or teenagers than the rest of the canon. The usual target age group of Disney is likely to just get bored for most of the runtime, then terrified by Night On Bald Mountain. It eventually received a sequel, Fantasia 2000, in 1999, 54 years later. If we’re all lucky I’ll get around to reviewing the sequel faster than Disney got around to making it. So worth a watch if you haven’t seen it, I guess, although I can’t say I’ll be rewatching it any time soon unless I’m given the chance to see it with a really good audio setup.

Also, apparently the 2010 Nick Cage movie The Sorcerer’s Apprentice is supposed to be an expansion of the scene of the same name from Fantasia so I guess this is the only disney movie that can claim have a remake starring Nick Cage. And, I guess, the first to get a live action remake?

[marianajacqueline45]

13 de Noviembre en 1940 Se cumple 79 años que se estrenó "Fantasía" es una película de animación hecha por los estudios #Disney, estrenada el 13 de noviembre de #1940. Precedida por el gran éxito de Snow White and the Seven Dwarfs (1937) y de #Pinocho (1940), es la tercera película animada de Disney producida por #WaltDisney, y como las anteriores, es reconocida como una obra clásica de la animación. Su composición supuso un trabajo experimental sin diálogos (salvo las breves intervenciones del director de orquesta y #MickeyMouse) cuyo objetivo es ilustrar o acompañar con la animación temas de música clásica. Se interpretan ocho piezas musicales, ejecutadas la mayoría de ellas por la orquesta de Filadelfia dirigida por Leopold Stokowski, que acompaña a siete secuencias de animación. Para muchos autores y críticos es una obra de arte de un género nuevo, un puente entre las artes y una «forma de presentar el arte» (un nuevo medio de comunicación). La banda de sonido fue grabada usando múltiples canales de audio y reproducida mediante el sistema Fantasound, que hizo que #Fantasía fuera una de las primeras películas de exhibición comercial con sonido estéreofónico. Este fue uno de los factores que dispararon el coste de producción hasta casi tres millones de dólares. Fantasía, que no tuvo en su momento el éxito habitual de las producciones de Disney de la época, es el primer volumen de una serie ideada por Walt Disney. La Segunda Guerra Mundial impidió su estreno en Europa, y la escasez de salas preparadas para la reproducción idónea de la película (requerimientos del sistema Fantasound), supuso que las recaudaciones de los primeros años fuesen muy discretas. Hasta #2012, Fantasía ha recaudado más de 83 millones de dólares. #Collage #ProgramaCollage #Cine #Historiadecine #revistacollage #esterno #movie #magazine #revista #Noticia #Disney (en Montevideo, Uruguay) https://www.instagram.com/p/B5iGJ_rgm2b/?igshid=4ij93zp55z55

[mikesmovies]

Fantasia (1940)

Fantastic! Timed perfectly!

Its elaborate animation tied seamlessly together with eight of the most revered classical pieces ever created; this third of Disney’s theatrical animated films is a rare gem.

Music by The Philadelphia Orchestra as conducted by Leopold Stokowski.

Using multiple audio channels, the soundtrack was recorded and reproduced in Fantasound; making Fantasia the first film ever released to the public in stereophonic sound!

This makes Mike’s flicks-picks, because...

I absolutely love classical music & Disney!

-Mike’s Film & TV Reviews

[thebutcher-5]

Fantasia

Benvenuti o bentornati sul nostro blog. Nello scorso articolo abbiamo ripreso a parlare dei classici animati Disney e lo abbiamo fatto con il loro secondo lungometraggio ossia Pinocchio. Purtroppo il film fu un flop al botteghino, fallimento dovuto allo scoppio della seconda guerra Mondiale, ma un film molto importante. Innanzitutto fu il primo film Disney a vincere sia L’Oscar alla miglior…

[eaacar]

Sound Design

The image is the most essential necessity of cinema. However, in cinema, a story cannot be told completely without sound. Just like the visual department, the sound design contains various features, such as; music, foley, effects, dialogs... And again, just like in the visual department, the sound department too has an essential part in movie production.  

For example, the power of a successful foley work and sound effects in a film is clearly visible in this Ethan and Joel Coen feature film “Hail, Caesar!” (2016). The perfect unison of the visuals and sounds maintains a consistency that emphasizes every step of the characters. With the help of the music, these sound effects set the scene perfectly.

As much as the audios, the sound department has another job to handle; to maintain silence. As an example, I will mention an unusual silence. Walt Disney’s signature animated film “Fantasia” (1940). Through the movie, the story told in the company of great composer Leopold Stokowski, without any other sound elements. The music serves everything in order to complete the pictures.

Fun Note:

Walt Disney and  Leopold Stokowski create a new technique called Fantasound, that requires a complex surround system. Their intention was to create an ambiance that takes the audience into the movie.