WEBVTT

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<v Speaker 1>Dark Destinations may be end Times Night's creature.

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<v Speaker 2>Why would a few more casually struggle.

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<v Speaker 3>Me because of their blood?

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<v Speaker 2>Will join yours a.

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<v Speaker 1>Radio drama anthology.

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<v Speaker 2>You are wrong how you figure every mark on Mongo

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<v Speaker 2>is hunting you down? Not you, your partner, he said,

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<v Speaker 2>I didn't have a ray gun.

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<v Speaker 1>Full cast performances set in the haunted corners of the globe.

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<v Speaker 2>Darkness is coming for you. That's the fear that taunts me.

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<v Speaker 1>Dark Destinations by fatherm Alone at Weirdingwaymedia dot Com.

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<v Speaker 3>We welcome back to midnight Viewing Anthologies Attack. I am

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<v Speaker 3>your host, Father Malone, and with me as always director

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<v Speaker 3>of Space Detective mister on you on the poor How

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<v Speaker 3>are you, mister Lapoor?

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<v Speaker 2>Hey, their father Malone, how are you?

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<v Speaker 3>I'm doing well. I'm excited for the conversation we're having.

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<v Speaker 3>We like to tack all kinds of anthologies here.

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<v Speaker 2>I know, right back to the animation though, I'm pretty

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<v Speaker 2>excited about that.

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<v Speaker 3>Yeah, and you know, delving back into this one, like

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<v Speaker 3>it made me realize just how many of them are

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<v Speaker 3>out there, and yeah, we're going to have to We're

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<v Speaker 3>going to have to go a whole hog. In fact,

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<v Speaker 3>I think the next episode we do will have to

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<v Speaker 3>be the answer to this particular choice. We're doing a

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<v Speaker 3>bona fide classic tonight, all the way back from nineteen forty.

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<v Speaker 3>In fact, this was released November the thirteenth, nineteen forty,

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<v Speaker 3>distributed by RKAO Radio Pictures, but one thousand percent produced

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<v Speaker 3>by the Walton Disney Company. We're talking about Fantasia once.

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<v Speaker 4>Again, the incomparable motion picture. Walt Disney's Fantasia, more fantastically exciting,

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<v Speaker 4>more magically in tune with today than ever before. Here

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<v Speaker 4>is the majestic milestone of art in which great music

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<v Speaker 4>comes to life through animation Beethoven, Stravinski, Tchaikovsky and others,

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<v Speaker 4>interpreted by thousands of Disney craftsmen. See Mickey Mouse become

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<v Speaker 4>legend as the Sorcerer's Apprentice and Leopold Stukovski conducting the

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<v Speaker 4>Philadelphia Orchestra. See great Music Happen Walt Disney's timeless achievement Fantasia.

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<v Speaker 2>RKO put The distributed this really so like Disney didn't

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<v Speaker 2>have a distribution arm at that point.

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<v Speaker 3>The other ones like that JO No, not for a while.

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<v Speaker 3>I'm always shocked to read like that. The earlier pictures

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<v Speaker 3>were released by somebody else. Obviously Disney owns them now,

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<v Speaker 3>but yeah, I know, not until nineteen fifty of them.

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<v Speaker 2>So basically Disney started out pretty much pixared it, its

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<v Speaker 2>own independent little studio animation production house that had distribution

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<v Speaker 2>from a big Hollywood studio.

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<v Speaker 3>But immediately got into live action as soon as so

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<v Speaker 3>yes in the fifties.

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<v Speaker 2>As soon as they did, they started putting up those

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<v Speaker 2>live action movies.

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<v Speaker 3>Well in the forties, you know, it was the experimental

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<v Speaker 3>period with like Song of the South and like live

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<v Speaker 3>action animated hybrids that sort of generally genuinely eased them

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<v Speaker 3>into the full on live action things that we got

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<v Speaker 3>like with in nineteen fifty. I think the sort of.

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<v Speaker 2>Yeah they did, what was it Like? There was Song

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<v Speaker 2>of the South, which I think I saw as a

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<v Speaker 2>kid's like at summer camp on a video tone and

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<v Speaker 2>it's just as if I remember correctly, was just as

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<v Speaker 2>bad as.

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<v Speaker 3>And I actually watched that about a year ago.

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<v Speaker 2>Oh really, and it's outrageous.

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<v Speaker 3>Yeah, look, it's no doubt racist, But what I did

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<v Speaker 3>come away with is it felt as if it were

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<v Speaker 3>the film's heart was in the right place, if that

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<v Speaker 3>makes sense. It doesn't seem like it was some piece

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<v Speaker 3>of film that needs to be hidden away because it

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<v Speaker 3>had this agenda of like anti black kind of sentiment.

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<v Speaker 3>It's not a birth of a nation, No, it's but

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<v Speaker 3>it's a celebration of a time and place that is

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<v Speaker 3>iffy at best in American history. So is therefore immediately suspect.

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<v Speaker 3>But you know, it's some of the movies are really good,

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<v Speaker 3>you know.

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<v Speaker 2>Yeah, that's interesting. I just I remember that. I remember

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<v Speaker 2>the cartoon Parrot or than Uncle Remus, I remember a Rabbit,

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<v Speaker 2>and I also remember the tarb eighties stuff and all

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<v Speaker 2>that other crap.

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<v Speaker 3>Yeah, it's I didn't say it's a sin. I just

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<v Speaker 3>said I don't think it was intending to further a

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<v Speaker 3>racist agenda.

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<v Speaker 2>That's all less less meat and racist and more unintentional

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<v Speaker 2>aids the nineteen forties and we all forget it.

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<v Speaker 3>Yeah, that's kind of casual racism, which tends, in my

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<v Speaker 3>mind be the worst kind of racism. So I should

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<v Speaker 3>be condemning it harder. But you know, as a piece

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<v Speaker 3>of entertainment, it isn't it doesn't seem to have a

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<v Speaker 3>mean intent.

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<v Speaker 2>I remember we watched a little of Birth of a

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<v Speaker 2>Nation in a film class school man. That was horrendous.

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<v Speaker 3>That one's real, real bad.

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<v Speaker 2>All right, Wow, But I know in the movie we're

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<v Speaker 2>going to talk about now Fantasia, they there's one or

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<v Speaker 2>two things they cut out since you know its original release.

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<v Speaker 2>I know that I know one of the one of

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<v Speaker 2>the little the nymphs. Is it one of the nymphs?

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<v Speaker 2>Or is it it was or was she ate a

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<v Speaker 2>centaur a centaur that it was a little black girl,

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<v Speaker 2>but it was you know with you know, with the

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<v Speaker 2>I'm trying to find I'm trying to find a genteel

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<v Speaker 2>way to describe their facial features, but in a classic

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<v Speaker 2>kind of you know, with the big face, you know,

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<v Speaker 2>the lips and the whole thing looking like blackface.

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<v Speaker 3>Yeah, and attending to the white sense.

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<v Speaker 2>And yeah, cleaning her feet and yeah. I know it's

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<v Speaker 2>old and these guys didn't know what they were, but

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<v Speaker 2>you know, you should still watch this stuff because it's history.

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<v Speaker 2>You like learning. You're looking at this stuff and you're

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<v Speaker 2>learning what how are some's evolved in the last you

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<v Speaker 2>know century from being going you know, back in the

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<v Speaker 2>day when it would be more a malicious racism or

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<v Speaker 2>like catal racism. You're talking about or just the blindness

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<v Speaker 2>to the fact that other people's country has evolved a

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<v Speaker 2>lot and that's interesting to see, and older Disney would

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<v Speaker 2>just chop it out. And I do appreciate the factuse

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<v Speaker 2>he's like, hey, look we got a disclaimer. This was

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<v Speaker 2>We know this stuff isn't great, but you know this

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<v Speaker 2>part of our history. Let's watch it and let's not

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<v Speaker 2>erase it. And I think that for them is I

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<v Speaker 2>wouldn't have expected that from them when I just assumes,

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<v Speaker 2>did you just cut it out and move on? Although

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<v Speaker 2>they caught out Sunflattle Girl in this, but for the

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<v Speaker 2>most part they kept the movie intact.

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<v Speaker 3>Yeah, you know from my rewatch of this, I actually

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<v Speaker 3>watched it on the Disney Plus app did I And yeah,

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<v Speaker 3>because the disclaimer comes up at the beginning, and once

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<v Speaker 3>they started doing that, there was a big fiora over

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<v Speaker 3>and it's it. They make you read it for fifteen

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<v Speaker 3>seconds and it really sort of gently and even handedly

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<v Speaker 3>sort of explains, look, there's some shit in this movie.

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<v Speaker 3>It's fucked up, we can learn from it. Let's not censor.

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<v Speaker 3>Like it's effectively an anti censorship card at the beginning,

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<v Speaker 3>and people are bitching that it's how dare you fucking

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<v Speaker 3>warn reasons?

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<v Speaker 2>It was weird, Like I think Disney gets this like

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<v Speaker 2>a lot of like flag. I know there's a segment

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<v Speaker 2>of the population well getting political, but it's a segment

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<v Speaker 2>of population it really hates Disney doing this and doing that.

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<v Speaker 2>I'm just like, Okay, fine, but I don't ever remember

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<v Speaker 2>Disney ever doing anything really malicious other than being a

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<v Speaker 2>creepy corporation. Fine, all corporations are greedy bastards, but like,

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<v Speaker 2>for the most part, all I know Disney's ever put

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<v Speaker 2>out stuff that everybody can watch and enjoy. So I

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<v Speaker 2>never understand that. I'm just like, why, Like my mom

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<v Speaker 2>can watch Disney, my little seven year old enoughhew, you

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<v Speaker 2>can watch Disney. I don't get it. I know, I

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<v Speaker 2>don't know.

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<v Speaker 3>I'll tell you the problem with the Disney Corporation. They

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<v Speaker 3>fostered this notion that lemmings like to jump off of cliffs,

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<v Speaker 3>and that is just simply not true. You know, that's

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<v Speaker 3>you know, yeah, like they filmed they had heard that rumor,

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<v Speaker 3>but then found that lemmings didn't actually do that, but

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<v Speaker 3>then actually forced a bunch of lemmings off of a cliff,

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<v Speaker 3>calling it and then cemented that notion forever. Okay, this

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<v Speaker 3>is one of their less problematics, I guess, even though

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<v Speaker 3>there are some parts of it to this day that

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<v Speaker 3>make you cringe a little bit, make your wintle. But

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<v Speaker 3>the genesis of this movie starts about in nineteen thirty six.

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<v Speaker 3>I find this to be sort of baffling that by

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<v Speaker 3>nineteen thirty six Walt Disney had decided that the popularity

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<v Speaker 3>of Mickey Mouse had waned to the point that he

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<v Speaker 3>needed to reinvigorate his image.

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<v Speaker 2>Which is weird because Mickey Mouse is eight years old

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<v Speaker 2>of that one.

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<v Speaker 3>Is it just they I know that was found in

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<v Speaker 3>twenty three, but they did they hadn't necessarily landed on

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<v Speaker 3>Mickey as the guy at that point, right.

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<v Speaker 2>Yes, Steamboat Willie is nineteen twenty eight. There was some

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<v Speaker 2>Oswald shorts.

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<v Speaker 3>So that's like saying, you know something that pop up

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<v Speaker 3>in that's look saying John Wick is, we've got to

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<v Speaker 3>reinvigorate John Wick.

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<v Speaker 2>Well, if you notice how quickly they rebooted Spider Man

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<v Speaker 2>from Toby maguire and Andrew Garfield to Tom Holland.

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<v Speaker 3>I think part of that's the rights issue, though. I

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<v Speaker 3>think that's like we need to hold on with us

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<v Speaker 3>with both fucking hands. Make it up right now. So

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<v Speaker 3>Walt de science he's going to make a bit of

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<v Speaker 3>a lavish short. That marrying classical music two short animated

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<v Speaker 3>films is nothing new. I mean, Disney had a segment

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<v Speaker 3>of films called Silly Symphonies. You know Mary it off

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<v Speaker 3>with Mary Melodies. Yeah, so that concept isn't new. That

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<v Speaker 3>innovation is not really an innovation in Fantasia in general.

