Speaker 1: Dark Destinations may be end Times Night's creature.
Speaker 2: Why would a few more casually struggle.
Speaker 3: Me because of their blood?
Speaker 2: Will join yours a.
Speaker 1: Radio drama anthology.
Speaker 2: You are wrong how you figure every mark on Mongo
Speaker 2: is hunting you down? Not you, your partner, he said,
Speaker 2: I didn't have a ray gun.
Speaker 1: Full cast performances set in the haunted corners of the globe.
Speaker 2: Darkness is coming for you. That's the fear that taunts me.
Speaker 1: Dark Destinations by fatherm Alone at Weirdingwaymedia dot Com.
Speaker 3: We welcome back to midnight Viewing Anthologies Attack. I am
Speaker 3: your host, Father Malone, and with me as always director
Speaker 3: of Space Detective mister on you on the poor How
Speaker 3: are you, mister Lapoor?
Speaker 2: Hey, their father Malone, how are you?
Speaker 3: I'm doing well. I'm excited for the conversation we're having.
Speaker 3: We like to tack all kinds of anthologies here.
Speaker 2: I know, right back to the animation though, I'm pretty
Speaker 2: excited about that.
Speaker 3: Yeah, and you know, delving back into this one, like
Speaker 3: it made me realize just how many of them are
Speaker 3: out there, and yeah, we're going to have to We're
Speaker 3: going to have to go a whole hog. In fact,
Speaker 3: I think the next episode we do will have to
Speaker 3: be the answer to this particular choice. We're doing a
Speaker 3: bona fide classic tonight, all the way back from nineteen forty.
Speaker 3: In fact, this was released November the thirteenth, nineteen forty,
Speaker 3: distributed by RKAO Radio Pictures, but one thousand percent produced
Speaker 3: by the Walton Disney Company. We're talking about Fantasia once.
Speaker 4: Again, the incomparable motion picture. Walt Disney's Fantasia, more fantastically exciting,
Speaker 4: more magically in tune with today than ever before. Here
Speaker 4: is the majestic milestone of art in which great music
Speaker 4: comes to life through animation Beethoven, Stravinski, Tchaikovsky and others,
Speaker 4: interpreted by thousands of Disney craftsmen. See Mickey Mouse become
Speaker 4: legend as the Sorcerer's Apprentice and Leopold Stukovski conducting the
Speaker 4: Philadelphia Orchestra. See great Music Happen Walt Disney's timeless achievement Fantasia.
Speaker 2: RKO put The distributed this really so like Disney didn't
Speaker 2: have a distribution arm at that point.
Speaker 3: The other ones like that JO No, not for a while.
Speaker 3: I'm always shocked to read like that. The earlier pictures
Speaker 3: were released by somebody else. Obviously Disney owns them now,
Speaker 3: but yeah, I know, not until nineteen fifty of them.
Speaker 2: So basically Disney started out pretty much pixared it, its
Speaker 2: own independent little studio animation production house that had distribution
Speaker 2: from a big Hollywood studio.
Speaker 3: But immediately got into live action as soon as so
Speaker 3: yes in the fifties.
Speaker 2: As soon as they did, they started putting up those
Speaker 2: live action movies.
Speaker 3: Well in the forties, you know, it was the experimental
Speaker 3: period with like Song of the South and like live
Speaker 3: action animated hybrids that sort of generally genuinely eased them
Speaker 3: into the full on live action things that we got
Speaker 3: like with in nineteen fifty. I think the sort of.
Speaker 2: Yeah they did, what was it Like? There was Song
Speaker 2: of the South, which I think I saw as a
Speaker 2: kid's like at summer camp on a video tone and
Speaker 2: it's just as if I remember correctly, was just as
Speaker 2: bad as.
Speaker 3: And I actually watched that about a year ago.
Speaker 2: Oh really, and it's outrageous.
Speaker 3: Yeah, look, it's no doubt racist, But what I did
Speaker 3: come away with is it felt as if it were
Speaker 3: the film's heart was in the right place, if that
Speaker 3: makes sense. It doesn't seem like it was some piece
Speaker 3: of film that needs to be hidden away because it
Speaker 3: had this agenda of like anti black kind of sentiment.
Speaker 3: It's not a birth of a nation, No, it's but
Speaker 3: it's a celebration of a time and place that is
Speaker 3: iffy at best in American history. So is therefore immediately suspect.
Speaker 3: But you know, it's some of the movies are really good,
Speaker 3: you know.
Speaker 2: Yeah, that's interesting. I just I remember that. I remember
Speaker 2: the cartoon Parrot or than Uncle Remus, I remember a Rabbit,
Speaker 2: and I also remember the tarb eighties stuff and all
Speaker 2: that other crap.
Speaker 3: Yeah, it's I didn't say it's a sin. I just
Speaker 3: said I don't think it was intending to further a
Speaker 3: racist agenda.
Speaker 2: That's all less less meat and racist and more unintentional
Speaker 2: aids the nineteen forties and we all forget it.
Speaker 3: Yeah, that's kind of casual racism, which tends, in my
Speaker 3: mind be the worst kind of racism. So I should
Speaker 3: be condemning it harder. But you know, as a piece
Speaker 3: of entertainment, it isn't it doesn't seem to have a
Speaker 3: mean intent.
Speaker 2: I remember we watched a little of Birth of a
Speaker 2: Nation in a film class school man. That was horrendous.
Speaker 3: That one's real, real bad.
Speaker 2: All right, Wow, But I know in the movie we're
Speaker 2: going to talk about now Fantasia, they there's one or
Speaker 2: two things they cut out since you know its original release.
Speaker 2: I know that I know one of the one of
Speaker 2: the little the nymphs. Is it one of the nymphs?
Speaker 2: Or is it it was or was she ate a
Speaker 2: centaur a centaur that it was a little black girl,
Speaker 2: but it was you know with you know, with the
Speaker 2: I'm trying to find I'm trying to find a genteel
Speaker 2: way to describe their facial features, but in a classic
Speaker 2: kind of you know, with the big face, you know,
Speaker 2: the lips and the whole thing looking like blackface.
Speaker 3: Yeah, and attending to the white sense.
Speaker 2: And yeah, cleaning her feet and yeah. I know it's
Speaker 2: old and these guys didn't know what they were, but
Speaker 2: you know, you should still watch this stuff because it's history.
Speaker 2: You like learning. You're looking at this stuff and you're
Speaker 2: learning what how are some's evolved in the last you
Speaker 2: know century from being going you know, back in the
Speaker 2: day when it would be more a malicious racism or
Speaker 2: like catal racism. You're talking about or just the blindness
Speaker 2: to the fact that other people's country has evolved a
Speaker 2: lot and that's interesting to see, and older Disney would
Speaker 2: just chop it out. And I do appreciate the factuse
Speaker 2: he's like, hey, look we got a disclaimer. This was
Speaker 2: We know this stuff isn't great, but you know this
Speaker 2: part of our history. Let's watch it and let's not
Speaker 2: erase it. And I think that for them is I
Speaker 2: wouldn't have expected that from them when I just assumes,
Speaker 2: did you just cut it out and move on? Although
Speaker 2: they caught out Sunflattle Girl in this, but for the
Speaker 2: most part they kept the movie intact.
Speaker 3: Yeah, you know from my rewatch of this, I actually
Speaker 3: watched it on the Disney Plus app did I And yeah,
Speaker 3: because the disclaimer comes up at the beginning, and once
Speaker 3: they started doing that, there was a big fiora over
Speaker 3: and it's it. They make you read it for fifteen
Speaker 3: seconds and it really sort of gently and even handedly
Speaker 3: sort of explains, look, there's some shit in this movie.
Speaker 3: It's fucked up, we can learn from it. Let's not censor.
Speaker 3: Like it's effectively an anti censorship card at the beginning,
Speaker 3: and people are bitching that it's how dare you fucking
Speaker 3: warn reasons?
Speaker 2: It was weird, Like I think Disney gets this like
Speaker 2: a lot of like flag. I know there's a segment
Speaker 2: of the population well getting political, but it's a segment
Speaker 2: of population it really hates Disney doing this and doing that.
Speaker 2: I'm just like, Okay, fine, but I don't ever remember
Speaker 2: Disney ever doing anything really malicious other than being a
Speaker 2: creepy corporation. Fine, all corporations are greedy bastards, but like,
Speaker 2: for the most part, all I know Disney's ever put
Speaker 2: out stuff that everybody can watch and enjoy. So I
Speaker 2: never understand that. I'm just like, why, Like my mom
Speaker 2: can watch Disney, my little seven year old enoughhew, you
Speaker 2: can watch Disney. I don't get it. I know, I
Speaker 2: don't know.
Speaker 3: I'll tell you the problem with the Disney Corporation. They
Speaker 3: fostered this notion that lemmings like to jump off of cliffs,
Speaker 3: and that is just simply not true. You know, that's
Speaker 3: you know, yeah, like they filmed they had heard that rumor,
Speaker 3: but then found that lemmings didn't actually do that, but
Speaker 3: then actually forced a bunch of lemmings off of a cliff,
Speaker 3: calling it and then cemented that notion forever. Okay, this
Speaker 3: is one of their less problematics, I guess, even though
Speaker 3: there are some parts of it to this day that
Speaker 3: make you cringe a little bit, make your wintle. But
Speaker 3: the genesis of this movie starts about in nineteen thirty six.
Speaker 3: I find this to be sort of baffling that by
Speaker 3: nineteen thirty six Walt Disney had decided that the popularity
Speaker 3: of Mickey Mouse had waned to the point that he
Speaker 3: needed to reinvigorate his image.
Speaker 2: Which is weird because Mickey Mouse is eight years old
Speaker 2: of that one.
Speaker 3: Is it just they I know that was found in
Speaker 3: twenty three, but they did they hadn't necessarily landed on
Speaker 3: Mickey as the guy at that point, right.
Speaker 2: Yes, Steamboat Willie is nineteen twenty eight. There was some
Speaker 2: Oswald shorts.
Speaker 3: So that's like saying, you know something that pop up
Speaker 3: in that's look saying John Wick is, we've got to
Speaker 3: reinvigorate John Wick.
Speaker 2: Well, if you notice how quickly they rebooted Spider Man
Speaker 2: from Toby maguire and Andrew Garfield to Tom Holland.
Speaker 3: I think part of that's the rights issue, though. I
Speaker 3: think that's like we need to hold on with us
Speaker 3: with both fucking hands. Make it up right now. So
Speaker 3: Walt de science he's going to make a bit of
Speaker 3: a lavish short. That marrying classical music two short animated
Speaker 3: films is nothing new. I mean, Disney had a segment
Speaker 3: of films called Silly Symphonies. You know Mary it off
Speaker 3: with Mary Melodies. Yeah, so that concept isn't new. That
Speaker 3: innovation is not really an innovation in Fantasia in general.
Speaker 3: But Walt wanted to push it to its limit here
Speaker 3: when he decided to make The Sorcerers a printed and
Speaker 3: that's all. It was supposed to be just a short subject,
Speaker 3: just like any other. So that was in like nineteen
Speaker 3: thirty sixty makes by nineteen thirty eight, Roy Disney has
Speaker 3: to say, you've spent one hundred and twenty five thousand
Speaker 3: dollars on this. We can spend no more on this
Speaker 3: as a short film. What do you want to do
Speaker 3: with it? At which point the concept of Fantasia comes
Speaker 3: to mind, Like, well, let's just do a whole bunch
Speaker 3: of these.
Speaker 2: That's what I was, like, I've always liked about Walt
Speaker 2: Disney's like his and their philosophy continues in the imagineering.
