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Age of Empires II HD: The Forgotten addon is included. ![]() With story direction by Joe Grant and Dick Huemer and production supervision by Ben Sharpsteen, it is the third feature in the Disney Animated Canon. The film consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski; seven of which are performed by the Philadelphia Orchestra. Music critic and composer Deems Taylor acts as the film's Master of Ceremonies, who introduces each segment in live action interstitial scenes. As production costs grew higher, he decided to make a feature- length film with other segments set to classical pieces. The soundtrack was recorded using multiple audio channels and reproduced with Fantasound, a pioneering sound reproduction system that made Fantasia the first commercial film shown in stereophonic sound. It received mixed critical reaction and was unable to make a profit. In part, this was due to World War II cutting off the profitable European market, but due as well to the film's high production costs and the expense of leasing theaters and installing the Fantasound equipment for the roadshow presentations. Also, audiences who felt that Disney had suddenly gone . The film was subsequently reissued multiple times with its original footage and audio being deleted, modified, or restored in each version. As of 2. 01. 2, Fantasia has grossed $7. U. S. Walt's nephew Roy E. Disney co- produced a sequel released in 1. Fantasia 2. 00. 0. There was no intent to deceive anyone into thinking that Disney's interpretation was the . Of the eight pieces, four are presented virtually complete: Toccata and Fugue, The Sorcerer's Apprentice, the Dance of the Hours (which is actually expanded), and the Ave Maria. The Nutcracker Suite is shorn of its Miniature Overture and March, the twenty- five minute Rite of Spring (the longest segment in the film) is ten minutes shorter than the original 3. Pastoral Symphony segment is performed in a 2. Beethoven's complete 4. There are also small internal omissions in Night on Bald Mountain. Musicians are seen ascending the stand, taking their seats, and tuning their instruments. Master of ceremonies Deems Taylor arrives and delivers an introduction to the film. Stokowski appears and begins conducting the first strains of his own orchestration of the Toccata and Fugue in D Minor, by Johann Sebastian Bach (originally written for solo organ). The first few parts of the piece are played in each of the three sound channels (first left, then right, then the middle, then all of them) as a demonstration of Fantasound. The number segues into an abstract animation piece—a first for the Disney studio—set in time to the music. Toccata and Fugue was inspired primarily by the work of German abstract animator Oskar Fischinger, who had actually worked for a brief time on this segment. The animation segues back into the live- action footage of Stokowski as the piece concludes, setting the precedent for the rest of the musical numbers. Originally, the Philadelphia Orchestra was slated to be filmed in the introduction and interstitial segments, but the union and budgetary considerations prevented this from coming to pass. Directed by Samuel Armstrong. Story development: Sylvia Moberly- Holland, Norman Wright, Albert Heath, Bianca Majolie, and Graham Heid. Character designs: John Walbridge, Elmer Plummer, and Ethel Kulsar. Art direction: Robert Cormack, Al Zinnen, Curtiss D. Perkins, Arthur Byram, and Bruce Bushman. Background painting: John Hench, Ethel Kulsar, and Nino Carbe. Animation: Art Babbitt, Les Clark, Don Lusk, Cy Young, and Robert Stokes. Choreography: Jules Engel. The Nutcracker Suite, a selection of pieces from Tchaikovsky's classic ballet, is a personified depiction of the changing of the seasons; first from summer to autumn, and then from autumn to winter. Unlike the ballet, this version has no plot. It features a variety of dances, just as in the original, but danced by animated fairies, fish, flowers, mushrooms, and leaves; no actual nutcracker is ever seen in this version. Many elements are rendered carefully and painstakingly using techniques such as dry brush and airbrush. The musical segments are as follows. As dawn breaks over a meadow, during the . Then the frost fairies arrive and everything becomes part of an icy, jewellike pattern among falling snowflakes. It is the story of wizard Yen Sid's ambitious, but lazy, assistant who attempts to work some of the magical feats of his master before he knows how to properly control them. Mickey plays the role of the apprentice. In the original roadshow version, after Mickey leaves, Deems Taylor and the musicians are seen applauding Mickey and Stokowski. Kossoff. Special camera effects: Gail Papineau and Leonard Pickley. Disney's interpretation of The Rite of Spring features a condensed version of the history of the Earth from the formation of the planet to the first living creatures to the age, reign, and extinction of the dinosaurs. The sequence showcased realistically