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<v Speaker 3>But Walt wanted to push it to its limit here

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<v Speaker 3>when he decided to make The Sorcerers a printed and

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<v Speaker 3>that's all. It was supposed to be just a short subject,

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<v Speaker 3>just like any other. So that was in like nineteen

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<v Speaker 3>thirty sixty makes by nineteen thirty eight, Roy Disney has

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<v Speaker 3>to say, you've spent one hundred and twenty five thousand

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<v Speaker 3>dollars on this. We can spend no more on this

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<v Speaker 3>as a short film. What do you want to do

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<v Speaker 3>with it? At which point the concept of Fantasia comes

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<v Speaker 3>to mind, Like, well, let's just do a whole bunch

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<v Speaker 3>of these.

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<v Speaker 2>That's what I was, like, I've always liked about Walt

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<v Speaker 2>Disney's like his and their philosophy continues in the imagineering.

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<v Speaker 2>Part of the companies is plussing it, you know, like

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<v Speaker 2>I've already got one thing as well, let's just make

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<v Speaker 2>it bigger. I always love that idea of like with

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<v Speaker 2>art and industry and stuff, you've got something and it works,

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<v Speaker 2>what can we do with it? Well, shit, let's just

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<v Speaker 2>make it bigger. Let's do more, rather than let's scale

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<v Speaker 2>back and figure out how to spend our money more wisely, No,

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<v Speaker 2>fuck it, more money. I love it.

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<v Speaker 3>It does seem like the question is always, well, what

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<v Speaker 3>could be better? Right here? Well, okay, well I guess

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<v Speaker 3>we're gonna have to do it that way.

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<v Speaker 2>What more can we do? Yeah? And it's and what

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<v Speaker 2>I liked about that young Disney his willingness to spend

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<v Speaker 2>everything he's got on his company on technological advancement, advancement

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<v Speaker 2>in storytelling and and an advancement of cinema, Like he really, now,

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<v Speaker 2>fuck it, We're going to take this huge financial risk

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<v Speaker 2>so we can experiment. And who does that? You know,

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<v Speaker 2>Jim Cameron does that. George Lucas does that. That's a

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<v Speaker 2>rare thing, I think, and I always I've always really.

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<v Speaker 3>Did having When they finally decided to make the film, proper,

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<v Speaker 3>which I was not called Fantasia for like the concert film.

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<v Speaker 3>Did you happen to see the cinematographer for this film?

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<v Speaker 2>No, who was it?

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<v Speaker 3>It's James Wong how WHOA Yeah, so you know Yankee

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<v Speaker 3>Doodle Dandy's Strawberry Blond. You know Tom saw Adventures of Tom,

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<v Speaker 3>started The Prisoner of Zenda James Long how.

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<v Speaker 2>Because I was noticing that, you know, maybe because I've

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<v Speaker 2>never seen it like in four K before or whatever.

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<v Speaker 2>Their transfer that lighting and is gorgeous. I've always had

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<v Speaker 2>a you know, I got that VHS in nineteen ninety

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<v Speaker 2>no obsess with this movie in high school. You never

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<v Speaker 2>saw all those rich colors from the halo lighting and stuff,

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<v Speaker 2>which it's not just a silhouette. It's a silhouette, but

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<v Speaker 2>it's got a red halo on one side, a purple

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<v Speaker 2>one on the other one, or a blue one on

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<v Speaker 2>the other it's really nice.

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<v Speaker 3>Yeah. The color is just fucking incredible. The filmmaking on

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<v Speaker 3>display here in general incredible. This movie was very well

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<v Speaker 3>received when it came out too. It was hailed for

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<v Speaker 3>you know what it is, which is kind of a landmark.

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<v Speaker 3>This is a more than two hour movie where it's

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<v Speaker 3>as anthology as you can get. It's vignettes from famous

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<v Speaker 3>classical pieces that have been reinterpreted or interpreted for the

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<v Speaker 3>first time by the Disney animate and.

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<v Speaker 2>It's an intellectual piece and it's not a car family

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<v Speaker 2>cartoon or anything like that. This is for grown ups,

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<v Speaker 2>for smart grown.

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<v Speaker 3>Up and it's something that Disney, like when it came

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<v Speaker 3>to picking the musical pieces, sort of sat back and said,

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<v Speaker 3>I don't know enough about this, and that, to me

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<v Speaker 3>is the perfect reason that the movie is getting made.

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<v Speaker 3>If Disney, who, if you know, probably more cultivated or

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<v Speaker 3>cultured than the average citizen at that moment, feels that

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<v Speaker 3>he's deficient in his knowledge of the arts, like his

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<v Speaker 3>reaction is, well, let's as I learned, let's help everyone

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<v Speaker 3>else learn too, and do it in a very entertaining man.

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<v Speaker 2>Yeah, I did. And again I like the advancements they

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<v Speaker 2>made in movie making. Surround sound pretty much invented it

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<v Speaker 2>for this movie. You see some of the footage of

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<v Speaker 2>our photos and stuff of like their early premieres and

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<v Speaker 2>early screenings and installing speakers around you know, the movie theater.

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<v Speaker 2>Not that's commonplace now, but in nineteen forty that's heard

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<v Speaker 2>of and the multiplane camera stuff at this too, which

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<v Speaker 2>is really evident in the Ava Mariasik at the end.

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<v Speaker 2>But you know, they traditionally animation, you know, they have

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<v Speaker 2>one one plane and put a background and they put

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<v Speaker 2>the cell the frame of the animation, clear background over

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<v Speaker 2>the background, take the picture and move on. On this one,

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<v Speaker 2>they would have multiple planes so they can move the

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<v Speaker 2>camera in and out, creating a sense of three D.

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<v Speaker 2>Again nineteen forty, it's amazing.

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<v Speaker 3>You know, they had some real trouble with their multiplanes.

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<v Speaker 2>Because the room wasn't big enough, right.

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<v Speaker 3>There were multiple problems, like there were situations where they

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<v Speaker 3>hadn't lined up the plates correct. No, that the lens

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00:14:51.519 --> 00:14:55.159
<v Speaker 3>on the camera was too wide. So not only were

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<v Speaker 3>they getting the frames of the animation, but they were

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<v Speaker 3>getting the stand and they were getting like you know,

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00:15:01.159 --> 00:15:04.360
<v Speaker 3>workers or like animators, you know, snaps of them in

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<v Speaker 3>the background. So that happened, and then they had to

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<v Speaker 3>start again. And they got halfway through and realized that

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<v Speaker 3>there was a fuck up, and rather than risk it,

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00:15:14.320 --> 00:15:17.120
<v Speaker 3>they started again. They had to do it four times. Basically,

279
00:15:17.399 --> 00:15:21.159
<v Speaker 3>the sequence in question was finished the day before the premiere.

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<v Speaker 2>Crazy, that's insane. I mean you hear people do shit

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00:15:24.600 --> 00:15:26.799
<v Speaker 2>like that nowadays every now and then, Oh I finished

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<v Speaker 2>cutting to me three days ever, but this nineteen forty

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00:15:29.159 --> 00:15:31.720
<v Speaker 2>they had to go print this day. They gotta go

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00:15:31.759 --> 00:15:33.320
<v Speaker 2>print it, they gotta cut it in and they got

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<v Speaker 2>to watch it not fucked up.

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<v Speaker 3>So in order to make the okay, in order to

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<v Speaker 3>even choose the segments of music to go, here, Disney

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<v Speaker 3>on a chance meeting with Leopold Stokowski. He is the

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<v Speaker 3>conductor for the Philadelphia Philharmonic Orchestra. Very renowned guy who

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<v Speaker 3>evidently he pioneered the art of conducting without the baton.

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<v Speaker 3>He only used his hands when Bugs Bunny when they're

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<v Speaker 3>making fun of Leopold in that one cartoon, like, that's

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00:16:00.720 --> 00:16:04.360
<v Speaker 3>the same guy, that's Leopold Stakowski, because Bugs Bunny adopts

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00:16:04.360 --> 00:16:10.080
<v Speaker 3>that same conducting style without the baton. Yes, Leopold, which

295
00:16:10.120 --> 00:16:12.080
<v Speaker 3>is all I could think during this every time they

296
00:16:12.120 --> 00:16:15.720
<v Speaker 3>cut to the line Leopold was the Bugs Bunny thing.

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<v Speaker 3>So Stakowski initially is hired just to provide the music

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00:16:20.799 --> 00:16:24.840
<v Speaker 3>for the Sorcerer's Apprentice before this expands into fan taic,

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00:16:25.000 --> 00:16:28.759
<v Speaker 3>and originally agreed to not be paid for his work.

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00:16:28.799 --> 00:16:31.120
<v Speaker 3>On Sorcerer's Apprentice. He just thought it was He just

301
00:16:31.159 --> 00:16:32.720
<v Speaker 3>thought it was neat to be able to do an

302
00:16:32.840 --> 00:16:35.360
<v Speaker 3>arrangement of that and get it out to the mass. Nevertheless,

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00:16:35.360 --> 00:16:37.200
<v Speaker 3>they paid him like five thousand dollars. They ended up

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00:16:37.200 --> 00:16:40.360
<v Speaker 3>paying like eighteen thousand dollars when they hired him for Fantasia.

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00:16:40.559 --> 00:16:43.159
<v Speaker 3>By the way, I mentioned that the Sore's Apprentice that

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00:16:43.279 --> 00:16:45.399
<v Speaker 3>the budget had spiraled out to one hundred and twenty

307
00:16:45.399 --> 00:16:47.279
<v Speaker 3>five thousand dollars, and then they're like, now we need

308
00:16:47.320 --> 00:16:49.720
<v Speaker 3>to make a feature. One hundred and twenty five thousand

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00:16:49.720 --> 00:16:52.399
<v Speaker 3>dollars in nineteen thirty eight is the equivalent of two

310
00:16:52.480 --> 00:16:57.320
<v Speaker 3>point seven million dollars. Walt was never stingy when it

311
00:16:57.360 --> 00:16:57.720
<v Speaker 3>came to.

312
00:16:57.759 --> 00:17:02.080
<v Speaker 2>Oh no, was not sheet man spare no expense. But

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00:17:02.600 --> 00:17:04.440
<v Speaker 2>again it always worked for him.

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<v Speaker 3>So Stakowski and some of the animators they come up with,

315
00:17:07.960 --> 00:17:11.200
<v Speaker 3>and Disney's there, obvious, this isn't done in a vacuum.

316
00:17:11.279 --> 00:17:13.039
<v Speaker 3>He had his two cents in. They settle on a

317
00:17:13.079 --> 00:17:16.599
<v Speaker 3>number of pieces. Takata Infugen d Minor by Bach, Nutcracker

318
00:17:16.680 --> 00:17:20.920
<v Speaker 3>Sweet by Tchaikovsky, SORCER's Apprentice Obvious, The Right of Spring

319
00:17:20.960 --> 00:17:24.599
<v Speaker 3>by Stravinsky. There's an intermission like jazz intermission, but then

320
00:17:24.640 --> 00:17:27.599
<v Speaker 3>they did the Pastoral Symphony by Beethoven, Dance of the

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00:17:27.640 --> 00:17:31.880
<v Speaker 3>Hours by Punk Punk Punky Elly Punchielli Punky Elly, and

322
00:17:31.960 --> 00:17:34.599
<v Speaker 3>then to finish us off, it's Night on Bald Mountain

323
00:17:34.640 --> 00:17:39.599
<v Speaker 3>by Muzagorsky and Ave Maria by Schubert, and uh, they're

324
00:17:39.640 --> 00:17:42.640
<v Speaker 3>all very happy with those choices. They had a bunch

325
00:17:42.640 --> 00:17:45.319
<v Speaker 3>of ones on deck, I guess. In fact, Claire de

326
00:17:45.400 --> 00:17:49.240
<v Speaker 3>Loon was until the like the until the last minute

327
00:17:49.519 --> 00:17:51.440
<v Speaker 3>was going to be a segment, and then that got

328
00:17:51.480 --> 00:17:54.279
<v Speaker 3>cut I think for time. But that's where we are.

329
00:17:54.359 --> 00:17:57.000
<v Speaker 3>That's where we begin this movie. And as I mentioned,

330
00:17:57.079 --> 00:18:00.839
<v Speaker 3>it's live action and animation come and this is where

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00:18:00.839 --> 00:18:03.240
<v Speaker 3>they kind of start with trying to com find them.