Speaker 2: Part of the companies is plussing it, you know, like
Speaker 2: I've already got one thing as well, let's just make
Speaker 2: it bigger. I always love that idea of like with
Speaker 2: art and industry and stuff, you've got something and it works,
Speaker 2: what can we do with it? Well, shit, let's just
Speaker 2: make it bigger. Let's do more, rather than let's scale
Speaker 2: back and figure out how to spend our money more wisely, No,
Speaker 2: fuck it, more money. I love it.
Speaker 3: It does seem like the question is always, well, what
Speaker 3: could be better? Right here? Well, okay, well I guess
Speaker 3: we're gonna have to do it that way.
Speaker 2: What more can we do? Yeah? And it's and what
Speaker 2: I liked about that young Disney his willingness to spend
Speaker 2: everything he's got on his company on technological advancement, advancement
Speaker 2: in storytelling and and an advancement of cinema, Like he really, now,
Speaker 2: fuck it, We're going to take this huge financial risk
Speaker 2: so we can experiment. And who does that? You know,
Speaker 2: Jim Cameron does that. George Lucas does that. That's a
Speaker 2: rare thing, I think, and I always I've always really.
Speaker 3: Did having When they finally decided to make the film, proper,
Speaker 3: which I was not called Fantasia for like the concert film.
Speaker 3: Did you happen to see the cinematographer for this film?
Speaker 2: No, who was it?
Speaker 3: It's James Wong how WHOA Yeah, so you know Yankee
Speaker 3: Doodle Dandy's Strawberry Blond. You know Tom saw Adventures of Tom,
Speaker 3: started The Prisoner of Zenda James Long how.
Speaker 2: Because I was noticing that, you know, maybe because I've
Speaker 2: never seen it like in four K before or whatever.
Speaker 2: Their transfer that lighting and is gorgeous. I've always had
Speaker 2: a you know, I got that VHS in nineteen ninety
Speaker 2: no obsess with this movie in high school. You never
Speaker 2: saw all those rich colors from the halo lighting and stuff,
Speaker 2: which it's not just a silhouette. It's a silhouette, but
Speaker 2: it's got a red halo on one side, a purple
Speaker 2: one on the other one, or a blue one on
Speaker 2: the other it's really nice.
Speaker 3: Yeah. The color is just fucking incredible. The filmmaking on
Speaker 3: display here in general incredible. This movie was very well
Speaker 3: received when it came out too. It was hailed for
Speaker 3: you know what it is, which is kind of a landmark.
Speaker 3: This is a more than two hour movie where it's
Speaker 3: as anthology as you can get. It's vignettes from famous
Speaker 3: classical pieces that have been reinterpreted or interpreted for the
Speaker 3: first time by the Disney animate and.
Speaker 2: It's an intellectual piece and it's not a car family
Speaker 2: cartoon or anything like that. This is for grown ups,
Speaker 2: for smart grown.
Speaker 3: Up and it's something that Disney, like when it came
Speaker 3: to picking the musical pieces, sort of sat back and said,
Speaker 3: I don't know enough about this, and that, to me
Speaker 3: is the perfect reason that the movie is getting made.
Speaker 3: If Disney, who, if you know, probably more cultivated or
Speaker 3: cultured than the average citizen at that moment, feels that
Speaker 3: he's deficient in his knowledge of the arts, like his
Speaker 3: reaction is, well, let's as I learned, let's help everyone
Speaker 3: else learn too, and do it in a very entertaining man.
Speaker 2: Yeah, I did. And again I like the advancements they
Speaker 2: made in movie making. Surround sound pretty much invented it
Speaker 2: for this movie. You see some of the footage of
Speaker 2: our photos and stuff of like their early premieres and
Speaker 2: early screenings and installing speakers around you know, the movie theater.
Speaker 2: Not that's commonplace now, but in nineteen forty that's heard
Speaker 2: of and the multiplane camera stuff at this too, which
Speaker 2: is really evident in the Ava Mariasik at the end.
Speaker 2: But you know, they traditionally animation, you know, they have
Speaker 2: one one plane and put a background and they put
Speaker 2: the cell the frame of the animation, clear background over
Speaker 2: the background, take the picture and move on. On this one,
Speaker 2: they would have multiple planes so they can move the
Speaker 2: camera in and out, creating a sense of three D.
Speaker 2: Again nineteen forty, it's amazing.
Speaker 3: You know, they had some real trouble with their multiplanes.
Speaker 2: Because the room wasn't big enough, right.
Speaker 3: There were multiple problems, like there were situations where they
Speaker 3: hadn't lined up the plates correct. No, that the lens
Speaker 3: on the camera was too wide. So not only were
Speaker 3: they getting the frames of the animation, but they were
Speaker 3: getting the stand and they were getting like you know,
Speaker 3: workers or like animators, you know, snaps of them in
Speaker 3: the background. So that happened, and then they had to
Speaker 3: start again. And they got halfway through and realized that
Speaker 3: there was a fuck up, and rather than risk it,
Speaker 3: they started again. They had to do it four times. Basically,
Speaker 3: the sequence in question was finished the day before the premiere.
Speaker 2: Crazy, that's insane. I mean you hear people do shit
Speaker 2: like that nowadays every now and then, Oh I finished
Speaker 2: cutting to me three days ever, but this nineteen forty
Speaker 2: they had to go print this day. They gotta go
Speaker 2: print it, they gotta cut it in and they got
Speaker 2: to watch it not fucked up.
Speaker 3: So in order to make the okay, in order to
Speaker 3: even choose the segments of music to go, here, Disney
Speaker 3: on a chance meeting with Leopold Stokowski. He is the
Speaker 3: conductor for the Philadelphia Philharmonic Orchestra. Very renowned guy who
Speaker 3: evidently he pioneered the art of conducting without the baton.
Speaker 3: He only used his hands when Bugs Bunny when they're
Speaker 3: making fun of Leopold in that one cartoon, like, that's
Speaker 3: the same guy, that's Leopold Stakowski, because Bugs Bunny adopts
Speaker 3: that same conducting style without the baton. Yes, Leopold, which
Speaker 3: is all I could think during this every time they
Speaker 3: cut to the line Leopold was the Bugs Bunny thing.
Speaker 3: So Stakowski initially is hired just to provide the music
Speaker 3: for the Sorcerer's Apprentice before this expands into fan taic,
Speaker 3: and originally agreed to not be paid for his work.
Speaker 3: On Sorcerer's Apprentice. He just thought it was He just
Speaker 3: thought it was neat to be able to do an
Speaker 3: arrangement of that and get it out to the mass. Nevertheless,
Speaker 3: they paid him like five thousand dollars. They ended up
Speaker 3: paying like eighteen thousand dollars when they hired him for Fantasia.
Speaker 3: By the way, I mentioned that the Sore's Apprentice that
Speaker 3: the budget had spiraled out to one hundred and twenty
Speaker 3: five thousand dollars, and then they're like, now we need
Speaker 3: to make a feature. One hundred and twenty five thousand
Speaker 3: dollars in nineteen thirty eight is the equivalent of two
Speaker 3: point seven million dollars. Walt was never stingy when it
Speaker 3: came to.
Speaker 2: Oh no, was not sheet man spare no expense. But
Speaker 2: again it always worked for him.
Speaker 3: So Stakowski and some of the animators they come up with,
Speaker 3: and Disney's there, obvious, this isn't done in a vacuum.
Speaker 3: He had his two cents in. They settle on a
Speaker 3: number of pieces. Takata Infugen d Minor by Bach, Nutcracker
Speaker 3: Sweet by Tchaikovsky, SORCER's Apprentice Obvious, The Right of Spring
Speaker 3: by Stravinsky. There's an intermission like jazz intermission, but then
Speaker 3: they did the Pastoral Symphony by Beethoven, Dance of the
Speaker 3: Hours by Punk Punk Punky Elly Punchielli Punky Elly, and
Speaker 3: then to finish us off, it's Night on Bald Mountain
Speaker 3: by Muzagorsky and Ave Maria by Schubert, and uh, they're
Speaker 3: all very happy with those choices. They had a bunch
Speaker 3: of ones on deck, I guess. In fact, Claire de
Speaker 3: Loon was until the like the until the last minute
Speaker 3: was going to be a segment, and then that got
Speaker 3: cut I think for time. But that's where we are.
Speaker 3: That's where we begin this movie. And as I mentioned,
Speaker 3: it's live action and animation come and this is where
Speaker 3: they kind of start with trying to com find them.
Speaker 3: And okay, so we not only get Stakowski as the conductor,
Speaker 3: who is the real kind of linking device, but he's
Speaker 3: not really the linking device because they have a film
Speaker 3: critic and composer on his own right name dems Taylor
Speaker 3: is the actual narrator. First of all, great name Demes, okay,
Speaker 3: and he's got a pleasant enough voice and you can
Speaker 3: see why they chose him. I think he was not
Speaker 3: there for first choice. There was a scheduling error with
Speaker 3: their first voice. I'm not sure we needed him at all.
Speaker 2: You don't need him at all. I'm even as a kid,
Speaker 2: every time he was on screen, I was like, ugh
Speaker 2: with this guy. Oh oh, I'm Dames Taylor, shut up,
Speaker 2: you know. And the same goes for Fantation two thousand.
Speaker 2: Those celebrities. Every time I see like they come all
Speaker 2: on screen, I'm just.
Speaker 3: Like, certainly, certainly, by Fantation two thousand, they should have
Speaker 3: known that the audience was sophisticated enough to go with
Speaker 3: the concept. Here in nineteen forty, which is when this
Speaker 3: movie premierees, it makes a little more sense. The whole
Speaker 3: idea of this movie is kind of radical when you
Speaker 3: think about no one had done anything like this, not
Speaker 3: in the featured length. They were used to shorts, and
Speaker 3: they were used to shorts making little to no sense
Speaker 3: and just sort of mindless entertainment. So I get the impetus.
Speaker 3: What I don't understand is why they didn't judiciously edit
Speaker 3: it so cause you can basically every time they cut
Speaker 3: the dems, you can effectively hear action like you don't
Speaker 3: hear it on the soundtrack or anything. But yeah, just
Speaker 3: standing there like waiting to talk and our next selection.
Speaker 3: You know, it's very uncomfortable, and it's.
Speaker 2: Also and he also just tells you this is what's
Speaker 2: gonna happen, like in the Night on Bald Mountain. He
Speaker 2: literally just describes the entire seat and he's, Okay, now
Speaker 2: watch it.
Speaker 3: Thinks that one I actually that I chalk up to
Speaker 3: the time. And yet because the Night on Bald Mountain
Speaker 3: sequence is a revel reader and we're going to get
Speaker 3: to there, but you need to sort of front load. Hey,
Speaker 3: we're not endorsing all the devil stuff about to occur,
Speaker 3: but I know it's gonna look cool and it's gonna
Speaker 3: be your favorite part, and it's the thing you're gonna
Speaker 3: remember when you walk out of this theater. But we're
Speaker 3: not endorsing it. There's he calls it the profane.
Speaker 2: The picture starts with him kind of explaining what fantasia is,
Speaker 2: and then he goes into the three types of this
Speaker 2: kind of this kind of music on a third type,
Speaker 2: which we call absolutely and I'm just like, okay.
Speaker 3: Well here's the thing that I enjoyed that because you
Speaker 3: like that part too, Yeah, Yeah, there are levels of music,
Speaker 3: and there are music, you know, obviously composed to tell
Speaker 3: you a story and you can hear the story occurring,
Speaker 3: and then there's music of this other variety, and then finally,
Speaker 3: you know, the sort of just lean back and you know,
Speaker 3: float away in a reverie kind of music, you know,
Speaker 3: And I like that the film is sort of staged,
Speaker 3: at least with the Takata and fugue piece, which, by
Speaker 3: the way, huge fucking misstep and not using that in
Speaker 3: a better sequence in this movie. It's my favorite piece
Speaker 3: of all time. And this is a beautiful orchestral version.