animated prehistoric creatures including Tyrannosaurus rex, Dimetrodon, Parasaurolophus, Apatosaurus, Triceratops, Ornithomimus, and Stegosaurus (see list of dinosaurs used), and used extensive and complicated special effects to depict volcanoes, boiling lava, and earthquakes. The large carnivorous dinosaur attacking the Stegosaurus is a villainous Tyrannosaurus rex according to the preliminary introduction to the segment by Deems Taylor, and concept sketches by the artists. Disney also changed the order of the movements in the piece. The segment, after beginning with the first, second and third movements, omits the fourth and reorders all the others. The Danse de la terre is placed near the end of the cartoon rather than midway through the work. At the end, the orchestra replays the slow introduction to the Rite, which does not happen in the original work. When Deems Taylor announces the title of the work, there is a sudden loud crash in the percussion section, and we see that the chimes player has accidentally fallen against his instrument. He sheepishly gets up, to the amused chuckling of Taylor and the other musicians. Hand. Key animation by Joshua Meador. Deems Taylor announces a fifteen- minute intermission following the conclusion of The Rite of Spring. The musicians are seen departing the orchestra stand, and the doors close to reveal a title card. In a proper roadshow of Fantasia, the theater's curtains would close simultaneously with the closing doors on the screen, and the title card would remain projected for fifteen minutes while the guests are briefly excused. Following the intermission, the film would be started again. Onscreen, the stage doors are opened again, and Taylor and the orchestra musicians are seen returning to their respective places. The sequence features animation by effects animator Joshua Meador and his team, who give the soundtrack (initially a squiggly line which changes into various shapes based on the individual sounds played on the soundtrack) a distinct personality. F, Op. 6. 8 . Miller, Lorna S. Soderstrom. Art direction: Hugh Hennesy, Kenneth Anderson, J. Gordon Legg, Herbert Ryman, Yale Gracey, and Lance Nolley. Background painting: Claude Coats, Ray Huffine, W. Richard Anthony, Arthur Riley, Gerald Nevius, and Roy Forkum. Animation supervision: Fred Moore, Ward Kimball, Eric Larson, Art Babbitt, Ollie Johnston, and Don Towsley. Animation: Berny Wolf, Jack Campbell, Jack Bradbury, James Moore, Milt Neil, Bill Justice, John Elliotte, Walt Kelly, Don Lusk, Lynn Karp, Murray Mc. Clellan, Robert W. Youngquist, and Harry Hamsel. The Pastoral Symphony utilized delicate color styling to depict a mythical ancient Greek world of centaurs, families of pegasi, the gods of Mount Olympus, fauns, cupids, unicorns, and other legendary creatures and characters of classical mythology. It tells the story of the mythological creatures gathering for a festival to honor Bacchus, the god of wine riding his horned donkey, Jacchus, which is disturbed by Zeus, who decides to amuse himself by throwing lightning bolts at the attendees. However, due to problems fitting the story to the music, the decision was made to abandon Cydalise for other music. Other criticisms center on the racial images of a female centaur servant named Sunflower, who is part African human, part donkey, and two attendants to Bacchus who are part African Amazons, part zebra. The servant has been excised from all prints in circulation since 1. Hee and Norm Ferguson. Character designs: Martin Provensen, James Bodrero, Duke Russell, Earl Hurd. Art direction: Kendall O'Connor, Harold Doughty, and Ernest Nordli. Background painting: Albert Dempster and Charles Conner. Animation supervision: Norm Ferguson. Animation: John Lounsbery, Howard Swift, Preston Blair, Hugh Fraser, Harvey Toombs, Norman Tate, Hicks Lokey, Art Elliott, Grant Simmons, Ray Patterson, and Franklin Grundeen. The dancers of the afternoon are represented by Hyacinth Hippo and her hippo servants. The dancers of the night are represented by Ben Ali Gator and his rival alligators. The finale sees the chaotic chase that ensues between all of the characters seen in the segment until they eventually decide to dance together. Richard Anthony. Special English lyrics for Ave Maria by Rachel Field. Choral director: Charles Henderson. Operatic solo: Julietta Novis. Animation supervision: Vladimir Tytla. Animation: John Mc. Manus, William N. Shull, Robert W. Carlson, Jr., Lester Novros, and Don Patterson. Special animation effects: Joshua Meador, Miles E. Pike, John F. Reed, and Daniel Mac. Manus. Special camera effects: Gail Papineau and Leonard Pickley. The Night on Bald Mountain segment is a showcase for animator Bill Tytla, who gave the demon Chernabog a power and intensity rarely seen in Disney films. The devil known as Chernabog summons from their graves, empowered restless souls. The camera slowly follows them as they walk through the forest and ruins of a cathedral to the sounds of Ave Maria.
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