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<v Speaker 3>And okay, so we not only get Stakowski as the conductor,

333
00:18:08.079 --> 00:18:10.559
<v Speaker 3>who is the real kind of linking device, but he's

334
00:18:10.599 --> 00:18:13.039
<v Speaker 3>not really the linking device because they have a film

335
00:18:13.119 --> 00:18:16.039
<v Speaker 3>critic and composer on his own right name dems Taylor

336
00:18:17.079 --> 00:18:20.920
<v Speaker 3>is the actual narrator. First of all, great name Demes, okay,

337
00:18:21.000 --> 00:18:23.480
<v Speaker 3>and he's got a pleasant enough voice and you can

338
00:18:23.519 --> 00:18:25.519
<v Speaker 3>see why they chose him. I think he was not

339
00:18:25.599 --> 00:18:28.519
<v Speaker 3>there for first choice. There was a scheduling error with

340
00:18:28.599 --> 00:18:31.240
<v Speaker 3>their first voice. I'm not sure we needed him at all.

341
00:18:31.799 --> 00:18:34.599
<v Speaker 2>You don't need him at all. I'm even as a kid,

342
00:18:34.640 --> 00:18:36.640
<v Speaker 2>every time he was on screen, I was like, ugh

343
00:18:36.759 --> 00:18:41.880
<v Speaker 2>with this guy. Oh oh, I'm Dames Taylor, shut up,

344
00:18:42.240 --> 00:18:45.559
<v Speaker 2>you know. And the same goes for Fantation two thousand.

345
00:18:45.839 --> 00:18:48.599
<v Speaker 2>Those celebrities. Every time I see like they come all

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<v Speaker 2>on screen, I'm just.

347
00:18:49.519 --> 00:18:54.000
<v Speaker 3>Like, certainly, certainly, by Fantation two thousand, they should have

348
00:18:54.160 --> 00:18:57.079
<v Speaker 3>known that the audience was sophisticated enough to go with

349
00:18:57.160 --> 00:19:00.279
<v Speaker 3>the concept. Here in nineteen forty, which is when this

350
00:19:00.359 --> 00:19:03.319
<v Speaker 3>movie premierees, it makes a little more sense. The whole

351
00:19:03.359 --> 00:19:05.720
<v Speaker 3>idea of this movie is kind of radical when you

352
00:19:05.759 --> 00:19:07.720
<v Speaker 3>think about no one had done anything like this, not

353
00:19:07.759 --> 00:19:10.000
<v Speaker 3>in the featured length. They were used to shorts, and

354
00:19:10.039 --> 00:19:12.240
<v Speaker 3>they were used to shorts making little to no sense

355
00:19:12.279 --> 00:19:16.839
<v Speaker 3>and just sort of mindless entertainment. So I get the impetus.

356
00:19:17.000 --> 00:19:21.720
<v Speaker 3>What I don't understand is why they didn't judiciously edit

357
00:19:21.759 --> 00:19:24.200
<v Speaker 3>it so cause you can basically every time they cut

358
00:19:24.240 --> 00:19:28.240
<v Speaker 3>the dems, you can effectively hear action like you don't

359
00:19:28.240 --> 00:19:30.440
<v Speaker 3>hear it on the soundtrack or anything. But yeah, just

360
00:19:30.480 --> 00:19:33.640
<v Speaker 3>standing there like waiting to talk and our next selection.

361
00:19:33.880 --> 00:19:36.519
<v Speaker 3>You know, it's very uncomfortable, and it's.

362
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<v Speaker 2>Also and he also just tells you this is what's

363
00:19:38.920 --> 00:19:41.039
<v Speaker 2>gonna happen, like in the Night on Bald Mountain. He

364
00:19:41.079 --> 00:19:43.759
<v Speaker 2>literally just describes the entire seat and he's, Okay, now

365
00:19:43.839 --> 00:19:45.000
<v Speaker 2>watch it.

366
00:19:45.039 --> 00:19:48.279
<v Speaker 3>Thinks that one I actually that I chalk up to

367
00:19:48.319 --> 00:19:51.680
<v Speaker 3>the time. And yet because the Night on Bald Mountain

368
00:19:51.680 --> 00:19:54.079
<v Speaker 3>sequence is a revel reader and we're going to get

369
00:19:54.079 --> 00:19:56.960
<v Speaker 3>to there, but you need to sort of front load. Hey,

370
00:19:57.079 --> 00:20:00.359
<v Speaker 3>we're not endorsing all the devil stuff about to occur,

371
00:20:00.519 --> 00:20:02.680
<v Speaker 3>but I know it's gonna look cool and it's gonna

372
00:20:02.680 --> 00:20:04.200
<v Speaker 3>be your favorite part, and it's the thing you're gonna

373
00:20:04.240 --> 00:20:06.240
<v Speaker 3>remember when you walk out of this theater. But we're

374
00:20:06.279 --> 00:20:09.359
<v Speaker 3>not endorsing it. There's he calls it the profane.

375
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<v Speaker 2>The picture starts with him kind of explaining what fantasia is,

376
00:20:14.920 --> 00:20:17.920
<v Speaker 2>and then he goes into the three types of this

377
00:20:18.000 --> 00:20:20.440
<v Speaker 2>kind of this kind of music on a third type,

378
00:20:20.599 --> 00:20:24.079
<v Speaker 2>which we call absolutely and I'm just like, okay.

379
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<v Speaker 3>Well here's the thing that I enjoyed that because you

380
00:20:27.200 --> 00:20:29.960
<v Speaker 3>like that part too, Yeah, Yeah, there are levels of music,

381
00:20:30.039 --> 00:20:33.559
<v Speaker 3>and there are music, you know, obviously composed to tell

382
00:20:33.559 --> 00:20:36.720
<v Speaker 3>you a story and you can hear the story occurring,

383
00:20:36.880 --> 00:20:39.839
<v Speaker 3>and then there's music of this other variety, and then finally,

384
00:20:40.240 --> 00:20:42.799
<v Speaker 3>you know, the sort of just lean back and you know,

385
00:20:42.960 --> 00:20:45.240
<v Speaker 3>float away in a reverie kind of music, you know,

386
00:20:45.720 --> 00:20:49.319
<v Speaker 3>And I like that the film is sort of staged,

387
00:20:49.359 --> 00:20:52.359
<v Speaker 3>at least with the Takata and fugue piece, which, by

388
00:20:52.400 --> 00:20:56.400
<v Speaker 3>the way, huge fucking misstep and not using that in

389
00:20:56.440 --> 00:20:59.519
<v Speaker 3>a better sequence in this movie. It's my favorite piece

390
00:20:59.559 --> 00:21:02.319
<v Speaker 3>of all time. And this is a beautiful orchestral version.

391
00:21:02.319 --> 00:21:04.960
<v Speaker 3>This isn't the usual sort of organ version with the

392
00:21:04.960 --> 00:21:07.480
<v Speaker 3>proper version. They're showing off the orchestra here, and what

393
00:21:07.519 --> 00:21:11.680
<v Speaker 3>they're doing is that it's the most impressionistic sequence in

394
00:21:11.720 --> 00:21:16.079
<v Speaker 3>the entire film, where notes are just being represented by

395
00:21:16.480 --> 00:21:20.440
<v Speaker 3>color blotches and you know, out of focus things, and

396
00:21:20.480 --> 00:21:23.640
<v Speaker 3>there's a lot of interplay between the silhouettes of the

397
00:21:23.759 --> 00:21:28.160
<v Speaker 3>orchestra here and the animated kind of imaginings of what

398
00:21:28.200 --> 00:21:30.279
<v Speaker 3>the music might look like for them in the mind

399
00:21:30.319 --> 00:21:32.720
<v Speaker 3>of the casual classical listener.

400
00:21:33.079 --> 00:21:35.440
<v Speaker 2>Now, had this piece of music been associated with the

401
00:21:35.440 --> 00:21:36.640
<v Speaker 2>Phantom of the Opera.

402
00:21:36.400 --> 00:21:40.759
<v Speaker 3>Already by nineteen thirty one is when it actually gained popularity,

403
00:21:40.759 --> 00:21:43.519
<v Speaker 3>because it appeared in Doctor Jekylne Mister Hyde as an

404
00:21:43.559 --> 00:21:47.039
<v Speaker 3>accompaniment to that silent Oh Wow. That was the first

405
00:21:47.039 --> 00:21:51.720
<v Speaker 3>sort of sinister association with it in Popular Meat. Okay, okay,

406
00:21:51.759 --> 00:21:54.640
<v Speaker 3>So that's nineteen thirty one that I think is close

407
00:21:54.759 --> 00:21:58.720
<v Speaker 3>enough and isolated enough that maybe some of the Disney

408
00:21:58.759 --> 00:22:01.319
<v Speaker 3>guys had seen that movie and heard the accompaniment and

409
00:22:01.359 --> 00:22:04.480
<v Speaker 3>like smatterings of people throughout the United States, But certainly

410
00:22:04.519 --> 00:22:06.599
<v Speaker 3>it wasn't like it showed up on the Internet and

411
00:22:06.640 --> 00:22:09.960
<v Speaker 3>now we all and now suddenly the grumunk is associated

412
00:22:10.039 --> 00:22:15.599
<v Speaker 3>with Wednesday, right, you know what I mean? The piece

413
00:22:15.680 --> 00:22:17.759
<v Speaker 3>was already out there, and it had already been interpreted

414
00:22:17.759 --> 00:22:20.440
<v Speaker 3>in dozens of different ways. And the thing is, the

415
00:22:20.480 --> 00:22:23.920
<v Speaker 3>sinister parts of Takata and Fugen d Minor are always

416
00:22:23.960 --> 00:22:26.319
<v Speaker 3>at the end of every movement where it just it

417
00:22:26.400 --> 00:22:29.480
<v Speaker 3>always ends in a rather in this note. But the

418
00:22:29.640 --> 00:22:33.839
<v Speaker 3>actual bits of verses of music, they're actually quite lyrical

419
00:22:33.880 --> 00:22:36.920
<v Speaker 3>and lovely. So they and that's shown off here more

420
00:22:36.920 --> 00:22:38.400
<v Speaker 3>than I've ever seen it done before.

421
00:22:38.440 --> 00:22:41.200
<v Speaker 2>I do like how the live action kind of like

422
00:22:41.279 --> 00:22:44.839
<v Speaker 2>seamlessly becomes the animation though, that's pretty I thought that's

423
00:22:44.880 --> 00:22:45.559
<v Speaker 2>really elegant.

424
00:22:45.720 --> 00:22:47.880
<v Speaker 3>It makes you wish we'd just stayed in the animation.

425
00:22:48.000 --> 00:22:51.480
<v Speaker 3>I know, I'm complaining from a late twentieth century, early twenty.

426
00:22:51.279 --> 00:22:53.119
<v Speaker 2>Five no, but I mean the introduct the live action

427
00:22:53.240 --> 00:22:55.759
<v Speaker 2>introduction I think is acceptable and I think it works,

428
00:22:55.759 --> 00:22:58.319
<v Speaker 2>and you're right there, you know, I'm just anxious for

429
00:22:58.359 --> 00:23:01.799
<v Speaker 2>the animation. I've seen this, but the transitions because of

430
00:23:01.799 --> 00:23:05.079
<v Speaker 2>the silhouette, it really just it really just transforms.

431
00:23:04.599 --> 00:23:06.400
<v Speaker 3>Rather than have you seen this film in a theater?

432
00:23:06.720 --> 00:23:07.079
<v Speaker 2>I did?

433
00:23:07.680 --> 00:23:09.599
<v Speaker 3>I think nineteen ninety release.

434
00:23:09.400 --> 00:23:12.319
<v Speaker 2>Yeah, something like that. I'm pretty sure I did. I

435
00:23:12.359 --> 00:23:14.200
<v Speaker 2>saw two thousand on an.

436
00:23:14.160 --> 00:23:17.480
<v Speaker 3>Imax right when two thousand came out.

437
00:23:17.359 --> 00:23:20.319
<v Speaker 2>And the old Imax theater at the Luxor So it

438
00:23:20.359 --> 00:23:23.039
<v Speaker 2>was really it was like your distance to the to

439
00:23:23.279 --> 00:23:25.799
<v Speaker 2>the screen was really short, and so it was really

440
00:23:25.880 --> 00:23:28.039
<v Speaker 2>kind of a vertical seating, so you had to kind

441
00:23:28.039 --> 00:23:31.359
<v Speaker 2>of look down to see the bottom of this very loud.