Speaker 3: This isn't the usual sort of organ version with the
Speaker 3: proper version. They're showing off the orchestra here, and what
Speaker 3: they're doing is that it's the most impressionistic sequence in
Speaker 3: the entire film, where notes are just being represented by
Speaker 3: color blotches and you know, out of focus things, and
Speaker 3: there's a lot of interplay between the silhouettes of the
Speaker 3: orchestra here and the animated kind of imaginings of what
Speaker 3: the music might look like for them in the mind
Speaker 3: of the casual classical listener.
Speaker 2: Now, had this piece of music been associated with the
Speaker 2: Phantom of the Opera.
Speaker 3: Already by nineteen thirty one is when it actually gained popularity,
Speaker 3: because it appeared in Doctor Jekylne Mister Hyde as an
Speaker 3: accompaniment to that silent Oh Wow. That was the first
Speaker 3: sort of sinister association with it in Popular Meat. Okay, okay,
Speaker 3: So that's nineteen thirty one that I think is close
Speaker 3: enough and isolated enough that maybe some of the Disney
Speaker 3: guys had seen that movie and heard the accompaniment and
Speaker 3: like smatterings of people throughout the United States, But certainly
Speaker 3: it wasn't like it showed up on the Internet and
Speaker 3: now we all and now suddenly the grumunk is associated
Speaker 3: with Wednesday, right, you know what I mean? The piece
Speaker 3: was already out there, and it had already been interpreted
Speaker 3: in dozens of different ways. And the thing is, the
Speaker 3: sinister parts of Takata and Fugen d Minor are always
Speaker 3: at the end of every movement where it just it
Speaker 3: always ends in a rather in this note. But the
Speaker 3: actual bits of verses of music, they're actually quite lyrical
Speaker 3: and lovely. So they and that's shown off here more
Speaker 3: than I've ever seen it done before.
Speaker 2: I do like how the live action kind of like
Speaker 2: seamlessly becomes the animation though, that's pretty I thought that's
Speaker 2: really elegant.
Speaker 3: It makes you wish we'd just stayed in the animation.
Speaker 3: I know, I'm complaining from a late twentieth century, early twenty.
Speaker 2: Five no, but I mean the introduct the live action
Speaker 2: introduction I think is acceptable and I think it works,
Speaker 2: and you're right there, you know, I'm just anxious for
Speaker 2: the animation. I've seen this, but the transitions because of
Speaker 2: the silhouette, it really just it really just transforms.
Speaker 3: Rather than have you seen this film in a theater?
Speaker 2: I did?
Speaker 3: I think nineteen ninety release.
Speaker 2: Yeah, something like that. I'm pretty sure I did. I
Speaker 2: saw two thousand on an.
Speaker 3: Imax right when two thousand came out.
Speaker 2: And the old Imax theater at the Luxor So it
Speaker 2: was really it was like your distance to the to
Speaker 2: the screen was really short, and so it was really
Speaker 2: kind of a vertical seating, so you had to kind
Speaker 2: of look down to see the bottom of this very loud.
Speaker 3: But a true Imax, like now they just throw the
Speaker 3: largest screen they can possibly find and go, that's an Imax.
Speaker 3: I shouldn't be able to see the edges.
Speaker 2: Yeah, we used to have the Omnium at Caesar's Palace,
Speaker 2: which was a dome, and the screen filled the entire
Speaker 2: dome and you were like these inclined seats and you
Speaker 2: kind of looked up. It's really it was really spectacular.
Speaker 2: I guess the sphere is the closest to what they
Speaker 2: have now is close that old Imax theater. Yeah, the
Speaker 2: camera moved, you felt the motion.
Speaker 3: There was a very similar one in Boston. I grew
Speaker 3: up in Boston at the Museum of Science. They the
Speaker 3: Mugar Omnimax theater. There was an omni theater. There was
Speaker 3: an Omnimax theater. So it's exactly what you're saying. It
Speaker 3: was so there was nowhere you could look there. There
Speaker 3: wasn't a film playing. It was fucking amazing.
Speaker 2: It was so cool and nothing. But they never had
Speaker 2: features or anything. All I had was documentaries. The only
Speaker 2: like narrative piece. They was like a movie Shirley Maclain
Speaker 2: I think I saw, but it was like a short.
Speaker 2: It wasn't even a full feature.
Speaker 3: Yeah, Boston had a few Boston themed shorts where you
Speaker 3: know the history of the city, you know, so you
Speaker 3: get to see the pilgrims and stuff. But like everywhere
Speaker 3: you look Pilgrim all right, so that you know, the
Speaker 3: takin of sequence here is it's fine, it's you know,
Speaker 3: in this day and age, it's nothing. It look it
Speaker 3: is remarkable because it's hand drawn animation, like I have
Speaker 3: to anytime I feel like while I'm watching, While I
Speaker 3: was watching the movie, I kept thinking like, well, you know,
Speaker 3: I've seen this kind of thing a lot. Like the
Speaker 3: level and skill of the animators here is just it's
Speaker 3: really hard to beat, you know, yeah.
Speaker 2: It really is. You go back and you it makes
Speaker 2: you see what they were doing and how more advanced
Speaker 2: they were than we are now as far as in animation,
Speaker 2: because now animation is a real short pipeline. The workflow
Speaker 2: is really short. You know, one guy can do the
Speaker 2: principal animation and then have the computer do the fill
Speaker 2: in st since you're using frame animation stuff like that,
Speaker 2: and now you're not painting, and now you're going in
Speaker 2: af you know, into photoshop, you know, and for simple animation,
Speaker 2: they're just you know, a bucket paint, you know, there's
Speaker 2: not a lot of and but on these movies all
Speaker 2: hand painted everything on one cell at a time, full animation,
Speaker 2: not even the limited animation developed by hann of Barbera,
Speaker 2: which pretty much became all after that a Disney or
Speaker 2: DreamWorks those.
Speaker 3: By the time hand of Barbara it's I think it's
Speaker 3: four to one, right, four cells for every one second
Speaker 3: of films, twenty four frames per second. Prior to that,
Speaker 3: I think in the fifties, like even the major studios,
Speaker 3: we're doing two to one by then. But here this
Speaker 3: is definitely one to one. Yeah, it's this is twenty
Speaker 3: four dry. This is twenty four pages, and every single
Speaker 3: one of them is gorgeous. What you were saying earlier
Speaker 3: about the silhouettes and the sort of hard lines that
Speaker 3: end up on the characters as lighting details, it's really
Speaker 3: remarkable in atmospheric particularly. We'll talk about it when we
Speaker 3: get to Night on Bald Mountain. That's where, yeah, the
Speaker 3: absolute most evident. But before we get there, we've got
Speaker 3: to spend some time with Dems again. Who likes to
Speaker 3: Who is leading us into the Nutcracker suite and the
Speaker 3: Nutcracker Sweet sequence. We've got some problems in the sea. Sure, sure,
Speaker 3: it's the problematicness.
Speaker 2: Yeah, the you know, the Asian influence I guess in
Speaker 2: there is, you know, with a little mushroom.
Speaker 3: Bit yes, the mushrooms dancing with their caps. Well, let's
Speaker 3: face it, chinaman. Yeah, it doesn't really hit home well
Speaker 3: these days, no, and okay.
Speaker 2: But it's very charm I know they're caricatures. There's no
Speaker 2: reason for them to have slanted eyes. But see, this is.
Speaker 3: What I'm saying, like about Song of the South, like
Speaker 3: it's you look at it and go oof. That hurts.
Speaker 3: But at the same time, it's you can see that
Speaker 3: it's coming from a place of let's make an adorable
Speaker 3: thing that charms people.
Speaker 2: Yeah, it's not a malicious you know, it's not a
Speaker 2: Japanese caricature from later in the decades.
Speaker 3: Yea, certainly from this company if you want to see them.
Speaker 2: Just a couple of years later, and well in the
Speaker 2: next year they're doing it. So like that one is
Speaker 2: a malicious caricature. I mean that wartime whatever, it'll awful
Speaker 2: and retroflect. Hey they're at war. But I don't think
Speaker 2: that this is coming from a bad place. It's just
Speaker 2: again unintentionally racist. This is unintentionally you know, problematic.
Speaker 3: And that's why we had a warning at the beginning. Yeah,
Speaker 3: that's contained the Russian dance sequence here is so fantastic
Speaker 3: using thistle which just so naturally look like Russian dancers. Anyway, this,
Speaker 3: of course the official flower of Scotland. I love that
Speaker 3: goddamn flowers. So I was charmed watching those flowers fucking dance.
Speaker 3: All of the segments here, all of the different ones
Speaker 3: they do, the sugar plump fairy and the Chinese dance
Speaker 3: they just called the Chinese dance unfortunately, the Arabian dance
Speaker 3: with the the goldfish here again, you know, using different
Speaker 3: they're not afraid to just color block a scene where
Speaker 3: suddenly the background will become a primary color just to
Speaker 3: emphasize the silhouettes in front of them.
Speaker 2: And this is the argument again, now argument whatever or
Speaker 2: the lamenting or the eulogy for the hand and hand
Speaker 2: drown animation versus three D animal, because an no three
Speaker 2: D animator is generally gonna do stuff that. How many
Speaker 2: movies' is picks are put out, I mean, you get
Speaker 2: one of them that that's that experiment, like Insold, but
Speaker 2: the other films generally don't. It's pretty. Everything is pretty tactle.
Speaker 2: Tactle feeling is real. And the way that the little
Speaker 2: flower becomes the you're not going to see that generally,
Speaker 2: and there's a and that's not taking away from three D.
Speaker 2: Three D animation is wonderful, but so is two D
Speaker 2: animation is gorgeous. Man, they're paint You still like seeing paintings, right,
Speaker 2: these are paintings, Like, what's wrong with wanting to see them?
Speaker 2: And I miss the animated feet the two D animated feature,
Speaker 2: and it's heartbreak that the only place that gives you
Speaker 2: that with that level of care and artistry, that's his
Speaker 2: the only place you're getting it. You know, other countries
Speaker 2: might pull stuff out like that. But what was the
Speaker 2: last break to D animated in America? Iron Giant.
Speaker 3: Yeah that's a really good Yeah, Brad Bird all of
Speaker 3: his Pixar stuff, but that's you know, that's three D.
Speaker 3: But yeah, but even that movie is a mixture of
Speaker 3: the thing because, yeah.
Speaker 2: A lot of the animation is heavy heavy lifting is
Speaker 2: done by three D. And that happened all through That
Speaker 2: started in Beauty and the Beast they started incorporating the
Speaker 2: three D element.
Speaker 3: And that brings us to the centerpiece. Literally the centerpiece
Speaker 3: here although originally they intended to end the honestly, they
Speaker 3: put it here in the middle. That is the Sorcerer's Apprentice.
Speaker 2: Yeah, it needs the movie needs it at this point,
Speaker 2: any entertainment because Dems is just morphe every time. He
Speaker 2: might be interesting in someones, but it's just takes. It
Speaker 2: takes the wind out of the sales when you tell
Speaker 2: you something. And the Nutcracker Suite is really cute, but
Speaker 2: it's not very exciting. And you know, the Takata again exciting.
Speaker 2: So the Sorcerer Prices gives you like, oh, okay, I'm
Speaker 2: into this. That'd be fun. And the Sorcerer I had
Speaker 2: a sixteen millimeters little crank fingle thing that you would
Speaker 2: look into one eye and you crank it. I think
Speaker 2: that's where I fell in love with cinema was because
Speaker 2: I could go forward and backwards afford him and to
Speaker 2: see how.
Speaker 3: You think the children out there who the ghosts one
Speaker 3: for the children out there who probably know what a
Speaker 3: viewmaster is, imagine that. It's like a monocle, just one
Speaker 3: thing and there you'd put a cartridge into it with
Speaker 3: a crank on the side, like an old movie camera,
Speaker 3: and then when you put your eye up to it,
Speaker 3: you could watch the little eight millimeter clips from movie.
Speaker 3: So yeah, I had I had that Mickey Mouse cartoon,
Speaker 3: The Haunted House one, that's.
Speaker 2: The one I had. Yeah, yeah, I think I might
Speaker 2: have had a Sorcerer Apprentice. I know that Sorcerer's Apprentice
Speaker 2: was something that I had seen before.
Speaker 3: It showed up a lot on its own, you know,
Speaker 3: it was constantly being repackaged and shown on Disney Channel
Speaker 3: or like The Wonderful World of Disney would have some
Speaker 3: clip show and at least show parts of it. Like
Speaker 3: it was always kind of out there of the scenes
Speaker 3: in this movie. That's the one that I think most
Speaker 3: people kind of it hammered home, but that was the
Speaker 3: intention of it anyway.
Speaker 2: Yeah, and it's Mickey at his best. Micky, for me,
Speaker 2: works as a cartoon Charlie Chaplin, that's for me. That's
Speaker 2: what makes the minute Mickey starts talking, I'm like, but
Speaker 2: the minute. But when he's just like this little guy,
Speaker 2: you know, is always just trying to do his best,
Speaker 2: I can see why he was such a hit. But
Speaker 2: and this is big budget, you know what I mean.
Speaker 2: This is now Mickey in a feature film, the big
Speaker 2: time he's got. This is the first time with eyeballs.
Speaker 3: Oh jeez, I don't know. I think he had already
Speaker 3: they'd already read.
Speaker 2: That he had to redesigned him because I prefer a
Speaker 2: little wire me. That's just I love that.
Speaker 3: Little but that one had to go away. I'm sorry, Antonia.
Speaker 3: I agree with you a lot of this, on a
Speaker 3: lot of this, but wireframe steamboat not even steamboat well,
Speaker 3: I know you're talking about that sort of proto rant.
Speaker 2: Yeah, I love that. It's just so cool. But there's
Speaker 2: the other My favorite Mickey was Through the Looking. So
Speaker 2: you know, they're doing trippy at Disney at this point,
Speaker 2: like there's somebody going to the Opium Deno or got
Speaker 2: a little bit of of the Marriage Ijuana, because there
Speaker 2: there's some trippy stuff going on in Disney at the time,
Speaker 2: so seeing the stuff in Pantasia shouldn't be that surprising
Speaker 2: because that Through the Looking last cartoon is a trip. Man.
Speaker 3: I love that Mickey loses his power as a character
Speaker 3: once he becomes a leader. He is the de facto
Speaker 3: leader of the Walt Disney animated characters, but yea necessarily
Speaker 3: have to be out in front and leading them. He's
Speaker 3: not bugs Bunny. And now you look at that pantheon
Speaker 3: of characters and you go, yep, he's the one, you know,
Speaker 3: and he should be standing in front of them and
Speaker 3: giving a press conference. But Mickey, I agree with you,
Speaker 3: he's best when he's a chaplain like character. This is
Speaker 3: the culmination of all of that here with his performance here.
Speaker 2: He's a brave little Taylor. Again, that's a chaplain, you know,
Speaker 2: the chaplain does the great Dictator is a brave little
Speaker 2: you know like I ah that Mickey's best like that.
Speaker 2: And this is the best prime example of this hapless
Speaker 2: Mickey just trying to do his best and fucking everything up.
Speaker 3: This segment. I want to say it scared me as
Speaker 3: a child. That did not. It made me very nervous. Yes, yes,
Speaker 3: watching this movie as watching this segment as a child
Speaker 3: is akin to watching After Hours. Now, I just it
Speaker 3: makes my skin crawl.
Speaker 2: Oh wow, after Hours referenced. Nice for the young folk
Speaker 2: out there. You've never seen movie After Hours. It's Martin
Speaker 2: Scorsese's mid eighties comedy about this dude that meets this
Speaker 2: crazy lady and they have an evening of adventure throughout
Speaker 2: New York City. And I don't want to give anyone
Speaker 2: too much away from him because then I might ruin it.
Speaker 2: Everything that's going to go wrong is going.
Speaker 3: To go wrong, and people think cringe comedy was invented
Speaker 3: with the office. Oh no, it's simply not the case.
Speaker 3: But so yeah, and that's the feeling I had from
Speaker 3: Sorcers's Apprentices Child, because this is effectively the tale of
Speaker 3: a child acting out or acting beyond their capabilities when
Speaker 3: their parent isn't around, and fucking everything up, in this
Speaker 3: case so severely that I could only imagine the punishment
Speaker 3: that was going to be levied against poor Mickey here. Yeah,
Speaker 3: that very stern man, the sorcerer himself.
Speaker 2: Nicholas Cage doing over there, Oh.
Speaker 3: My god, he would be perfect.
Speaker 2: He did, he played, They did a movie.
Speaker 3: They did a movie, SORCER's Apprentice, a bunch of Oh
Speaker 3: that's true, but I'm talking about I want to see
Speaker 3: him in these robes.
Speaker 2: These robes. Yeah, that was why that movie didn't work,
Speaker 2: because he didn't talk about dressed up like it.
Speaker 3: Was in like a leather jacket. Yeah, I want Gandalf, Yeah, but.
Speaker 2: I want Nicholas Cage's Okay, yeah, yeah, say no more.
Speaker 3: I keep that one under your head.
Speaker 2: But the fever dream of this is something you know,
Speaker 2: and again it's anxiety up the butt with this scene
Speaker 2: or Mickey. But what a great image those brooms and
Speaker 2: the way that the arms pop out. I always like
Speaker 2: how they just they shake and pop out and then
Speaker 2: grab the bucket. Oh, I love it.
Speaker 3: It's the joy of animation.
Speaker 2: Yeah, it really is. Man.
Speaker 3: I particularly like when they've completely filled the place. Just
Speaker 3: the shot of the first of all of the water
Speaker 3: effects and are fucking spectacular. We're mentioning how good the
Speaker 3: animation is. Each segment is its own style, and this
Speaker 3: one is absolutely gorgeous, Like when they go to that
Speaker 3: well the first time, just like gazing into that water,
Speaker 3: so much care and effort. But anyway, when the room
Speaker 3: is completely filled up, the image of them walking up
Speaker 3: to the cistern and trying to fill it. It just dumping
Speaker 3: out water from a bucket. Everything is water, but like
Speaker 3: the mechanical thing of it, it's just such a nightmare.
Speaker 2: But it's and the great thing about it is like
Speaker 2: animation is two D anime done it I suck at
Speaker 2: it really difficult. There's a two D animated Bit and
Speaker 2: Space Detective that I did four frames and I love
Speaker 2: it at the same time, so long look at that
Speaker 2: I drew Batman. But the level of artistry here again,
Speaker 2: I'm like, you know, kissing people's asses, you know, But
Speaker 2: animation is tough. It's twenty four frames a second and
Speaker 2: to get it like water fluid and then time to music,
Speaker 2: so everything is perfectly time to music. So you've got
Speaker 2: to figure out how to draw those twenty four frames
Speaker 2: and have it do the thing you needed to do
Speaker 2: on the music cue. And it's not just animating dialogue.
Speaker 2: It's having little brooms hit music cues over and over
Speaker 2: the level of animation and editing. It's really on.
Speaker 3: The spence and the like the sort of impressionistic background
Speaker 3: stuff that I mentioned in the previous segment and nutcrackers.
Speaker 3: Once the brooms start taking over, we're getting these splashes
Speaker 3: of yellows and and other things behind them as it
Speaker 3: becomes more and more of a nightmare. All that I love.
Speaker 3: But also now Micky lets it get out of hand
Speaker 3: because he falls asleep and had a dream. But it
Speaker 3: could also be interpreted that at that moment Mickey is
Speaker 3: astro projecting and it's nowhere near it because he does
Speaker 3: leave his body. I it's just to imply that he's
Speaker 3: now fallen asleep and he's in dreamland. But you know,
Speaker 3: given all the magic on hand. That's what I took
Speaker 3: away from it. This time. He was so busy being
Speaker 3: out of body at that moment that he didn't realize
Speaker 3: that the spell was working on is Mickey.
Speaker 2: That image of Mickey this is so cool and just
Speaker 2: commanding the water and just the way the animation goes
Speaker 2: and the way when it exaggerates on him, and it's
Speaker 2: just really it's really sublime. It's one of the best
Speaker 2: pieces of animal.
Speaker 3: You know what's funny is up until the moment where
Speaker 3: he's on the rock and conducting the wave, I thought, God,
Speaker 3: you know, the animation of the music don't really sink
Speaker 3: up here. All of that well, and then once that's
Speaker 3: started having one, Oh, we were just waiting for gotcha.
Speaker 2: It's all part of the storytell it's amazing. I've always
Speaker 2: really admired and it's not my.
Speaker 3: Favorite nor mine, but I'm never sad when it comes on.
Speaker 3: It's never a fast forwarding me.
Speaker 2: No, like the next one that takes it the light
Speaker 2: of spring.
Speaker 3: It's gorgeous. And you know what in nineteen forty, no
Speaker 3: one ever sees yeah as a child dinosaurs? Yeah, good guy. Well,
Speaker 3: we had Harry House and and stuff, doing the stop
Speaker 3: motion stuff, but we didn't have anything looking as elegant.
Speaker 2: No, it isn't. But to get to the dinosaurs, it
Speaker 2: takes us.
Speaker 3: It does.
Speaker 2: But that's all right. I think I just have an
Speaker 2: ADHD problem. This is definitely a nice palate cleanser after
Speaker 2: Madness of Mickey Mouse, The Sources Apprentice.
Speaker 3: And here's where Demes Taylor is most welcome in My
Speaker 3: mom His description of what you're about to see is
Speaker 3: effectively laying out the theory of evolution. Yeah, in a
Speaker 3: Disney cartoon going and not in a here's a theory,
Speaker 3: you know what.
Speaker 2: I'm not even looking at that, right, you're absolutely one
Speaker 2: out of person. Great, take back everything.
Speaker 3: He said nineteen forty. Yeah, wow, here's what happened. There
Speaker 3: are a bunch of cells. Those divided, and then a
Speaker 3: bunch of stuff happened, and then then it was teeming
Speaker 3: with sea life. And then and then one of those
Speaker 3: brave fish decided I'm gonna go up on land. You'll
Speaker 3: notice he stops talking there. He was supposed to continue
Speaker 3: with the further adventures of evolution, leading to you know,
Speaker 3: monkeys eventually standing up right, But that had to get
Speaker 3: cut because they're I mean, yeah, like I'm shocked they
Speaker 3: got as far as they got, right.
Speaker 2: Yeah, because I mean I just imagine how, like how
Speaker 2: that's still an issue now, like that people still don't
Speaker 2: buy and don't believe it. And I'm like, there's all
Speaker 2: those evidence in the world, show you this is how
Speaker 2: it happened.
Speaker 3: Yeah, you know, and you know, I know, everything bangers scrutiny.
Speaker 2: You know.
Speaker 3: That's the great thing about science is it scrutinizes itself constantly,
Speaker 3: and once you get the same result over and over again,
Speaker 3: you go, well that's a fact.
Speaker 2: Yeah. I mean, it's just I don't get it.
Speaker 3: And I love that. I love that the film and
Speaker 3: the company were as forward thinking as they were then.
Speaker 2: Yeah.
Speaker 3: Absolutely, here's what's happening, folks. And it's snuck in, or
Speaker 3: maybe not even snuck in. I think it's just here's
Speaker 3: where we're at as a society.
Speaker 2: It's all handled this, It all straightforward.
Speaker 3: To This movie doesn't shy away from religion or spirituality
Speaker 3: in any way. Just look to the end of this mean, like,
Speaker 3: originally we're going to end this movie this way with
Speaker 3: the Sorcerer's Apprentice and the wild effects of magic, and
Speaker 3: it's a usefulness and instead we get the fucking ave Maria.