442
00:23:31.440 --> 00:23:34.599
<v Speaker 3>But a true Imax, like now they just throw the

443
00:23:34.720 --> 00:23:37.279
<v Speaker 3>largest screen they can possibly find and go, that's an Imax.

444
00:23:38.920 --> 00:23:40.359
<v Speaker 3>I shouldn't be able to see the edges.

445
00:23:40.559 --> 00:23:43.119
<v Speaker 2>Yeah, we used to have the Omnium at Caesar's Palace,

446
00:23:43.160 --> 00:23:47.119
<v Speaker 2>which was a dome, and the screen filled the entire

447
00:23:47.160 --> 00:23:49.519
<v Speaker 2>dome and you were like these inclined seats and you

448
00:23:49.599 --> 00:23:52.799
<v Speaker 2>kind of looked up. It's really it was really spectacular.

449
00:23:52.799 --> 00:23:55.119
<v Speaker 2>I guess the sphere is the closest to what they

450
00:23:55.119 --> 00:23:57.960
<v Speaker 2>have now is close that old Imax theater. Yeah, the

451
00:23:58.000 --> 00:23:59.759
<v Speaker 2>camera moved, you felt the motion.

452
00:24:00.039 --> 00:24:02.279
<v Speaker 3>There was a very similar one in Boston. I grew

453
00:24:02.359 --> 00:24:05.519
<v Speaker 3>up in Boston at the Museum of Science. They the

454
00:24:05.720 --> 00:24:09.039
<v Speaker 3>Mugar Omnimax theater. There was an omni theater. There was

455
00:24:09.039 --> 00:24:12.039
<v Speaker 3>an Omnimax theater. So it's exactly what you're saying. It

456
00:24:12.079 --> 00:24:15.319
<v Speaker 3>was so there was nowhere you could look there. There

457
00:24:15.359 --> 00:24:17.319
<v Speaker 3>wasn't a film playing. It was fucking amazing.

458
00:24:17.559 --> 00:24:19.960
<v Speaker 2>It was so cool and nothing. But they never had

459
00:24:20.000 --> 00:24:22.319
<v Speaker 2>features or anything. All I had was documentaries. The only

460
00:24:22.359 --> 00:24:25.720
<v Speaker 2>like narrative piece. They was like a movie Shirley Maclain

461
00:24:25.799 --> 00:24:27.680
<v Speaker 2>I think I saw, but it was like a short.

462
00:24:27.759 --> 00:24:29.000
<v Speaker 2>It wasn't even a full feature.

463
00:24:29.279 --> 00:24:32.759
<v Speaker 3>Yeah, Boston had a few Boston themed shorts where you

464
00:24:32.799 --> 00:24:35.240
<v Speaker 3>know the history of the city, you know, so you

465
00:24:35.279 --> 00:24:38.680
<v Speaker 3>get to see the pilgrims and stuff. But like everywhere

466
00:24:38.680 --> 00:24:40.640
<v Speaker 3>you look Pilgrim all right, so that you know, the

467
00:24:40.680 --> 00:24:43.839
<v Speaker 3>takin of sequence here is it's fine, it's you know,

468
00:24:44.680 --> 00:24:47.519
<v Speaker 3>in this day and age, it's nothing. It look it

469
00:24:47.599 --> 00:24:50.960
<v Speaker 3>is remarkable because it's hand drawn animation, like I have

470
00:24:51.079 --> 00:24:53.519
<v Speaker 3>to anytime I feel like while I'm watching, While I

471
00:24:53.559 --> 00:24:55.400
<v Speaker 3>was watching the movie, I kept thinking like, well, you know,

472
00:24:55.440 --> 00:24:58.279
<v Speaker 3>I've seen this kind of thing a lot. Like the

473
00:24:58.400 --> 00:25:01.079
<v Speaker 3>level and skill of the animators here is just it's

474
00:25:01.160 --> 00:25:03.440
<v Speaker 3>really hard to beat, you know, yeah.

475
00:25:03.279 --> 00:25:06.240
<v Speaker 2>It really is. You go back and you it makes

476
00:25:06.279 --> 00:25:09.319
<v Speaker 2>you see what they were doing and how more advanced

477
00:25:09.359 --> 00:25:12.200
<v Speaker 2>they were than we are now as far as in animation,

478
00:25:12.359 --> 00:25:16.440
<v Speaker 2>because now animation is a real short pipeline. The workflow

479
00:25:16.519 --> 00:25:19.000
<v Speaker 2>is really short. You know, one guy can do the

480
00:25:19.039 --> 00:25:22.599
<v Speaker 2>principal animation and then have the computer do the fill

481
00:25:22.599 --> 00:25:25.240
<v Speaker 2>in st since you're using frame animation stuff like that,

482
00:25:25.640 --> 00:25:27.400
<v Speaker 2>and now you're not painting, and now you're going in

483
00:25:27.400 --> 00:25:30.839
<v Speaker 2>af you know, into photoshop, you know, and for simple animation,

484
00:25:30.960 --> 00:25:33.960
<v Speaker 2>they're just you know, a bucket paint, you know, there's

485
00:25:33.960 --> 00:25:37.000
<v Speaker 2>not a lot of and but on these movies all

486
00:25:37.079 --> 00:25:41.000
<v Speaker 2>hand painted everything on one cell at a time, full animation,

487
00:25:41.160 --> 00:25:44.799
<v Speaker 2>not even the limited animation developed by hann of Barbera,

488
00:25:44.920 --> 00:25:48.119
<v Speaker 2>which pretty much became all after that a Disney or

489
00:25:48.279 --> 00:25:49.480
<v Speaker 2>DreamWorks those.

490
00:25:49.680 --> 00:25:51.599
<v Speaker 3>By the time hand of Barbara it's I think it's

491
00:25:51.640 --> 00:25:54.839
<v Speaker 3>four to one, right, four cells for every one second

492
00:25:54.839 --> 00:25:58.000
<v Speaker 3>of films, twenty four frames per second. Prior to that,

493
00:25:58.119 --> 00:26:00.759
<v Speaker 3>I think in the fifties, like even the major studios,

494
00:26:00.759 --> 00:26:02.880
<v Speaker 3>we're doing two to one by then. But here this

495
00:26:03.000 --> 00:26:05.920
<v Speaker 3>is definitely one to one. Yeah, it's this is twenty

496
00:26:05.960 --> 00:26:10.920
<v Speaker 3>four dry. This is twenty four pages, and every single

497
00:26:10.960 --> 00:26:12.960
<v Speaker 3>one of them is gorgeous. What you were saying earlier

498
00:26:12.960 --> 00:26:15.680
<v Speaker 3>about the silhouettes and the sort of hard lines that

499
00:26:15.799 --> 00:26:19.920
<v Speaker 3>end up on the characters as lighting details, it's really

500
00:26:19.960 --> 00:26:23.319
<v Speaker 3>remarkable in atmospheric particularly. We'll talk about it when we

501
00:26:23.319 --> 00:26:25.559
<v Speaker 3>get to Night on Bald Mountain. That's where, yeah, the

502
00:26:25.680 --> 00:26:29.400
<v Speaker 3>absolute most evident. But before we get there, we've got

503
00:26:29.400 --> 00:26:31.960
<v Speaker 3>to spend some time with Dems again. Who likes to

504
00:26:32.319 --> 00:26:34.799
<v Speaker 3>Who is leading us into the Nutcracker suite and the

505
00:26:34.839 --> 00:26:39.240
<v Speaker 3>Nutcracker Sweet sequence. We've got some problems in the sea. Sure, sure,

506
00:26:39.279 --> 00:26:41.079
<v Speaker 3>it's the problematicness.

507
00:26:41.319 --> 00:26:45.599
<v Speaker 2>Yeah, the you know, the Asian influence I guess in

508
00:26:45.640 --> 00:26:48.279
<v Speaker 2>there is, you know, with a little mushroom.

509
00:26:48.240 --> 00:26:51.519
<v Speaker 3>Bit yes, the mushrooms dancing with their caps. Well, let's

510
00:26:51.519 --> 00:26:55.559
<v Speaker 3>face it, chinaman. Yeah, it doesn't really hit home well

511
00:26:55.880 --> 00:26:59.319
<v Speaker 3>these days, no, and okay.

512
00:26:59.119 --> 00:27:02.559
<v Speaker 2>But it's very charm I know they're caricatures. There's no

513
00:27:02.640 --> 00:27:05.480
<v Speaker 2>reason for them to have slanted eyes. But see, this is.

514
00:27:05.480 --> 00:27:07.720
<v Speaker 3>What I'm saying, like about Song of the South, like

515
00:27:07.880 --> 00:27:10.359
<v Speaker 3>it's you look at it and go oof. That hurts.

516
00:27:10.640 --> 00:27:12.920
<v Speaker 3>But at the same time, it's you can see that

517
00:27:12.960 --> 00:27:15.480
<v Speaker 3>it's coming from a place of let's make an adorable

518
00:27:15.519 --> 00:27:16.799
<v Speaker 3>thing that charms people.

519
00:27:17.079 --> 00:27:21.200
<v Speaker 2>Yeah, it's not a malicious you know, it's not a

520
00:27:21.279 --> 00:27:24.559
<v Speaker 2>Japanese caricature from later in the decades.

521
00:27:24.720 --> 00:27:27.519
<v Speaker 3>Yea, certainly from this company if you want to see them.

522
00:27:27.720 --> 00:27:29.759
<v Speaker 2>Just a couple of years later, and well in the

523
00:27:29.799 --> 00:27:34.039
<v Speaker 2>next year they're doing it. So like that one is

524
00:27:34.079 --> 00:27:38.200
<v Speaker 2>a malicious caricature. I mean that wartime whatever, it'll awful

525
00:27:38.279 --> 00:27:41.680
<v Speaker 2>and retroflect. Hey they're at war. But I don't think

526
00:27:41.680 --> 00:27:43.759
<v Speaker 2>that this is coming from a bad place. It's just

527
00:27:43.839 --> 00:27:49.200
<v Speaker 2>again unintentionally racist. This is unintentionally you know, problematic.

528
00:27:49.119 --> 00:27:51.319
<v Speaker 3>And that's why we had a warning at the beginning. Yeah,

529
00:27:51.519 --> 00:27:55.480
<v Speaker 3>that's contained the Russian dance sequence here is so fantastic

530
00:27:55.599 --> 00:28:00.079
<v Speaker 3>using thistle which just so naturally look like Russian dancers. Anyway, this,

531
00:28:00.160 --> 00:28:03.920
<v Speaker 3>of course the official flower of Scotland. I love that

532
00:28:04.039 --> 00:28:08.440
<v Speaker 3>goddamn flowers. So I was charmed watching those flowers fucking dance.

533
00:28:08.519 --> 00:28:10.599
<v Speaker 3>All of the segments here, all of the different ones

534
00:28:10.599 --> 00:28:13.000
<v Speaker 3>they do, the sugar plump fairy and the Chinese dance

535
00:28:13.319 --> 00:28:16.200
<v Speaker 3>they just called the Chinese dance unfortunately, the Arabian dance

536
00:28:16.240 --> 00:28:21.119
<v Speaker 3>with the the goldfish here again, you know, using different

537
00:28:21.880 --> 00:28:24.400
<v Speaker 3>they're not afraid to just color block a scene where

538
00:28:24.400 --> 00:28:27.839
<v Speaker 3>suddenly the background will become a primary color just to

539
00:28:27.880 --> 00:28:29.799
<v Speaker 3>emphasize the silhouettes in front of them.

540
00:28:30.319 --> 00:28:33.880
<v Speaker 2>And this is the argument again, now argument whatever or

541
00:28:33.920 --> 00:28:38.599
<v Speaker 2>the lamenting or the eulogy for the hand and hand

542
00:28:38.640 --> 00:28:41.839
<v Speaker 2>drown animation versus three D animal, because an no three

543
00:28:41.920 --> 00:28:45.640
<v Speaker 2>D animator is generally gonna do stuff that. How many

544
00:28:45.680 --> 00:28:47.480
<v Speaker 2>movies' is picks are put out, I mean, you get

545
00:28:47.480 --> 00:28:50.559
<v Speaker 2>one of them that that's that experiment, like Insold, but

546
00:28:50.759 --> 00:28:54.839
<v Speaker 2>the other films generally don't. It's pretty. Everything is pretty tactle.