Speaker 3: So I think a little goes a long way there,
Speaker 3: but but I don't know. It knocked me out rewatching
Speaker 3: the movie that we get a very brief evolution history
Speaker 3: that then has followed media up by a gorgeous visualization
Speaker 3: of it, starting with those tiny one celled organisms, you.
Speaker 2: Know, yeah, and then of course the piece of resistance,
Speaker 2: those dinosaurs. Once the dinosaurs show up, all right, I'm
Speaker 2: into this because they're gorgeous and the animation great, although
Speaker 2: you know there's always a bigger fish and qui gon.
Speaker 2: It just loved the casual life that you watch. Yeah,
Speaker 2: was that.
Speaker 3: Casual cruelty on display?
Speaker 2: The casual cruelty on display there, but it's so peoplely animated,
Speaker 2: you know, and just seeing these are their dinosaurs for
Speaker 2: these and no one has done dinosaurs to this extent.
Speaker 2: Been some stop motions but and some animated stuff, but
Speaker 2: they really kind of go to town on it, and
Speaker 2: these animators are figuring out how these I think.
Speaker 3: There was the clown short, right, yeah, like pencil drying
Speaker 3: or penn drying, you know Withronosaurus.
Speaker 2: That's right, And then you know what you saw.
Speaker 3: And call again like the three D but you know,
Speaker 3: and yes, we believe it, but it's still stop motion.
Speaker 3: We we've certainly never seen it done as as fluidly
Speaker 3: as what we're getting here as well painted as well, realt.
Speaker 2: But it's they're beautiful looking dinas. Interesting now, how you
Speaker 2: like how science kind of shown us that dinosaur birds
Speaker 2: and they went feathers and you know, so it's I'd
Speaker 2: be curious to see what they would do with anime
Speaker 2: up with that based.
Speaker 3: On where where we're at right now in science.
Speaker 2: Yeah, and this takes it is to the intermission.
Speaker 3: Oh, that's just funny because.
Speaker 2: The intermission is the first line you see the title?
Speaker 3: Right, Yeah, we get a title card here?
Speaker 2: Yeah, how about avant Guard?
Speaker 3: Is that that's really yeah? I had never thought of that.
Speaker 3: Yeah that I just thought of it as an intermission card,
Speaker 3: but really it's the title card for the film title. Yeah, wow,
Speaker 3: take that Cohen Brothers. I thought the Raising Arizona, right
Speaker 3: title card revealed with something that's like what twelve minutes
Speaker 3: or something? Yeah, I got that beat.
Speaker 2: I mean he tells you the title still form of entertaining.
Speaker 3: That don't matter. It's they' got a Jim Jena session,
Speaker 3: Jim going on. They oh, and you know we get
Speaker 3: the soundtrack bit here can I tell you? So? I
Speaker 3: know I talk a lot about this, but I was
Speaker 3: a projectionist at a theater in Santa Monica, and when
Speaker 3: I was learning to become a projectionist this we had
Speaker 3: platter systems. This is thirty five millimeters, So we had
Speaker 3: a platter system where the full print would sit on it.
Speaker 3: It would play out to the projector that wind back
Speaker 3: onto the platter. Now when it goes through the projector,
Speaker 3: it's caught in the gets locked into a lot of
Speaker 3: different gears. But the main bit is the gate that
Speaker 3: sort of holds it in front of the aperture where
Speaker 3: the light shines through, and there's a shutter that times
Speaker 3: the amount of light going through anyway, So the aperture
Speaker 3: where it's you know, basically a rectangle cut into metal
Speaker 3: that allows the amount of light through to shine on
Speaker 3: the screen. The theater I worked at, the projectors were
Speaker 3: like you know, from the forties fifties right right, So
Speaker 3: when we had when we had a different lens, needed
Speaker 3: a different aspect ratio for a film, we had a
Speaker 3: lot because we were a calendar house, so we showed
Speaker 3: movies from the dawn of cinema to the presence, So
Speaker 3: we had every aspect ration one, three, three, one sixty three.
Speaker 3: So each of those different aspects have different aspect ratios,
Speaker 3: have different aspect ratio plates. And I learned early on
Speaker 3: how important those those were because we were I was
Speaker 3: training at the time and had set up a film
Speaker 3: and it was playing, and I went down into the theater,
Speaker 3: not looking at the left wall, just looking at the
Speaker 3: image on screen, which looked great. Turned to my mentor,
Speaker 3: guy named Chris Evani, and said like, how what do
Speaker 3: you think? And he was like, man, the sound systems
Speaker 3: these days are so good. You can fucking see the
Speaker 3: sound and then sort of pivoted me to look at
Speaker 3: the wall where you could see the soundtracktors oh man, Yeah,
Speaker 3: I never forgot to play it after that. Yeah, okay,
Speaker 3: So anyway, this leads us to our It takes us
Speaker 3: to ancient Greece. Yes, weird to pick a bacchanal for
Speaker 3: a kids movie, but but here are we going to
Speaker 3: go with the passage?
Speaker 2: Hey, they'd picked the back and off of the paras
Speaker 2: Olympics and everybody lost their shit.
Speaker 3: So I don't know how far they got in the
Speaker 3: animation process. But originally Disney, the Family Friendly Company, had
Speaker 3: nude centaurs like those were bare breasted women running around
Speaker 3: and immediately ran into some sort of censorship, which is
Speaker 3: why now we have the drawn over like you know, yeah,
Speaker 3: flowers hanging there, some piece of fabric that just seems
Speaker 3: to adhere to one bit of space hovering over the
Speaker 3: female centaur. And this is of course the sequence where
Speaker 3: we had our black centaurs waiting on the white centaur.
Speaker 3: There's a lot, there's a lot I don't like about this.
Speaker 3: It also has that it also has what feels like
Speaker 3: that grade school version of Greek mythology that we were
Speaker 3: all sort of fed, you know, with all of the
Speaker 3: edges sort of sanded off of it.
Speaker 2: You know.
Speaker 3: Here Bacchus is just sort of like W. C. Fields. Actually,
Speaker 3: he's a toned down version of w. C. He's like
Speaker 3: a vaudeville guy.
Speaker 2: You know.
Speaker 3: You imagine like Keenan Wynn or ed Wynn doing the voice.
Speaker 3: You know, it's like, you know, like fill my goblet,
Speaker 3: Well you young lady, Oh you're lovely. Yeah, I don't know.
Speaker 3: Like again, this is another example of just gorgeous fucking animation.
Speaker 2: Yeah, animation is really pretty. This one's a little it
Speaker 2: takes its time too, but again, you know, it's Beethoven,
Speaker 2: and it's funny because it's like pretty Beethoven rather than powerful.
Speaker 2: But I do really the Zeus zoos is still manages
Speaker 2: to be an asshole. I just love the way Zeus
Speaker 2: and Festus are portrayed, and just the animation is really
Speaker 2: cool when he throws those bolts down.
Speaker 3: The problem is we're always more interested in the gods
Speaker 3: when it comes to yeah, always, and I don't one
Speaker 3: one turn round the dance floor for the centaurs should
Speaker 3: have been enough, but that's it. Instead, it's you know,
Speaker 3: it's a ballet, so there we're getting full on dancing
Speaker 3: and the dancing is gorgeous. Rewatching that. It is really
Speaker 3: spectacularly animated. But again I'm with you. I need some
Speaker 3: Greek gods. I need Helios, yes, racing across the sky.
Speaker 3: You know, I don't really care what's going on in
Speaker 3: the day to day life of centaurs. And you know
Speaker 3: it seems Fucus, which.
Speaker 2: It just seemed to be a lot of frolicky.
Speaker 3: Yeah, like this should have come before the SORCER's Apprentice.
Speaker 3: They should have front loaded this in. They should have
Speaker 3: gotten right from Takata right into to Beto, and that
Speaker 3: actually makes sense back to Beto and anyway, not that
Speaker 3: I'm doubting Leopold in.
Speaker 2: Any way, Oh bugs, buddy.
Speaker 3: Okay, I don't really have any more notes on the.
Speaker 2: Pastor yeah, I really don't either it.
Speaker 3: However, here we go.
Speaker 2: The hours does not fit of the hours.
Speaker 3: Now, this is this segment showed up a lot as
Speaker 3: a kid. I had that. I had the Disney Channel, Yeah, yeah,
Speaker 3: and it seemed Disney had an entire I forget the
Speaker 3: name of the show, but they had basically music video
Speaker 3: e TV, e TV, that's what it was. So they
Speaker 3: would take random clips from all of the catalogue of
Speaker 3: movies and shorts and recontextualize them and cut them together
Speaker 3: to try and make a little story for whatever popular
Speaker 3: music song, whatever popular song was, you know, on the
Speaker 3: tops and the radio at that moment. I remember them
Speaker 3: using this clip lot they strung out over multiple videos.
Speaker 3: So I think I find myself more familiar with this
Speaker 3: sequence of animation than any of the others.
Speaker 2: And you can't beat the dancing hippos man and the
Speaker 2: horny crocodile. I mean it's me. They're absolute silliest too.
Speaker 2: It's great. There's horny too. Dizzy doesn't get to be
Speaker 2: horny very much. This movie is pretty horny because the
Speaker 2: past all symphonies. You know that they can send tar
Speaker 2: girls and I'm trying to get laid and they're.
Speaker 3: Getting away with something here because those alligators are like
Speaker 3: they can just sort of make the excuse, well, they're trying,
Speaker 3: they're trying to eat them. Yes, they're not not.
Speaker 2: That way at least. The name of the alligator is
Speaker 2: ben Ali Ruth.
Speaker 3: I don't know about that, but I'm sure what elephant
Speaker 3: sheen the elephant true? Yeah, the hippos do. They have
Speaker 3: madame Yupanova and the ostriches, cavalcadid zoo animals here, all
Speaker 3: the funniest.
Speaker 2: It's delightful. They kind of mirrord. The sequence in the
Speaker 2: two thousand with the flamingos amazing, that one with the
Speaker 2: celebrities kill that fantas of two thousand, But the sequences
Speaker 2: in it are all pretty good. Rhaps and blues, the
Speaker 2: one that.
Speaker 3: Oh yeah, I agree with you, just because that piece
Speaker 3: of music. Hearing for me personal hearing a bit of
Speaker 3: Americana mixed. Yeah, all the classical composts just does my
Speaker 3: heart proud. And that piece in particular has always screamed
Speaker 3: out for visualization, and that Hirschfeld right, which be more perfect.
Speaker 2: It's just so elegant. So just really meet again to
Speaker 2: the animation.
Speaker 3: Really cool the sequence. The lead animator is gou named
Speaker 3: John Hench right, and he did not want to participate
Speaker 3: in the sequence. He didn't know anything about ballet. I
Speaker 3: think he was really just begging off because he knew
Speaker 3: how difficult this is going to be.
Speaker 2: So the sinking of the animation time.
Speaker 3: Of course incredible. WELLT Disney's response was to give him
Speaker 3: tickets to the Ballet Roos de Monte Carlo and fly
Speaker 3: him into Europe to like, go watch the go watch.
Speaker 3: That's quite a punishment, go watch the best of all time.
Speaker 3: In fact, you know, Disney, we've talked about this before,
Speaker 3: the idea of Rotoscope about filming live action things for
Speaker 3: the animators as a guide. Here in this case, there
Speaker 3: was a ballerina named Irina Baronova. She's the lead for
Speaker 3: the Mademoiselle Yupanova. They even listened based on her. So yeah,
Speaker 3: I love the fucking alligators here. Man, there's something about
Speaker 3: an open mouthed, wide eye ey'd stare. It is either
Speaker 3: completely horrifying or completely hilarious. And it's completely hilarious here
Speaker 3: with shades of horrifying. Once once we get a bit,
Speaker 3: once we get a chorus of them all lined up
Speaker 3: like menacing. Wise, Oh, this could go wrong.
Speaker 2: It's the it's those capes and the hats, the red
Speaker 2: just popping out and just again screaming horny, that red
Speaker 2: when they lift up the cape and just flap it around,
Speaker 2: really menacing and operatically. Yeah, I just I love that
Speaker 2: out so much.
Speaker 3: Everything is working here. All of the animation is fluid
Speaker 3: and gorgeous, and it's as funny as Disney gets. Disney
Speaker 3: was never a funny studio, No, not really, but this
Speaker 3: is sort of in keeping with their wholesome take on
Speaker 3: on on humor, but the most unwholesome.
Speaker 2: Yeah, it's almost there. Is Disney at their most Warner broke.
Speaker 3: If you're looking at the placement of the segments here,
Speaker 3: this one makes sense that from this really horny segment
Speaker 3: we got into the as they described themselves, the depraved
Speaker 3: segment of Night on Bald Mountain.
Speaker 2: Well, yeah, but like the movie ends with this great
Speaker 2: golf ray, what are you gonna do?
Speaker 3: Yeah, well, I'm just saying this is the perfect entrede.
Speaker 3: Alligators and ostriches off.
Speaker 2: To each other, don't forget but the elephant.
Speaker 3: Yeah, and I love that it Not only is this
Speaker 3: sort of you know, ridiculous ballet we're watching, but they're
Speaker 3: breaking the fourth wall here because they're definitely on stage.
Speaker 3: They're breaking sceneer. The last shot in this is that
Speaker 3: they've performed so well that they've blown the doors off
Speaker 3: the front of the theater basis.
Speaker 2: And this probably played really well or really a cessive scene.
Speaker 2: I think at it's universal. I think it's probably had
Speaker 2: the audience and stitches that nineteen forty audience is losing.
Speaker 3: Oh I'm sure these alligators and these ostrich fucking hippos,
Speaker 3: Oh my god, no one, nay. I don't think anyone
Speaker 3: was prepared for it. And it's great and it's a
Speaker 3: great sort of denu modd because we're right here at
Speaker 3: the climax. But I want to jump back to the
Speaker 3: Flower the right of Spring, No, the Nutcracker Sweet, because
Speaker 3: there's a wintery segment there, which to me was the
Speaker 3: best segment in it. I mentioned I love those thistle
Speaker 3: Russian dancers, but the actual sort of snowflake ice fairy
Speaker 3: like ice dancing sequence, the wings on the fairies that
Speaker 3: are dancing across the ice are clearly all hand drawn
Speaker 3: and they are intricate and just spectacular. But that's followed
Speaker 3: up with this. It's almost a montage of all of
Speaker 3: these like sprites parading past the camera and they're all
Speaker 3: wearing snowflakes like gowns, basically like a skirt, and they're
Speaker 3: slowly like spinning, and the snowflakes themselves are so geometric.
Speaker 3: I was like, that's I cannot believe the level of
Speaker 3: skill for these fucking animators in this one sequence. Come
Speaker 3: to find out, the snowflakes themselves are all stop motion.
Speaker 3: They had they had filmed them and then animated the
Speaker 3: little sprites in between. That's not the case with their
Speaker 3: wings that mark that I was mentioning. But if you
Speaker 3: watch that sequence again, when you see that those yeah
Speaker 3: slowly spinning past, that's stop motion. But go ahead, well no.
Speaker 2: It reminds me of like the Flyses video. To take
Speaker 2: a couple of Popeye card a live action and the
Speaker 2: cameras would be panning and and everything. They must have
Speaker 2: done it either stop motions to animate on the actual
Speaker 2: or done the or made the blow up and film
Speaker 2: back and make them the you know when they do
Speaker 2: the animal.
Speaker 3: It's the problem with computer animation that it's not tenable
Speaker 3: at all. There's nothing tactile about it. There's no boundaries
Speaker 3: to break, you know, when you've got to put a
Speaker 3: camera on a tripod and lock it down and get
Speaker 3: the lights perfect, and put this panel here and then
Speaker 3: put another thing underneath it, and we're gonna do one
Speaker 3: frame at a time, and you got it. You know,
Speaker 3: there's something about that just naturally makes you want to
Speaker 3: smash your way out of that routine that you know,
Speaker 3: makes you want to break the borders of the frame,
Speaker 3: do all this sort of interesting innovative stuff that I
Speaker 3: don't know, maybe I'm just pontificating here, but you're right,
Speaker 3: you don't see like at that time, all of those
Speaker 3: different animators that all the different companies were always thinking,
Speaker 3: for lack of a better phrase, outside the box.
Speaker 2: You know. It's like almost like in that argument for
Speaker 2: shooting on or shooting digital, like I haven't shot, I
Speaker 2: haven't said. I was a school for a hundred times
Speaker 2: I've always shot then, but there is something to be
Speaker 2: said about up that camera, you know, loading the magazine,
Speaker 2: having to do the math to get the light, which
Speaker 2: is always my biggest leak.
Speaker 3: And you know that it's there's you have a finite
Speaker 3: amount of time. Yeah, you get it right. And you
Speaker 3: know I said that, there's that some Spielberg like give
Speaker 3: meme kind of thing going around where you're saying, like,
Speaker 3: you know, digital is a perfect sort of photographic process,
Speaker 3: but you know, film was a magical chemical process, like
Speaker 3: the grain. When you see in film, it's moving, like
Speaker 3: even a still is moving because of the way that
Speaker 3: the chemicals all came together, Like there's constant motion. Whereas
Speaker 3: you're getting an absolute representation of life with the digital thing,
Speaker 3: you're getting some sort of artistic expression that's beyond even
Speaker 3: when you when you put it in a bath of chemical.
Speaker 2: Yeah, there's a certain that God, you're you know, you're
Speaker 2: depending on providence to get you. Yeah.
Speaker 3: Well, speaking of providence or lack thereof, here we go.
Speaker 3: It's everybody's favorite. Oh God, Yeah, So it's not I'm ball.
Speaker 3: It's just it's not only is it absolutely gordeous, it's
Speaker 3: like the thing we were all waiting for all of
Speaker 3: us little horror kids, you.
Speaker 2: Know, yeah, and even me who wasn't kid. This is
Speaker 2: still always what I was always waiting. I think I
Speaker 2: came across first, saw this sequence and probably a Disney
Speaker 2: Halloween Special or something like that.
Speaker 3: That's okay, The Disney Halloween Treat is what that.
Speaker 2: That's what it is, Disney HALLOWEENA I remember that noll oh.
Speaker 3: My goodness that played on Disney Channel a lot, but
Speaker 3: originally was I think like The Wild World of Disney
Speaker 3: or the whatever, the Wonderful World of the Wild World
Speaker 3: of Disney. It's a whole lot. It's like Ralph Box,
Speaker 3: She's very that No, the Wonderful World of Disney on Sundays,
Speaker 3: and I had recorded that on VHS, that the Disney
Speaker 3: Halloween Treat. I've seen this segment a lot because they
Speaker 3: don't have the full segment in it, like they cut
Speaker 3: around a lot. So seeing it again in its actual
Speaker 3: state is always a marvel. And my god, all the
Speaker 3: different styles of animation displayed. Because we get full sort
Speaker 3: of the hand painted cells on display here, we also
Speaker 3: get this chalk style that is just unbelievable. You know this,
Speaker 3: it doesn't necessarily stop motion, but ghosts that they just
Speaker 3: need they throw a filter on it. Like my new
Speaker 3: favorite part of this whole thing is when Chernibog, that's
Speaker 3: that demon's name, everybody. When Chernibog first sort of starts
Speaker 3: menacing the town, the shadow of his hand stretches out
Speaker 3: and we watch the shadow creep across the town and
Speaker 3: oh yeah, it has a physical effect on the buildings.
Speaker 3: The buildings all sort of sway like they're magnetized towards
Speaker 3: churna bog, Like they just very subtly creak in his
Speaker 3: direction before settling back like it's it was breathtaking.
Speaker 2: I like, I noticed that today because it was the
Speaker 2: last building too, especially like it was a church. Really
Speaker 2: just here you really get sucked into. It's really nice.
Speaker 2: I like those static egos that are like distorted by
Speaker 2: a lens, the way they kind of float through the scenes.
Speaker 3: And oh, he's a thing of beauty and he's ripped man.
Speaker 2: I had read that like on the internet that the
Speaker 2: bell Lagos had posed for it.
Speaker 3: And there is footage or rather there I think stills
Speaker 3: of him from his session there, but and you can
Speaker 3: see it in some of the facial expressions for Turnabog.
Speaker 3: You can see some lagos here, but it's my understanding
Speaker 3: that the head animator on that was unsatisfied with Lugosi's
Speaker 3: performance overall and just had his assistant take off his
Speaker 3: shirt and they filmed him doing all the moves that
Speaker 3: you're seeing.
Speaker 2: That's great man. Oh no, the director of yeah, the
Speaker 2: animators still that's kind of neat to oh yeah.
Speaker 3: Yeah. It adds another element of wonderful Chernibog mythos because.
Speaker 2: There's some of those facial expressions if you look.
Speaker 3: At that kind of look like both oh yeah, mouth
Speaker 3: his mouth when he's upset. Yeah, in particular, and my god,
Speaker 3: like what performance from Churnabog. You know, he goes through
Speaker 3: all the emotions delight to to disdain.
Speaker 2: When I'm especially fond of the hand when he's picking
Speaker 2: up the little demons and dropping the fire or he's
Speaker 2: building the little fire homonunculi or whatever, and then he
Speaker 2: crushes them ination on the hands, It's like, is it
Speaker 2: it rotoscope? Is it all? Just? I don't like it's spectacular? Hands?
Speaker 2: Are I have always been my nemesis with when I'm drawing,
Speaker 2: So just to see that kind of level back I
Speaker 2: was winged form the top of the mountain formed the peak.
Speaker 3: Hands are a trouble for a lot of artists. So honestly,
Speaker 3: it was this rewatch where I too noticed those hands,
Speaker 3: I think for the first time, because my attention was
Speaker 3: always fixated on all those little demons. First of all,
Speaker 3: it's this is a Disney movie, and we get little
Speaker 3: naked fire women. We then turn into little creatures who
Speaker 3: then turn into even worse creatures before being smushed out.
Speaker 3: So of course I was focused on the action going
Speaker 3: on in the palm of one hand, never noticing the
Speaker 3: other hand floating above and so gorgeous, like not just
Speaker 3: the just not just the likeness of a talented hand,
Speaker 3: but silhouetted both red and blue. And somehow that worked.
Speaker 2: Yeah, it really works. It's almost like pain, almost like
Speaker 2: in a meta homage to Leopold, the way he conducts
Speaker 2: with without baton, and he's all hands and turner body
Speaker 2: is up there like a conductor conducting symphony of.
Speaker 3: The I noticed that that every dead person is participating
Speaker 3: in this party. Every grave, a ghost comes. Yeah. There's
Speaker 3: a castle with a little pool beside it. Half a
Speaker 3: dozen ghosts come out of that water.
Speaker 2: Yeah, and one of those on a horse. It's every
Speaker 2: little creature's guys on little backstor.
Speaker 3: I loved that one of the ghosts comes out of
Speaker 3: the grave and like Shinny's its way through a noose
Speaker 3: that's hanging on a on a scaffold, like I remember this.
Speaker 2: Yeah, it's really sweet, man. I know that every single
Speaker 2: viewing I've ever.
Speaker 3: Had of the just waiting it's a rave for demons. Yeah,
Speaker 3: it's you're just having a good time.
Speaker 2: Yeah. The animation it's just so gorgeous and the design
Speaker 2: is just so wonderful. I mean, it's just a real
Speaker 2: mountain they're basing this on or something. Because it's it's mesmerizing.