547
00:28:55.200 --> 00:28:58.920
<v Speaker 2>Tactle feeling is real. And the way that the little

548
00:28:58.920 --> 00:29:02.400
<v Speaker 2>flower becomes the you're not going to see that generally,

549
00:29:02.599 --> 00:29:05.200
<v Speaker 2>and there's a and that's not taking away from three D.

550
00:29:05.480 --> 00:29:08.480
<v Speaker 2>Three D animation is wonderful, but so is two D

551
00:29:08.799 --> 00:29:13.279
<v Speaker 2>animation is gorgeous. Man, they're paint You still like seeing paintings, right,

552
00:29:13.680 --> 00:29:16.559
<v Speaker 2>these are paintings, Like, what's wrong with wanting to see them?

553
00:29:16.799 --> 00:29:20.680
<v Speaker 2>And I miss the animated feet the two D animated feature,

554
00:29:20.799 --> 00:29:24.279
<v Speaker 2>and it's heartbreak that the only place that gives you

555
00:29:24.400 --> 00:29:27.799
<v Speaker 2>that with that level of care and artistry, that's his

556
00:29:28.000 --> 00:29:30.160
<v Speaker 2>the only place you're getting it. You know, other countries

557
00:29:30.240 --> 00:29:32.200
<v Speaker 2>might pull stuff out like that. But what was the

558
00:29:32.240 --> 00:29:35.319
<v Speaker 2>last break to D animated in America? Iron Giant.

559
00:29:35.519 --> 00:29:38.240
<v Speaker 3>Yeah that's a really good Yeah, Brad Bird all of

560
00:29:38.240 --> 00:29:40.319
<v Speaker 3>his Pixar stuff, but that's you know, that's three D.

561
00:29:40.519 --> 00:29:43.519
<v Speaker 3>But yeah, but even that movie is a mixture of

562
00:29:43.559 --> 00:29:44.680
<v Speaker 3>the thing because, yeah.

563
00:29:44.559 --> 00:29:47.680
<v Speaker 2>A lot of the animation is heavy heavy lifting is

564
00:29:47.720 --> 00:29:50.599
<v Speaker 2>done by three D. And that happened all through That

565
00:29:50.759 --> 00:29:53.759
<v Speaker 2>started in Beauty and the Beast they started incorporating the

566
00:29:53.799 --> 00:29:54.480
<v Speaker 2>three D element.

567
00:29:54.599 --> 00:29:57.680
<v Speaker 3>And that brings us to the centerpiece. Literally the centerpiece

568
00:29:57.680 --> 00:30:00.640
<v Speaker 3>here although originally they intended to end the honestly, they

569
00:30:00.640 --> 00:30:03.599
<v Speaker 3>put it here in the middle. That is the Sorcerer's Apprentice.

570
00:30:03.799 --> 00:30:06.640
<v Speaker 2>Yeah, it needs the movie needs it at this point,

571
00:30:06.960 --> 00:30:11.799
<v Speaker 2>any entertainment because Dems is just morphe every time. He

572
00:30:12.240 --> 00:30:14.880
<v Speaker 2>might be interesting in someones, but it's just takes. It

573
00:30:14.960 --> 00:30:17.000
<v Speaker 2>takes the wind out of the sales when you tell

574
00:30:17.039 --> 00:30:19.759
<v Speaker 2>you something. And the Nutcracker Suite is really cute, but

575
00:30:19.799 --> 00:30:23.880
<v Speaker 2>it's not very exciting. And you know, the Takata again exciting.

576
00:30:23.960 --> 00:30:26.400
<v Speaker 2>So the Sorcerer Prices gives you like, oh, okay, I'm

577
00:30:26.440 --> 00:30:29.279
<v Speaker 2>into this. That'd be fun. And the Sorcerer I had

578
00:30:29.680 --> 00:30:32.960
<v Speaker 2>a sixteen millimeters little crank fingle thing that you would

579
00:30:33.079 --> 00:30:36.079
<v Speaker 2>look into one eye and you crank it. I think

580
00:30:36.079 --> 00:30:38.000
<v Speaker 2>that's where I fell in love with cinema was because

581
00:30:38.000 --> 00:30:39.880
<v Speaker 2>I could go forward and backwards afford him and to

582
00:30:39.920 --> 00:30:40.359
<v Speaker 2>see how.

583
00:30:40.440 --> 00:30:43.559
<v Speaker 3>You think the children out there who the ghosts one

584
00:30:43.799 --> 00:30:45.559
<v Speaker 3>for the children out there who probably know what a

585
00:30:45.640 --> 00:30:48.759
<v Speaker 3>viewmaster is, imagine that. It's like a monocle, just one

586
00:30:48.799 --> 00:30:51.680
<v Speaker 3>thing and there you'd put a cartridge into it with

587
00:30:51.759 --> 00:30:54.039
<v Speaker 3>a crank on the side, like an old movie camera,

588
00:30:54.160 --> 00:30:55.599
<v Speaker 3>and then when you put your eye up to it,

589
00:30:55.640 --> 00:30:59.319
<v Speaker 3>you could watch the little eight millimeter clips from movie.

590
00:30:59.559 --> 00:31:03.759
<v Speaker 3>So yeah, I had I had that Mickey Mouse cartoon,

591
00:31:03.839 --> 00:31:05.920
<v Speaker 3>The Haunted House one, that's.

592
00:31:05.680 --> 00:31:08.240
<v Speaker 2>The one I had. Yeah, yeah, I think I might

593
00:31:08.240 --> 00:31:11.279
<v Speaker 2>have had a Sorcerer Apprentice. I know that Sorcerer's Apprentice

594
00:31:11.319 --> 00:31:12.880
<v Speaker 2>was something that I had seen before.

595
00:31:13.400 --> 00:31:16.000
<v Speaker 3>It showed up a lot on its own, you know,

596
00:31:16.079 --> 00:31:19.599
<v Speaker 3>it was constantly being repackaged and shown on Disney Channel

597
00:31:19.920 --> 00:31:22.960
<v Speaker 3>or like The Wonderful World of Disney would have some

598
00:31:23.039 --> 00:31:25.519
<v Speaker 3>clip show and at least show parts of it. Like

599
00:31:25.839 --> 00:31:28.960
<v Speaker 3>it was always kind of out there of the scenes

600
00:31:28.960 --> 00:31:31.000
<v Speaker 3>in this movie. That's the one that I think most

601
00:31:31.039 --> 00:31:33.119
<v Speaker 3>people kind of it hammered home, but that was the

602
00:31:33.119 --> 00:31:34.160
<v Speaker 3>intention of it anyway.

603
00:31:34.319 --> 00:31:37.559
<v Speaker 2>Yeah, and it's Mickey at his best. Micky, for me,

604
00:31:38.119 --> 00:31:41.920
<v Speaker 2>works as a cartoon Charlie Chaplin, that's for me. That's

605
00:31:41.960 --> 00:31:44.759
<v Speaker 2>what makes the minute Mickey starts talking, I'm like, but

606
00:31:44.920 --> 00:31:47.599
<v Speaker 2>the minute. But when he's just like this little guy,

607
00:31:48.079 --> 00:31:50.920
<v Speaker 2>you know, is always just trying to do his best,

608
00:31:51.160 --> 00:31:53.400
<v Speaker 2>I can see why he was such a hit. But

609
00:31:53.599 --> 00:31:56.200
<v Speaker 2>and this is big budget, you know what I mean.

610
00:31:56.319 --> 00:31:59.400
<v Speaker 2>This is now Mickey in a feature film, the big

611
00:31:59.440 --> 00:32:02.240
<v Speaker 2>time he's got. This is the first time with eyeballs.

612
00:32:02.480 --> 00:32:04.319
<v Speaker 3>Oh jeez, I don't know. I think he had already

613
00:32:04.359 --> 00:32:05.279
<v Speaker 3>they'd already read.

614
00:32:05.119 --> 00:32:07.720
<v Speaker 2>That he had to redesigned him because I prefer a

615
00:32:07.759 --> 00:32:09.799
<v Speaker 2>little wire me. That's just I love that.

616
00:32:09.799 --> 00:32:12.759
<v Speaker 3>Little but that one had to go away. I'm sorry, Antonia.

617
00:32:12.880 --> 00:32:14.880
<v Speaker 3>I agree with you a lot of this, on a

618
00:32:14.880 --> 00:32:18.319
<v Speaker 3>lot of this, but wireframe steamboat not even steamboat well,

619
00:32:18.359 --> 00:32:20.400
<v Speaker 3>I know you're talking about that sort of proto rant.

620
00:32:20.640 --> 00:32:23.359
<v Speaker 2>Yeah, I love that. It's just so cool. But there's

621
00:32:23.640 --> 00:32:27.200
<v Speaker 2>the other My favorite Mickey was Through the Looking. So

622
00:32:27.279 --> 00:32:30.400
<v Speaker 2>you know, they're doing trippy at Disney at this point,

623
00:32:30.480 --> 00:32:33.240
<v Speaker 2>like there's somebody going to the Opium Deno or got

624
00:32:33.240 --> 00:32:35.759
<v Speaker 2>a little bit of of the Marriage Ijuana, because there

625
00:32:35.920 --> 00:32:38.160
<v Speaker 2>there's some trippy stuff going on in Disney at the time,

626
00:32:38.440 --> 00:32:41.640
<v Speaker 2>so seeing the stuff in Pantasia shouldn't be that surprising

627
00:32:41.839 --> 00:32:44.920
<v Speaker 2>because that Through the Looking last cartoon is a trip. Man.

628
00:32:44.960 --> 00:32:48.559
<v Speaker 3>I love that Mickey loses his power as a character

629
00:32:48.640 --> 00:32:51.440
<v Speaker 3>once he becomes a leader. He is the de facto

630
00:32:51.640 --> 00:32:55.880
<v Speaker 3>leader of the Walt Disney animated characters, but yea necessarily

631
00:32:55.920 --> 00:32:58.599
<v Speaker 3>have to be out in front and leading them. He's

632
00:32:58.680 --> 00:33:01.920
<v Speaker 3>not bugs Bunny. And now you look at that pantheon

633
00:33:01.960 --> 00:33:04.519
<v Speaker 3>of characters and you go, yep, he's the one, you know,

634
00:33:04.640 --> 00:33:06.640
<v Speaker 3>and he should be standing in front of them and

635
00:33:06.680 --> 00:33:09.839
<v Speaker 3>giving a press conference. But Mickey, I agree with you,

636
00:33:09.960 --> 00:33:12.440
<v Speaker 3>he's best when he's a chaplain like character. This is

637
00:33:12.519 --> 00:33:16.279
<v Speaker 3>the culmination of all of that here with his performance here.

638
00:33:16.359 --> 00:33:19.920
<v Speaker 2>He's a brave little Taylor. Again, that's a chaplain, you know,

639
00:33:20.000 --> 00:33:23.960
<v Speaker 2>the chaplain does the great Dictator is a brave little

640
00:33:24.000 --> 00:33:26.559
<v Speaker 2>you know like I ah that Mickey's best like that.

641
00:33:26.599 --> 00:33:30.880
<v Speaker 2>And this is the best prime example of this hapless

642
00:33:31.000 --> 00:33:34.160
<v Speaker 2>Mickey just trying to do his best and fucking everything up.

643
00:33:34.359 --> 00:33:36.440
<v Speaker 3>This segment. I want to say it scared me as

644
00:33:36.440 --> 00:33:40.599
<v Speaker 3>a child. That did not. It made me very nervous. Yes, yes,

645
00:33:40.839 --> 00:33:43.720
<v Speaker 3>watching this movie as watching this segment as a child

646
00:33:43.799 --> 00:33:47.160
<v Speaker 3>is akin to watching After Hours. Now, I just it

647
00:33:47.240 --> 00:33:48.400
<v Speaker 3>makes my skin crawl.

648
00:33:49.279 --> 00:33:52.480
<v Speaker 2>Oh wow, after Hours referenced. Nice for the young folk

649
00:33:52.519 --> 00:33:54.880
<v Speaker 2>out there. You've never seen movie After Hours. It's Martin

650
00:33:54.880 --> 00:33:59.319
<v Speaker 2>Scorsese's mid eighties comedy about this dude that meets this

651
00:33:59.400 --> 00:34:03.200
<v Speaker 2>crazy lady and they have an evening of adventure throughout

652
00:34:03.400 --> 00:34:05.720
<v Speaker 2>New York City. And I don't want to give anyone

653
00:34:05.839 --> 00:34:07.599
<v Speaker 2>too much away from him because then I might ruin it.

654
00:34:07.839 --> 00:34:09.280
<v Speaker 2>Everything that's going to go wrong is going.

655
00:34:09.239 --> 00:34:12.119
<v Speaker 3>To go wrong, and people think cringe comedy was invented

656
00:34:12.159 --> 00:34:16.280
<v Speaker 3>with the office. Oh no, it's simply not the case.

657
00:34:16.320 --> 00:34:18.840
<v Speaker 3>But so yeah, and that's the feeling I had from

658
00:34:18.840 --> 00:34:23.039
<v Speaker 3>Sorcers's Apprentices Child, because this is effectively the tale of

659
00:34:23.039 --> 00:34:27.840
<v Speaker 3>a child acting out or acting beyond their capabilities when

660
00:34:27.880 --> 00:34:30.920
<v Speaker 3>their parent isn't around, and fucking everything up, in this

661
00:34:30.960 --> 00:34:35.239
<v Speaker 3>case so severely that I could only imagine the punishment

662
00:34:35.559 --> 00:34:38.440
<v Speaker 3>that was going to be levied against poor Mickey here. Yeah,

663
00:34:38.559 --> 00:34:42.639
<v Speaker 3>that very stern man, the sorcerer himself.

664
00:34:42.360 --> 00:34:47.400
<v Speaker 2>Nicholas Cage doing over there, Oh.

665
00:34:47.320 --> 00:34:48.760
<v Speaker 3>My god, he would be perfect.

666
00:34:49.079 --> 00:34:50.719
<v Speaker 2>He did, he played, They did a movie.

667
00:34:50.880 --> 00:34:54.000
<v Speaker 3>They did a movie, SORCER's Apprentice, a bunch of Oh

668
00:34:54.000 --> 00:34:55.679
<v Speaker 3>that's true, but I'm talking about I want to see

669
00:34:55.719 --> 00:34:56.880
<v Speaker 3>him in these robes.

670
00:34:56.840 --> 00:34:59.159
<v Speaker 2>These robes. Yeah, that was why that movie didn't work,

671
00:34:59.159 --> 00:35:00.760
<v Speaker 2>because he didn't talk about dressed up like it.

672
00:35:00.800 --> 00:35:05.719
<v Speaker 3>Was in like a leather jacket. Yeah, I want Gandalf, Yeah, but.

673
00:35:05.679 --> 00:35:12.360
<v Speaker 2>I want Nicholas Cage's Okay, yeah, yeah, say no more.

674
00:35:12.480 --> 00:35:13.639
<v Speaker 3>I keep that one under your head.

675
00:35:14.000 --> 00:35:16.920
<v Speaker 2>But the fever dream of this is something you know,

676
00:35:17.079 --> 00:35:20.760
<v Speaker 2>and again it's anxiety up the butt with this scene

677
00:35:21.000 --> 00:35:24.679
<v Speaker 2>or Mickey. But what a great image those brooms and

678
00:35:24.760 --> 00:35:26.840
<v Speaker 2>the way that the arms pop out. I always like

679
00:35:26.880 --> 00:35:29.360
<v Speaker 2>how they just they shake and pop out and then

680
00:35:30.000 --> 00:35:31.599
<v Speaker 2>grab the bucket. Oh, I love it.

681
00:35:31.599 --> 00:35:32.760
<v Speaker 3>It's the joy of animation.

682
00:35:33.159 --> 00:35:34.280
<v Speaker 2>Yeah, it really is. Man.

683
00:35:34.360 --> 00:35:38.039
<v Speaker 3>I particularly like when they've completely filled the place. Just

684
00:35:38.159 --> 00:35:40.320
<v Speaker 3>the shot of the first of all of the water

685
00:35:40.360 --> 00:35:43.039
<v Speaker 3>effects and are fucking spectacular. We're mentioning how good the

686
00:35:43.079 --> 00:35:47.320
<v Speaker 3>animation is. Each segment is its own style, and this

687
00:35:47.360 --> 00:35:50.880
<v Speaker 3>one is absolutely gorgeous, Like when they go to that

688
00:35:50.920 --> 00:35:53.519
<v Speaker 3>well the first time, just like gazing into that water,

689
00:35:54.119 --> 00:35:57.000
<v Speaker 3>so much care and effort. But anyway, when the room

690
00:35:57.039 --> 00:35:59.639
<v Speaker 3>is completely filled up, the image of them walking up

691
00:35:59.679 --> 00:36:02.719
<v Speaker 3>to the cistern and trying to fill it. It just dumping

692
00:36:02.760 --> 00:36:05.920
<v Speaker 3>out water from a bucket. Everything is water, but like

693
00:36:05.960 --> 00:36:08.800
<v Speaker 3>the mechanical thing of it, it's just such a nightmare.

694
00:36:08.920 --> 00:36:10.760
<v Speaker 2>But it's and the great thing about it is like

695
00:36:11.159 --> 00:36:15.719
<v Speaker 2>animation is two D anime done it I suck at

696
00:36:15.719 --> 00:36:18.360
<v Speaker 2>it really difficult. There's a two D animated Bit and

697
00:36:18.440 --> 00:36:21.400
<v Speaker 2>Space Detective that I did four frames and I love

698
00:36:21.440 --> 00:36:22.679
<v Speaker 2>it at the same time, so long look at that

699
00:36:22.760 --> 00:36:25.760
<v Speaker 2>I drew Batman. But the level of artistry here again,

700
00:36:25.840 --> 00:36:28.280
<v Speaker 2>I'm like, you know, kissing people's asses, you know, But

701
00:36:28.360 --> 00:36:30.880
<v Speaker 2>animation is tough. It's twenty four frames a second and

702
00:36:31.000 --> 00:36:35.079
<v Speaker 2>to get it like water fluid and then time to music,

703
00:36:35.280 --> 00:36:37.639
<v Speaker 2>so everything is perfectly time to music. So you've got

704
00:36:37.639 --> 00:36:39.760
<v Speaker 2>to figure out how to draw those twenty four frames

705
00:36:39.840 --> 00:36:41.840
<v Speaker 2>and have it do the thing you needed to do

706
00:36:42.320 --> 00:36:45.280
<v Speaker 2>on the music cue. And it's not just animating dialogue.

707
00:36:45.320 --> 00:36:48.719
<v Speaker 2>It's having little brooms hit music cues over and over

708
00:36:48.960 --> 00:36:51.840
<v Speaker 2>the level of animation and editing. It's really on.

709
00:36:51.880 --> 00:36:55.559
<v Speaker 3>The spence and the like the sort of impressionistic background

710
00:36:55.639 --> 00:36:58.280
<v Speaker 3>stuff that I mentioned in the previous segment and nutcrackers.

711
00:36:58.559 --> 00:37:01.440
<v Speaker 3>Once the brooms start taking over, we're getting these splashes

712
00:37:01.480 --> 00:37:04.440
<v Speaker 3>of yellows and and other things behind them as it

713
00:37:04.480 --> 00:37:07.920
<v Speaker 3>becomes more and more of a nightmare. All that I love.

714
00:37:07.960 --> 00:37:11.480
<v Speaker 3>But also now Micky lets it get out of hand

715
00:37:11.519 --> 00:37:14.119
<v Speaker 3>because he falls asleep and had a dream. But it

716
00:37:14.159 --> 00:37:17.840
<v Speaker 3>could also be interpreted that at that moment Mickey is

717
00:37:17.920 --> 00:37:21.320
<v Speaker 3>astro projecting and it's nowhere near it because he does

718
00:37:21.440 --> 00:37:25.440
<v Speaker 3>leave his body. I it's just to imply that he's

719
00:37:25.480 --> 00:37:28.199
<v Speaker 3>now fallen asleep and he's in dreamland. But you know,

720
00:37:28.480 --> 00:37:31.000
<v Speaker 3>given all the magic on hand. That's what I took

721
00:37:31.000 --> 00:37:33.000
<v Speaker 3>away from it. This time. He was so busy being

722
00:37:33.079 --> 00:37:35.360
<v Speaker 3>out of body at that moment that he didn't realize

723
00:37:35.400 --> 00:37:37.159
<v Speaker 3>that the spell was working on is Mickey.

724
00:37:37.239 --> 00:37:39.599
<v Speaker 2>That image of Mickey this is so cool and just

725
00:37:39.639 --> 00:37:42.559
<v Speaker 2>commanding the water and just the way the animation goes

726
00:37:42.679 --> 00:37:45.719
<v Speaker 2>and the way when it exaggerates on him, and it's

727
00:37:45.760 --> 00:37:48.000
<v Speaker 2>just really it's really sublime. It's one of the best

728
00:37:48.039 --> 00:37:48.719
<v Speaker 2>pieces of animal.

729
00:37:48.880 --> 00:37:51.480
<v Speaker 3>You know what's funny is up until the moment where

730
00:37:51.519 --> 00:37:54.920
<v Speaker 3>he's on the rock and conducting the wave, I thought, God,

731
00:37:54.960 --> 00:37:57.519
<v Speaker 3>you know, the animation of the music don't really sink

732
00:37:57.639 --> 00:37:59.960
<v Speaker 3>up here. All of that well, and then once that's

733
00:38:00.000 --> 00:38:02.199
<v Speaker 3>started having one, Oh, we were just waiting for gotcha.

734
00:38:02.320 --> 00:38:05.440
<v Speaker 2>It's all part of the storytell it's amazing. I've always

735
00:38:05.440 --> 00:38:06.840
<v Speaker 2>really admired and it's not my.

736
00:38:06.800 --> 00:38:09.960
<v Speaker 3>Favorite nor mine, but I'm never sad when it comes on.

737
00:38:10.960 --> 00:38:12.440
<v Speaker 3>It's never a fast forwarding me.

738
00:38:12.760 --> 00:38:16.039
<v Speaker 2>No, like the next one that takes it the light

739
00:38:16.079 --> 00:38:16.559
<v Speaker 2>of spring.

740
00:38:17.440 --> 00:38:20.599
<v Speaker 3>It's gorgeous. And you know what in nineteen forty, no

741
00:38:20.639 --> 00:38:24.760
<v Speaker 3>one ever sees yeah as a child dinosaurs? Yeah, good guy. Well,

742
00:38:24.800 --> 00:38:26.559
<v Speaker 3>we had Harry House and and stuff, doing the stop

743
00:38:26.599 --> 00:38:28.800
<v Speaker 3>motion stuff, but we didn't have anything looking as elegant.

744
00:38:28.920 --> 00:38:31.440
<v Speaker 2>No, it isn't. But to get to the dinosaurs, it

745
00:38:31.480 --> 00:38:31.840
<v Speaker 2>takes us.

746
00:38:32.039 --> 00:38:32.440
<v Speaker 3>It does.

747
00:38:33.599 --> 00:38:35.119
<v Speaker 2>But that's all right. I think I just have an

748
00:38:35.159 --> 00:38:39.679
<v Speaker 2>ADHD problem. This is definitely a nice palate cleanser after

749
00:38:39.920 --> 00:38:42.639
<v Speaker 2>Madness of Mickey Mouse, The Sources Apprentice.

750
00:38:42.320 --> 00:38:45.559
<v Speaker 3>And here's where Demes Taylor is most welcome in My

751
00:38:45.679 --> 00:38:48.920
<v Speaker 3>mom His description of what you're about to see is

752
00:38:49.000 --> 00:38:53.079
<v Speaker 3>effectively laying out the theory of evolution. Yeah, in a

753
00:38:53.119 --> 00:38:56.159
<v Speaker 3>Disney cartoon going and not in a here's a theory,

754
00:38:56.280 --> 00:38:56.760
<v Speaker 3>you know what.

755
00:38:56.800 --> 00:38:59.519
<v Speaker 2>I'm not even looking at that, right, you're absolutely one

756
00:38:59.519 --> 00:39:01.639
<v Speaker 2>out of person. Great, take back everything.