Speaker 2: I can't. Like. I watched it again this morning, just
Speaker 2: when every where we started, I watched that sequence gets
Speaker 2: me every time.
Speaker 3: Then, Yeah, I had watched the movie again last night,
Speaker 3: and then just prior to recording, I put it on
Speaker 3: thinking I'm just going to watch a couple of seconds
Speaker 3: and then watch the entire sequence. I found myself just
Speaker 3: standing there mesmerized by this. Sam.
Speaker 2: I love this music. I intend to use it at
Speaker 2: some point in a horrific sequence or something, just because
Speaker 2: of this movie of what it's you know, this kind
Speaker 2: of influence, and I feel like a lot of what
Speaker 2: I think is cool looking in you know, a lot
Speaker 2: of what I think is cool about horror. It kind
Speaker 2: of comes from this. This is what I like. I
Speaker 2: like Demon Monston and the Devil, you know me looming
Speaker 2: over you and my I's got At the same time,
Speaker 2: this is formative for me.
Speaker 3: And as much as I'm a fan of dancing in
Speaker 3: general and a fan of the classical forms of dancing
Speaker 3: ballet clearly on display here, it's not until we get
Speaker 3: to the fucking Demon sequence that we get a sampling
Speaker 3: of modern dance. All those little demons are dancing in
Speaker 3: a modern jazz style. Man and only notice that for
Speaker 3: the first time, but was down for it.
Speaker 2: Yeah, no kidding.
Speaker 3: Then's fucking great.
Speaker 2: Yeah, and they're and like when they're the ones a
Speaker 2: little bit in his hand too with the little naked
Speaker 2: fire women. Oh yeah, absolutely is. I guess modern jazz dancing.
Speaker 3: Is either you know it?
Speaker 2: You know it? How did this was the really played
Speaker 2: well too? I am? The movie was well received when
Speaker 2: it came out, Yeah.
Speaker 3: Very well received. There were some critics, mainly composers and conductors,
Speaker 3: who disagreed with Leopold's arrangements.
Speaker 2: Oh that's some toity toity.
Speaker 3: That's some great criticism right now, right, dare you use
Speaker 3: a bassoon?
Speaker 2: But did it just kind of disappear from memory?
Speaker 3: I guess here's what happened as well as the as
Speaker 3: well as it did critically, It basically came out right
Speaker 3: before the war. Oh yeah, and it was road showed. Okay,
Speaker 3: so they start in November of nineteen forty and they're
Speaker 3: road showing it across the United States. This isn't an
Speaker 3: open wide kind of thing. And as soon as the
Speaker 3: war happens, there's no chance that it can build an
Speaker 3: audience the way that the other Disney that.
Speaker 2: Makes sense, that does because I mean, does it play
Speaker 2: in the cinema again in the fifties or something.
Speaker 3: Or yeah, there are some revivals of it. Yeah, well,
Speaker 3: it got re issued in nineteen forty six as soon
Speaker 3: as the war. But in nineteen fifty five, that's when no, okay,
Speaker 3: nineteen sixty three. In fifty five, they noticed how deteriorated
Speaker 3: the print was becoming, and they began restoring it, and
Speaker 3: then in nineteen six they re released it in super scope.
Speaker 2: Whoa, And then you know it's that they butcher that up.
Speaker 3: I don't know. His budget ended up being two point
Speaker 3: two eight million, which is right around where that initial
Speaker 3: one hundred and twenty five thousand dollars was in modern day. Wow,
Speaker 3: that's better to think where the actual Fantas budget ended
Speaker 3: up being.
Speaker 2: So on here online that they put it out in
Speaker 2: the sixties again they.
Speaker 3: Put oh okay, so they put it out in the
Speaker 3: early sixties. They put it out in sixty nine, they
Speaker 3: put it out.
Speaker 2: That must have been up.
Speaker 3: Oh yeah, yeah, yeah, what Ollie Johnson, one of the animators,
Speaker 3: said that point everyone thought we were all on acid
Speaker 3: because they were all on acid watch in the movie.
Speaker 3: And then they re released it again in seventy seven,
Speaker 3: which is interesting because that's the year Stakowski Leopold, that's
Speaker 3: the year he died. And then you know, then it
Speaker 3: sort of ends starts ending up on video basically no
Speaker 3: again in eighty two that there was a fiftieth anniversary issue.
Speaker 3: I think that's the one we saw. It was re
Speaker 3: released in October fifth, nineteen ninety, where it gained twenty
Speaker 3: five million domestically, pretty good against its original billion dollar budget.
Speaker 3: And then it's you know, it's been on Home video
Speaker 3: over did again on Home nineteen ninety after okay, Yeah,
Speaker 3: to commemorate the video release that they made twenty five
Speaker 3: million dollars on. Yeah, the initial videotape came out that year,
Speaker 3: but it was that shitty pan and scan no stuff.
Speaker 3: Ave Maria, this is kind of a drag.
Speaker 2: It's not the prettiest recording.
Speaker 3: No, and the visuals, you know, it's it just feels
Speaker 3: like a Lenny reefinstall thing. You know, we're just like
Speaker 3: watching you know what I mean, We're like watching torches
Speaker 3: in a mountain. You know, just didn't I'm not trying
Speaker 3: to besmirch the fine name of Disney or anything with
Speaker 3: Lenny Reefin style there, but you know, you know what
Speaker 3: I'm saying, it's just this weird pastoral of you know,
Speaker 3: making grand what is you know, ordinary kind of rural behavior.
Speaker 2: The only thing I can think it was just meant
Speaker 2: to be the counter counterpoint to Night on Bald Mountain.
Speaker 3: I could have done so much more, so much, something
Speaker 3: much more interpretive. And you know, it's.
Speaker 2: Such a pretty song, was such pretty music.
Speaker 3: Yeah, you know, I don't know, like it could have
Speaker 3: been an impressionistic dream here, like it began with an
Speaker 3: impressionistic kind of thing, like they could have taken that
Speaker 3: to the limit here. Let the animators do whatever the
Speaker 3: fuck that whatever images you're getting for these three seconds,
Speaker 3: put that here.
Speaker 2: It looks like that little bit the other the shot
Speaker 2: of the monks with the lanterns was very Tolkien vibe.
Speaker 3: Yeah, like the elves or that led Zeppelin.
Speaker 2: Or the led Zeppelin.
Speaker 3: That's a we're taking away from demons and but yeah,
Speaker 3: the only.
Speaker 2: Thing I think of is, Okay, we're going to be
Speaker 2: holy here.
Speaker 3: I don't know the only thing we have to be holy?
Speaker 2: Yeah, we have to be holy.
Speaker 3: We just had a fucking jamboree of of demons and creatures.
Speaker 3: Everyone was having a really good time, and it just.
Speaker 2: You know, it looks like they're going to come back tonight.
Speaker 3: So it's yeah, I wonder how often that party goes on.
Speaker 2: Man, it's it's on it.
Speaker 3: Yeah, Dems comes out to telling us that during his
Speaker 3: the Dichotomy of the Sacred.
Speaker 2: And the Profate, it that's like a Halloween type.
Speaker 3: Yeah, the German equivalent of Halloween.
Speaker 2: I'm should have a lot of you know, they also
Speaker 2: have pumpish not.
Speaker 3: Too hey man, any chance to celebrate the.
Speaker 2: Right now you're speaking of Germans and stuff. I think
Speaker 2: there's a similar demon and in Hackson.
Speaker 3: Oh yeah, they're kind of is but in a way
Speaker 3: that demons all look like demon Yeah, but.
Speaker 2: With the big the thing with that the big wings ship.
Speaker 3: I don't really remember him having wings. I just remember
Speaker 3: who who's Yeah, and we don't really get a chance
Speaker 3: to see turner Box's feet here.
Speaker 2: Oh no, he's part of He lives in the mountain
Speaker 2: or is the mountains?
Speaker 3: I love Mickey gives a good performance in this turn
Speaker 3: Bog gives the other good performance there. Yeah, well steals it,
Speaker 3: Yeah he does. He's so he's just so put upon
Speaker 3: when the bell starts this again.
Speaker 2: But when yeah, knock.
Speaker 3: People with here, Yeah.
Speaker 2: Because it's not painful.
Speaker 3: It's that's what I love about it. Yeah, it's like
Speaker 3: him having to wake up to go to work. Yeah, no,
Speaker 3: love me some churn Bog he too, And oh well
Speaker 3: we talked about a man. That's pretty much the end
Speaker 3: of this.
Speaker 2: Yeah, it's the end of that. Maybe they just figure
Speaker 2: people are gonna start walking out. Maybe's you meant to
Speaker 2: walk out or anything. I don't know.
Speaker 3: I would I hereby encourage everybody to end the movie
Speaker 3: once the bell starts, right.
Speaker 2: Yeah, really, the I don't like the choir and it's
Speaker 2: to that choir sounds very well. It sounds like the
Speaker 2: beginning of every Disney movie in the fifties, whenever or
Speaker 2: whatever they would have that. Oh my god, that's what
Speaker 2: it sounds like.
Speaker 3: He loved his vocal group.
Speaker 2: Yeah, there's a version of a by Sarah Brightman. It's
Speaker 2: just hurt. Oh my god, these guys don't really well.
Speaker 3: It's part and parcel with the segment that it's not
Speaker 3: really well thought out.
Speaker 2: But again, the multi playing camera thing is gorgeous when
Speaker 2: they do it, it's really fascinating. And it's the technologies.
Speaker 3: I believe the Maria sequence, the sequence that they up
Speaker 3: until the last moment, uh didn't have before the premiere,
Speaker 3: Like they had to refilm at four different times.
Speaker 2: Yeah, you were saying that earlier.
Speaker 3: Yeah, so that only makes that should have been a
Speaker 3: hint from God end this with But.
Speaker 2: Can you would they be able to end it with no?
Speaker 3: If that were the case, it would have to go
Speaker 3: from Chernibog to The Sorcerer's Apprentice, where Man has at
Speaker 3: least some control.
Speaker 2: Of darkness.
Speaker 3: In fact, that actually makes sense. They should have ended.
Speaker 2: Yeah, maybe Good triumphs over Evil.
Speaker 3: Yeah, it's kind of but not the direct answer.
Speaker 2: Yeah, now the end when we just like Good puts,
Speaker 2: let's evil take a nap.
Speaker 3: This film did spawn a sequel, but its original intention
Speaker 3: was to be sequalized every couple of years, not necessarily sequel,
Speaker 3: to be re released in the in the genius Disney marketing.
Speaker 3: Even from the first day. It was to be re
Speaker 3: released with segments pulled out with replaced with newer si
Speaker 3: So every couple of years they'd basically just make a
Speaker 3: new short, a new silly symphony, but like highbrow, and
Speaker 3: they would say, pull out the dance of the sugar
Speaker 3: Pump fairies, you know, and put in some newer people.
Speaker 2: Was it is that related to what they were worked
Speaker 2: on with Dolly at one point for a little bit.
Speaker 3: No, absolutely, yeah, that was going to be a segment.
Speaker 3: And I think there there are a couple of segments
Speaker 3: I can't really access at the moment, but a couple
Speaker 3: of segments did get made just as their own sort
Speaker 3: of standalone pieces, not part of because they abandoned the
Speaker 3: Fantasia idea, but every up only years. I guess they
Speaker 3: would always announce that there was going to be, including
Speaker 3: recently as recently as twenty nineteen, the Disney Corporation allowed
Speaker 3: that they're now the Disney Corporation announced that they're developing
Speaker 3: a new one, and I have not heard anything since that,
Speaker 3: but you never would in the world of animation.
Speaker 2: No, and the two thousand it was Sorcerer's Apprentice was
Speaker 2: still in there, and night on Bald Mountain was still
Speaker 2: in there, and then everything.
Speaker 3: Else was new, so a little closer to Walt's original idea,
Speaker 3: but really just cherry picked the best ones. Yeah, we're
Speaker 3: being honest.