757
00:39:01.280 --> 00:39:05.440
<v Speaker 3>He said nineteen forty. Yeah, wow, here's what happened. There

758
00:39:05.440 --> 00:39:07.679
<v Speaker 3>are a bunch of cells. Those divided, and then a

759
00:39:07.679 --> 00:39:09.920
<v Speaker 3>bunch of stuff happened, and then then it was teeming

760
00:39:09.960 --> 00:39:12.400
<v Speaker 3>with sea life. And then and then one of those

761
00:39:12.519 --> 00:39:16.079
<v Speaker 3>brave fish decided I'm gonna go up on land. You'll

762
00:39:16.119 --> 00:39:18.599
<v Speaker 3>notice he stops talking there. He was supposed to continue

763
00:39:18.880 --> 00:39:21.559
<v Speaker 3>with the further adventures of evolution, leading to you know,

764
00:39:21.679 --> 00:39:24.639
<v Speaker 3>monkeys eventually standing up right, But that had to get

765
00:39:24.679 --> 00:39:30.199
<v Speaker 3>cut because they're I mean, yeah, like I'm shocked they

766
00:39:30.199 --> 00:39:32.639
<v Speaker 3>got as far as they got, right.

767
00:39:33.400 --> 00:39:35.920
<v Speaker 2>Yeah, because I mean I just imagine how, like how

768
00:39:36.000 --> 00:39:39.039
<v Speaker 2>that's still an issue now, like that people still don't

769
00:39:39.079 --> 00:39:41.159
<v Speaker 2>buy and don't believe it. And I'm like, there's all

770
00:39:41.159 --> 00:39:43.280
<v Speaker 2>those evidence in the world, show you this is how

771
00:39:43.280 --> 00:39:43.800
<v Speaker 2>it happened.

772
00:39:44.639 --> 00:39:48.679
<v Speaker 3>Yeah, you know, and you know, I know, everything bangers scrutiny.

773
00:39:48.840 --> 00:39:49.039
<v Speaker 2>You know.

774
00:39:49.119 --> 00:39:53.519
<v Speaker 3>That's the great thing about science is it scrutinizes itself constantly,

775
00:39:53.559 --> 00:39:56.159
<v Speaker 3>and once you get the same result over and over again,

776
00:39:56.199 --> 00:39:57.679
<v Speaker 3>you go, well that's a fact.

777
00:39:57.960 --> 00:40:00.440
<v Speaker 2>Yeah. I mean, it's just I don't get it.

778
00:40:00.760 --> 00:40:03.480
<v Speaker 3>And I love that. I love that the film and

779
00:40:03.679 --> 00:40:06.199
<v Speaker 3>the company were as forward thinking as they were then.

780
00:40:06.360 --> 00:40:06.559
<v Speaker 2>Yeah.

781
00:40:06.559 --> 00:40:10.719
<v Speaker 3>Absolutely, here's what's happening, folks. And it's snuck in, or

782
00:40:10.960 --> 00:40:13.000
<v Speaker 3>maybe not even snuck in. I think it's just here's

783
00:40:13.000 --> 00:40:14.800
<v Speaker 3>where we're at as a society.

784
00:40:14.800 --> 00:40:18.079
<v Speaker 2>It's all handled this, It all straightforward.

785
00:40:17.519 --> 00:40:21.920
<v Speaker 3>To This movie doesn't shy away from religion or spirituality

786
00:40:21.920 --> 00:40:23.840
<v Speaker 3>in any way. Just look to the end of this mean, like,

787
00:40:23.840 --> 00:40:26.000
<v Speaker 3>originally we're going to end this movie this way with

788
00:40:26.119 --> 00:40:30.079
<v Speaker 3>the Sorcerer's Apprentice and the wild effects of magic, and

789
00:40:30.280 --> 00:40:33.519
<v Speaker 3>it's a usefulness and instead we get the fucking ave Maria.

790
00:40:33.679 --> 00:40:36.320
<v Speaker 3>So I think a little goes a long way there,

791
00:40:36.400 --> 00:40:39.159
<v Speaker 3>but but I don't know. It knocked me out rewatching

792
00:40:39.199 --> 00:40:42.480
<v Speaker 3>the movie that we get a very brief evolution history

793
00:40:42.599 --> 00:40:46.119
<v Speaker 3>that then has followed media up by a gorgeous visualization

794
00:40:46.239 --> 00:40:50.039
<v Speaker 3>of it, starting with those tiny one celled organisms, you.

795
00:40:50.000 --> 00:40:53.239
<v Speaker 2>Know, yeah, and then of course the piece of resistance,

796
00:40:54.280 --> 00:40:57.360
<v Speaker 2>those dinosaurs. Once the dinosaurs show up, all right, I'm

797
00:40:57.400 --> 00:41:00.920
<v Speaker 2>into this because they're gorgeous and the animation great, although

798
00:41:01.199 --> 00:41:03.360
<v Speaker 2>you know there's always a bigger fish and qui gon.

799
00:41:03.400 --> 00:41:06.800
<v Speaker 2>It just loved the casual life that you watch. Yeah,

800
00:41:07.199 --> 00:41:07.719
<v Speaker 2>was that.

801
00:41:07.880 --> 00:41:10.159
<v Speaker 3>Casual cruelty on display?

802
00:41:10.039 --> 00:41:13.199
<v Speaker 2>The casual cruelty on display there, but it's so peoplely animated,

803
00:41:13.280 --> 00:41:15.400
<v Speaker 2>you know, and just seeing these are their dinosaurs for

804
00:41:15.519 --> 00:41:19.800
<v Speaker 2>these and no one has done dinosaurs to this extent.

805
00:41:20.199 --> 00:41:23.079
<v Speaker 2>Been some stop motions but and some animated stuff, but

806
00:41:23.119 --> 00:41:24.760
<v Speaker 2>they really kind of go to town on it, and

807
00:41:24.800 --> 00:41:27.119
<v Speaker 2>these animators are figuring out how these I think.

808
00:41:27.039 --> 00:41:31.519
<v Speaker 3>There was the clown short, right, yeah, like pencil drying

809
00:41:31.960 --> 00:41:37.480
<v Speaker 3>or penn drying, you know Withronosaurus.

810
00:41:35.480 --> 00:41:37.480
<v Speaker 2>That's right, And then you know what you saw.

811
00:41:37.440 --> 00:41:40.440
<v Speaker 3>And call again like the three D but you know,

812
00:41:40.559 --> 00:41:43.000
<v Speaker 3>and yes, we believe it, but it's still stop motion.

813
00:41:43.159 --> 00:41:46.199
<v Speaker 3>We we've certainly never seen it done as as fluidly

814
00:41:46.360 --> 00:41:50.519
<v Speaker 3>as what we're getting here as well painted as well, realt.

815
00:41:50.719 --> 00:41:54.280
<v Speaker 2>But it's they're beautiful looking dinas. Interesting now, how you

816
00:41:54.360 --> 00:41:57.679
<v Speaker 2>like how science kind of shown us that dinosaur birds

817
00:41:57.679 --> 00:42:00.519
<v Speaker 2>and they went feathers and you know, so it's I'd

818
00:42:00.519 --> 00:42:02.679
<v Speaker 2>be curious to see what they would do with anime

819
00:42:02.800 --> 00:42:03.800
<v Speaker 2>up with that based.

820
00:42:03.559 --> 00:42:06.159
<v Speaker 3>On where where we're at right now in science.

821
00:42:06.880 --> 00:42:08.920
<v Speaker 2>Yeah, and this takes it is to the intermission.

822
00:42:09.119 --> 00:42:10.719
<v Speaker 3>Oh, that's just funny because.

823
00:42:10.559 --> 00:42:13.760
<v Speaker 2>The intermission is the first line you see the title?

824
00:42:14.039 --> 00:42:16.079
<v Speaker 3>Right, Yeah, we get a title card here?

825
00:42:16.199 --> 00:42:17.639
<v Speaker 2>Yeah, how about avant Guard?

826
00:42:17.760 --> 00:42:20.599
<v Speaker 3>Is that that's really yeah? I had never thought of that.

827
00:42:20.679 --> 00:42:23.039
<v Speaker 3>Yeah that I just thought of it as an intermission card,

828
00:42:23.079 --> 00:42:26.599
<v Speaker 3>but really it's the title card for the film title. Yeah, wow,

829
00:42:27.159 --> 00:42:30.599
<v Speaker 3>take that Cohen Brothers. I thought the Raising Arizona, right

830
00:42:30.920 --> 00:42:33.480
<v Speaker 3>title card revealed with something that's like what twelve minutes

831
00:42:33.599 --> 00:42:35.280
<v Speaker 3>or something? Yeah, I got that beat.

832
00:42:35.719 --> 00:42:39.840
<v Speaker 2>I mean he tells you the title still form of entertaining.

833
00:42:40.199 --> 00:42:43.559
<v Speaker 3>That don't matter. It's they' got a Jim Jena session,

834
00:42:43.639 --> 00:42:47.760
<v Speaker 3>Jim going on. They oh, and you know we get

835
00:42:47.800 --> 00:42:50.960
<v Speaker 3>the soundtrack bit here can I tell you? So? I

836
00:42:51.000 --> 00:42:52.519
<v Speaker 3>know I talk a lot about this, but I was

837
00:42:52.519 --> 00:42:55.159
<v Speaker 3>a projectionist at a theater in Santa Monica, and when

838
00:42:55.159 --> 00:42:57.400
<v Speaker 3>I was learning to become a projectionist this we had

839
00:42:57.400 --> 00:43:00.320
<v Speaker 3>platter systems. This is thirty five millimeters, So we had

840
00:43:00.320 --> 00:43:03.880
<v Speaker 3>a platter system where the full print would sit on it.

841
00:43:03.880 --> 00:43:05.880
<v Speaker 3>It would play out to the projector that wind back

842
00:43:05.920 --> 00:43:08.239
<v Speaker 3>onto the platter. Now when it goes through the projector,

843
00:43:08.719 --> 00:43:11.280
<v Speaker 3>it's caught in the gets locked into a lot of

844
00:43:11.280 --> 00:43:13.920
<v Speaker 3>different gears. But the main bit is the gate that

845
00:43:14.119 --> 00:43:16.880
<v Speaker 3>sort of holds it in front of the aperture where

846
00:43:16.920 --> 00:43:19.400
<v Speaker 3>the light shines through, and there's a shutter that times

847
00:43:19.440 --> 00:43:22.639
<v Speaker 3>the amount of light going through anyway, So the aperture

848
00:43:22.719 --> 00:43:26.119
<v Speaker 3>where it's you know, basically a rectangle cut into metal

849
00:43:26.480 --> 00:43:29.599
<v Speaker 3>that allows the amount of light through to shine on

850
00:43:29.639 --> 00:43:33.440
<v Speaker 3>the screen. The theater I worked at, the projectors were

851
00:43:33.639 --> 00:43:36.480
<v Speaker 3>like you know, from the forties fifties right right, So

852
00:43:36.639 --> 00:43:39.639
<v Speaker 3>when we had when we had a different lens, needed

853
00:43:39.719 --> 00:43:41.920
<v Speaker 3>a different aspect ratio for a film, we had a

854
00:43:41.920 --> 00:43:43.880
<v Speaker 3>lot because we were a calendar house, so we showed

855
00:43:43.920 --> 00:43:46.760
<v Speaker 3>movies from the dawn of cinema to the presence, So

856
00:43:46.800 --> 00:43:50.840
<v Speaker 3>we had every aspect ration one, three, three, one sixty three.