Speaker 2: Yeah, they sure did it. They had one where the
Speaker 2: graduationsng with Donald Duck as Noah, which is in the arc,
Speaker 2: which is kind of good. Was actually nice because I
Speaker 2: like Donald and the Rapist in Blue is the best.
Speaker 2: But there was also singing with the blue Whales.
Speaker 3: Yeah I'm flying and it was computer generated.
Speaker 2: Yeah, and of course the Flamingos, which, yeah, the Flamingos
Speaker 2: are funny, but it's all like celebrity celebrities of the time,
Speaker 2: kind of doing the Dean.
Speaker 3: That are not fit to hold teams baton. Yeah, he
Speaker 3: has one.
Speaker 2: It really dates it, I.
Speaker 3: Think, yeah, because it's all the it's all the same
Speaker 3: celebrities that Disney was just dealing with at that time anyway.
Speaker 2: Yeah, oh, here it's Bett Miller and pen here comes
Speaker 2: Steve Martin.
Speaker 3: Where can WHOOPI Goldberg be exactly? Robin Williams good in there.
Speaker 3: I think he was mad at the company at that point.
Speaker 2: Yeah, that's right.
Speaker 3: Oh, Mickey only has three fingers because so he doesn't
Speaker 3: have to sign a check.
Speaker 2: They end up giving him like a casso or something.
Speaker 3: Yeah, yeah, to lure him back.
Speaker 2: Yeah, but no, you know, if this is a really
Speaker 2: neat thing, it's I wish they did revisit it. Disney
Speaker 2: could stand to do with something a little on guardy,
Speaker 2: but they'd like to play it safe.
Speaker 3: Yeah, but like they have everything there, just yeah reasonable.
Speaker 3: You know, it's always great when you let a bunch
Speaker 3: of creative people just do what the fuck they want.
Speaker 3: And I know that it's such a lockdown world, the
Speaker 3: world of animate these days. You know, everyone's following the formula,
Speaker 3: whatever formula that they've decided is the one for them.
Speaker 3: But it's good to let them cut loose every once
Speaker 3: in a while and give us something fucking bananas.
Speaker 2: Yeah, it's just a cost. I don't know. It's Disney. Man.
Speaker 2: They spend one hundred million dollars on a Pixar movie,
Speaker 2: I think they can spend twenty million bucks on experimental piece.
Speaker 3: Yeah. I get a bunch of fucking animation students, you
Speaker 3: know who would be your interns, and instead pay them
Speaker 3: a workingman's salary. All they do eight hours a day
Speaker 3: is come up with fucking something crazy and cool.
Speaker 2: You know, I feel like they do the animation that
Speaker 2: just kind of died down. You know, American animators are
Speaker 2: in the Union. They find the cheapest creo that they
Speaker 2: could they can find, and then what they get back
Speaker 2: is that you want. That's not saying Asian animas are bad.
Speaker 2: That's just saying that when you're you know, you're buying
Speaker 2: essentially Kmart brand. It's an animation house and to get
Speaker 2: it out quick and get it out.
Speaker 3: And Disney ought to be encouraging the next generation of
Speaker 3: two D. I mean, they don't need to help three D.
Speaker 3: That's what everyone's going to school for. Yeah, not necessarily
Speaker 3: come work for them, just because that's where everyone's going.
Speaker 3: So somebody needs to be fostering the old hand to
Speaker 3: drawn gorgeousness.
Speaker 2: And it's weird because you know, one of my one
Speaker 2: of the grad schools I wanted to go to with
Speaker 2: the school, I dropped out of school at some point
Speaker 2: and then I went back and got my degree after COVID.
Speaker 2: But when I was there the first time, I wanted
Speaker 2: to go to cal Art and that's the Disney found
Speaker 2: and fund and everything, and that's where you know all
Speaker 2: those great anime animators and directors, sim Burton Gate, Brad
Speaker 2: Bird was at it. My professor, late great Professor Menendez
Speaker 2: for this is the Nandez from you know V he
Speaker 2: was there's the seventies or eighties.
Speaker 3: I think Kennedy Tarkowski came out of yeah somebody.
Speaker 2: He was doing a Popeye mod's sakes and they canceled it.
Speaker 2: Really you that I was making a pop Eye movie
Speaker 2: that you guys Hi Anyway, I don't know why. I mean,
Speaker 2: like I said, Disney has their own college. I did
Speaker 2: the two D movies. Just stop making money and that's
Speaker 2: what it was.
Speaker 3: Or Yeah, I think I don't think that it's not
Speaker 3: they stop making money. I just don't think it has
Speaker 3: to be a bottom line issue, like two D costs
Speaker 3: this much, three D costs this much. They both earned
Speaker 3: this much. We're doing three D.
Speaker 2: Yeah, yes, I just wish they'd, you know, give it
Speaker 2: a shot because the last time they tried it was
Speaker 2: what Princess and the.
Speaker 3: Frog and even that's gonna heaping helping of a lot
Speaker 3: of Yeah.
Speaker 2: They were doing they started using that in Great Mouse.
Speaker 3: That's the first teacher for the cogs in the clock. Yeah,
Speaker 3: it was startling. Then now I don't like it.
Speaker 2: I always hate a siege shows up in the two
Speaker 2: DN and like now they've gotten they do three D
Speaker 2: anime that looks like two D like that X Men
Speaker 2: ninety seven.
Speaker 3: I think absolutely it was and Blue.
Speaker 2: Eyed Samurai and Netflix, which, by the way, having everybody
Speaker 2: in the world to watch one of the finest animated things.
Speaker 2: That being said, it's clearly three D animate and then
Speaker 2: cell shaded looks hand. So we're at a point not
Speaker 2: like you can get away with it, yeah, but it's
Speaker 2: like I draw it at least.
Speaker 3: I mean, look, there's some you gotta have. I don't know,
Speaker 3: there's no answer for it. Bring back two D, like
Speaker 3: somebody out there wants to do it, let them do it.
Speaker 2: Because even though like I mean watched I always have
Speaker 2: Warner Brothers at least the Superhero Park two D at least,
Speaker 2: and they looked great. And now they're just that cell
Speaker 2: shaded c you know it looks like a cut seer
Speaker 2: a PlayStation. Yeah.
Speaker 3: As much as I'm enjoying all the new stuff, it
Speaker 3: does seem a little too computer.
Speaker 2: Yeah, like their Watchmen. I can't wait to see it,
Speaker 2: But it does look like a Telltale game.
Speaker 3: Oh I watched it.
Speaker 2: It was it good?
Speaker 3: Yes, yes, I question its relevancy, but it's certainly the
Speaker 3: full story. Okay, we got some good performances in there too.
Speaker 2: It does it seem like we're just trying to hang
Speaker 2: on to the rights or something.
Speaker 3: Absolutely, the parent come the rights. I don't know what's
Speaker 3: going on with it.
Speaker 2: I don't know why their disaster over there at Warner Brothers.
Speaker 3: Yeah, there's they got bigger problems than the relevancy of
Speaker 3: a Watchman remake.
Speaker 2: But yeah, they announced that they were like wanting to
Speaker 2: put like eight billion dollars in Las Vegas Valley for
Speaker 2: a movie studio where they gonna get eight billion.
Speaker 3: I wondered that.
Speaker 2: Canceling as ride offs were they gonna get eight billion bucks?
Speaker 3: I thought they were eight billion in debt, Like I
Speaker 3: thought that was the reason they brought onzas Lap. Now
Speaker 3: they're committing to a studio here.
Speaker 2: And they've been back on negative credit.
Speaker 3: Walk Sony's coming here too, you know, not.
Speaker 2: To you know, get off topic, but the only that's
Speaker 2: ever going to happen because unless the legislature like changes
Speaker 2: the tax credit for filming here, it's not gonna happen.
Speaker 2: And you know, like they gave half of that way
Speaker 2: would Elon Musk showed up Tesla. So I don't think
Speaker 2: we're ever going to get money back. And you have
Speaker 2: to have a million dollar budget in order to even
Speaker 2: qualify for it. It's really complicated. It's basically what it
Speaker 2: boils down to. If you're going to shoot the Nevada Desert,
Speaker 2: it's better to do it.
Speaker 3: But these are studios they're talking about. This isn't there
Speaker 3: a single production this is but that.
Speaker 2: That would apply to everything they made would still fall
Speaker 2: under that tax credit, So everything they would make it be.
Speaker 3: Cheaper, right. I keep hearing there are plans for the
Speaker 3: studio and that studio and that studio all to come here,
Speaker 3: but it's all contingent upon that, Yeah, the legislature, And.
Speaker 2: They only mean every couple of years. Yay. So I
Speaker 2: don't know what that if that that's going to happen anytime.
Speaker 2: You know, I'd like to have make my life a
Speaker 2: lot easier.
Speaker 3: If they know what suned their bread is buttered on exactly.
Speaker 3: That's that legislation and get fucking like four movie studios
Speaker 3: here in Evana will become new Hollywood.
Speaker 2: It'll be more like new Atlanta. Though.
Speaker 3: Yeah, that's fine by me, man.
Speaker 2: It was like Hollywood too funny. I'm like, you know,
Speaker 2: they got Atlanta. It's gonna be places too filmed. The
Speaker 2: bosses are still going to live.
Speaker 3: Work autus good.
Speaker 2: But at the same time, it's just going to make traffic.
Speaker 3: You know what, Let's have an exit, a mass exodus
Speaker 3: of lost from Los Angeles to here, and then we'll
Speaker 3: go there.
Speaker 2: Oh yeah, really beach fun Yeah.
Speaker 3: Man, the studios are still there.
Speaker 2: Yeah man, it's a good talk. Though. I appreciate the
Speaker 2: going deep dive into the history of cinema with with
Speaker 2: an old picture like this that's been around forever and
Speaker 2: has influenced generations of cartoon maker and filmmaker. I think
Speaker 2: basically has helped introduce all people to classical music. All
Speaker 2: my education for classical music as a kid, came from anime,
Speaker 2: came from this, and came.
Speaker 3: From Warner Brothers back when created. We're attempting to expand
Speaker 3: your mind while making giggle like an idiot.
Speaker 2: Yeah, basically now they just want to get you to
Speaker 2: giggle like an idiot, which I don't get it, because
Speaker 2: if stuff was really well done and expanding your mind,
Speaker 2: people would tune in more.
Speaker 3: I don't like that's up and under them, such as Fantasia.
Speaker 2: Right, those are the thoughts that kept me out of
Speaker 2: the really.
Speaker 3: Good fan Fantasia actually naturally leads us into what's going
Speaker 3: to be our next topic. We're gonna be looking at
Speaker 3: an Italian film from nineteen seventy seven called a Legro
Speaker 3: non Tropo. It is a one for one parody of Fantasia.
Speaker 3: It is spectacular. Can't wait, but until.
Speaker 2: Then where it's Italian?
Speaker 3: Oh my god, I can Oh my god. Yes you're
Speaker 3: going to dig it. But until then, Antonio, where can
Speaker 3: people find you? If they're looking for you?
Speaker 2: You can check out my work at Swampmedia Group dot
Speaker 2: com and watch my movie Space Detective Space detectivemovie dot com.
Speaker 3: As for me, you're here on Weading Way media where
Speaker 3: all amost of stuff that I do, but keep tuning
Speaker 3: into midnight viewing. We're twice a week show days and Fridays.
Speaker 3: Every Monday is the Father Malone Weekly round Up with
Speaker 3: with my co host my pug Ripley Gene and every
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Speaker 3: currently looking at Tales from the dark Side and this
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Speaker 3: Until next time, try to enjoy the daylight when is
Speaker 3: not Yeah, I don't know, I just keep saying trying to.
Speaker 3: I'll come up with a fucking permanent thing. It's on point, folks,