857
00:43:51.079 --> 00:43:55.000
<v Speaker 3>So each of those different aspects have different aspect ratios,

858
00:43:55.000 --> 00:43:59.519
<v Speaker 3>have different aspect ratio plates. And I learned early on

859
00:44:00.000 --> 00:44:03.199
<v Speaker 3>how important those those were because we were I was

860
00:44:03.280 --> 00:44:05.320
<v Speaker 3>training at the time and had set up a film

861
00:44:05.320 --> 00:44:07.519
<v Speaker 3>and it was playing, and I went down into the theater,

862
00:44:07.639 --> 00:44:09.239
<v Speaker 3>not looking at the left wall, just looking at the

863
00:44:09.280 --> 00:44:12.159
<v Speaker 3>image on screen, which looked great. Turned to my mentor,

864
00:44:12.239 --> 00:44:14.440
<v Speaker 3>guy named Chris Evani, and said like, how what do

865
00:44:14.519 --> 00:44:17.199
<v Speaker 3>you think? And he was like, man, the sound systems

866
00:44:17.239 --> 00:44:19.679
<v Speaker 3>these days are so good. You can fucking see the

867
00:44:19.760 --> 00:44:22.800
<v Speaker 3>sound and then sort of pivoted me to look at

868
00:44:22.840 --> 00:44:29.440
<v Speaker 3>the wall where you could see the soundtracktors oh man, Yeah,

869
00:44:29.440 --> 00:44:31.960
<v Speaker 3>I never forgot to play it after that. Yeah, okay,

870
00:44:32.000 --> 00:44:35.559
<v Speaker 3>So anyway, this leads us to our It takes us

871
00:44:35.599 --> 00:44:39.199
<v Speaker 3>to ancient Greece. Yes, weird to pick a bacchanal for

872
00:44:39.239 --> 00:44:41.599
<v Speaker 3>a kids movie, but but here are we going to

873
00:44:41.679 --> 00:44:42.400
<v Speaker 3>go with the passage?

874
00:44:42.440 --> 00:44:43.960
<v Speaker 2>Hey, they'd picked the back and off of the paras

875
00:44:44.000 --> 00:44:45.559
<v Speaker 2>Olympics and everybody lost their shit.

876
00:44:45.920 --> 00:44:48.000
<v Speaker 3>So I don't know how far they got in the

877
00:44:48.039 --> 00:44:53.440
<v Speaker 3>animation process. But originally Disney, the Family Friendly Company, had

878
00:44:53.559 --> 00:44:57.599
<v Speaker 3>nude centaurs like those were bare breasted women running around

879
00:44:57.679 --> 00:45:00.519
<v Speaker 3>and immediately ran into some sort of censorship, which is

880
00:45:00.559 --> 00:45:05.440
<v Speaker 3>why now we have the drawn over like you know, yeah,

881
00:45:05.480 --> 00:45:08.440
<v Speaker 3>flowers hanging there, some piece of fabric that just seems

882
00:45:08.480 --> 00:45:12.760
<v Speaker 3>to adhere to one bit of space hovering over the

883
00:45:12.800 --> 00:45:15.840
<v Speaker 3>female centaur. And this is of course the sequence where

884
00:45:15.840 --> 00:45:19.920
<v Speaker 3>we had our black centaurs waiting on the white centaur.

885
00:45:20.039 --> 00:45:22.280
<v Speaker 3>There's a lot, there's a lot I don't like about this.

886
00:45:22.519 --> 00:45:25.039
<v Speaker 3>It also has that it also has what feels like

887
00:45:25.079 --> 00:45:28.280
<v Speaker 3>that grade school version of Greek mythology that we were

888
00:45:28.320 --> 00:45:30.840
<v Speaker 3>all sort of fed, you know, with all of the

889
00:45:30.960 --> 00:45:33.119
<v Speaker 3>edges sort of sanded off of it.

890
00:45:33.519 --> 00:45:33.800
<v Speaker 2>You know.

891
00:45:34.079 --> 00:45:37.360
<v Speaker 3>Here Bacchus is just sort of like W. C. Fields. Actually,

892
00:45:37.400 --> 00:45:39.679
<v Speaker 3>he's a toned down version of w. C. He's like

893
00:45:39.719 --> 00:45:41.320
<v Speaker 3>a vaudeville guy.

894
00:45:42.079 --> 00:45:42.280
<v Speaker 2>You know.

895
00:45:42.320 --> 00:45:45.800
<v Speaker 3>You imagine like Keenan Wynn or ed Wynn doing the voice.

896
00:45:45.880 --> 00:46:01.199
<v Speaker 3>You know, it's like, you know, like fill my goblet,

897
00:46:01.239 --> 00:46:04.880
<v Speaker 3>Well you young lady, Oh you're lovely. Yeah, I don't know.

898
00:46:05.079 --> 00:46:09.960
<v Speaker 3>Like again, this is another example of just gorgeous fucking animation.

899
00:46:10.480 --> 00:46:13.840
<v Speaker 2>Yeah, animation is really pretty. This one's a little it

900
00:46:13.880 --> 00:46:16.480
<v Speaker 2>takes its time too, but again, you know, it's Beethoven,

901
00:46:16.800 --> 00:46:19.599
<v Speaker 2>and it's funny because it's like pretty Beethoven rather than powerful.

902
00:46:19.960 --> 00:46:23.760
<v Speaker 2>But I do really the Zeus zoos is still manages

903
00:46:23.800 --> 00:46:26.239
<v Speaker 2>to be an asshole. I just love the way Zeus

904
00:46:26.320 --> 00:46:29.599
<v Speaker 2>and Festus are portrayed, and just the animation is really

905
00:46:29.639 --> 00:46:32.039
<v Speaker 2>cool when he throws those bolts down.

906
00:46:32.320 --> 00:46:35.280
<v Speaker 3>The problem is we're always more interested in the gods

907
00:46:35.280 --> 00:46:38.800
<v Speaker 3>when it comes to yeah, always, and I don't one

908
00:46:39.480 --> 00:46:43.000
<v Speaker 3>one turn round the dance floor for the centaurs should

909
00:46:43.000 --> 00:46:45.800
<v Speaker 3>have been enough, but that's it. Instead, it's you know,

910
00:46:45.800 --> 00:46:49.159
<v Speaker 3>it's a ballet, so there we're getting full on dancing

911
00:46:49.159 --> 00:46:53.679
<v Speaker 3>and the dancing is gorgeous. Rewatching that. It is really

912
00:46:53.719 --> 00:46:56.960
<v Speaker 3>spectacularly animated. But again I'm with you. I need some

913
00:46:57.000 --> 00:47:01.280
<v Speaker 3>Greek gods. I need Helios, yes, racing across the sky.

914
00:47:01.480 --> 00:47:03.320
<v Speaker 3>You know, I don't really care what's going on in

915
00:47:03.360 --> 00:47:06.119
<v Speaker 3>the day to day life of centaurs. And you know

916
00:47:06.719 --> 00:47:09.079
<v Speaker 3>it seems Fucus, which.

917
00:47:09.360 --> 00:47:11.519
<v Speaker 2>It just seemed to be a lot of frolicky.

918
00:47:11.280 --> 00:47:14.239
<v Speaker 3>Yeah, like this should have come before the SORCER's Apprentice.

919
00:47:14.239 --> 00:47:15.920
<v Speaker 3>They should have front loaded this in. They should have

920
00:47:15.920 --> 00:47:19.320
<v Speaker 3>gotten right from Takata right into to Beto, and that

921
00:47:19.360 --> 00:47:21.960
<v Speaker 3>actually makes sense back to Beto and anyway, not that

922
00:47:22.079 --> 00:47:23.679
<v Speaker 3>I'm doubting Leopold in.

923
00:47:23.639 --> 00:47:30.519
<v Speaker 2>Any way, Oh bugs, buddy.

924
00:47:30.000 --> 00:47:32.159
<v Speaker 3>Okay, I don't really have any more notes on the.

925
00:47:32.119 --> 00:47:34.400
<v Speaker 2>Pastor yeah, I really don't either it.

926
00:47:35.199 --> 00:47:36.320
<v Speaker 3>However, here we go.

927
00:47:37.239 --> 00:47:39.760
<v Speaker 2>The hours does not fit of the hours.

928
00:47:39.840 --> 00:47:42.880
<v Speaker 3>Now, this is this segment showed up a lot as

929
00:47:42.920 --> 00:47:46.400
<v Speaker 3>a kid. I had that. I had the Disney Channel, Yeah, yeah,

930
00:47:46.440 --> 00:47:50.159
<v Speaker 3>and it seemed Disney had an entire I forget the

931
00:47:50.199 --> 00:47:52.679
<v Speaker 3>name of the show, but they had basically music video

932
00:47:53.239 --> 00:47:56.920
<v Speaker 3>e TV, e TV, that's what it was. So they

933
00:47:56.960 --> 00:48:00.639
<v Speaker 3>would take random clips from all of the catalogue of

934
00:48:00.679 --> 00:48:04.519
<v Speaker 3>movies and shorts and recontextualize them and cut them together

935
00:48:04.599 --> 00:48:07.760
<v Speaker 3>to try and make a little story for whatever popular

936
00:48:07.920 --> 00:48:11.400
<v Speaker 3>music song, whatever popular song was, you know, on the

937
00:48:11.440 --> 00:48:14.760
<v Speaker 3>tops and the radio at that moment. I remember them

938
00:48:14.880 --> 00:48:19.280
<v Speaker 3>using this clip lot they strung out over multiple videos.

939
00:48:19.320 --> 00:48:22.719
<v Speaker 3>So I think I find myself more familiar with this

940
00:48:23.159 --> 00:48:26.320
<v Speaker 3>sequence of animation than any of the others.

941
00:48:25.719 --> 00:48:29.000
<v Speaker 2>And you can't beat the dancing hippos man and the

942
00:48:29.039 --> 00:48:32.639
<v Speaker 2>horny crocodile. I mean it's me. They're absolute silliest too.

943
00:48:32.679 --> 00:48:36.519
<v Speaker 2>It's great. There's horny too. Dizzy doesn't get to be

944
00:48:36.559 --> 00:48:38.960
<v Speaker 2>horny very much. This movie is pretty horny because the

945
00:48:38.960 --> 00:48:41.719
<v Speaker 2>past all symphonies. You know that they can send tar

946
00:48:41.760 --> 00:48:47.280
<v Speaker 2>girls and I'm trying to get laid and they're.

947
00:48:45.480 --> 00:48:48.480
<v Speaker 3>Getting away with something here because those alligators are like

948
00:48:48.719 --> 00:48:52.519
<v Speaker 3>they can just sort of make the excuse, well, they're trying,

949
00:48:52.599 --> 00:48:58.800
<v Speaker 3>they're trying to eat them. Yes, they're not not.

950
00:48:58.840 --> 00:49:02.320
<v Speaker 2>That way at least. The name of the alligator is

951
00:49:02.360 --> 00:49:03.760
<v Speaker 2>ben Ali Ruth.

952
00:49:04.039 --> 00:49:07.440
<v Speaker 3>I don't know about that, but I'm sure what elephant

953
00:49:07.480 --> 00:49:11.119
<v Speaker 3>sheen the elephant true? Yeah, the hippos do. They have

954
00:49:11.519 --> 00:49:17.840
<v Speaker 3>madame Yupanova and the ostriches, cavalcadid zoo animals here, all

955
00:49:17.880 --> 00:49:18.519
<v Speaker 3>the funniest.

956
00:49:18.840 --> 00:49:22.440
<v Speaker 2>It's delightful. They kind of mirrord. The sequence in the

957
00:49:22.480 --> 00:49:27.800
<v Speaker 2>two thousand with the flamingos amazing, that one with the

958
00:49:27.880 --> 00:49:32.000
<v Speaker 2>celebrities kill that fantas of two thousand, But the sequences

959
00:49:32.039 --> 00:49:34.519
<v Speaker 2>in it are all pretty good. Rhaps and blues, the

960
00:49:34.559 --> 00:49:34.840
<v Speaker 2>one that.

961
00:49:35.039 --> 00:49:37.440
<v Speaker 3>Oh yeah, I agree with you, just because that piece

962
00:49:37.480 --> 00:49:40.199
<v Speaker 3>of music. Hearing for me personal hearing a bit of

963
00:49:40.280 --> 00:49:43.840
<v Speaker 3>Americana mixed. Yeah, all the classical composts just does my

964
00:49:43.960 --> 00:49:48.800
<v Speaker 3>heart proud. And that piece in particular has always screamed

965
00:49:48.800 --> 00:49:53.639
<v Speaker 3>out for visualization, and that Hirschfeld right, which be more perfect.

966
00:49:54.000 --> 00:49:57.960
<v Speaker 2>It's just so elegant. So just really meet again to

967
00:49:58.400 --> 00:49:59.039
<v Speaker 2>the animation.

968
00:49:59.480 --> 00:50:03.280
<v Speaker 3>Really cool the sequence. The lead animator is gou named

969
00:50:03.360 --> 00:50:06.320
<v Speaker 3>John Hench right, and he did not want to participate

970
00:50:06.360 --> 00:50:09.079
<v Speaker 3>in the sequence. He didn't know anything about ballet. I

971
00:50:09.079 --> 00:50:10.960
<v Speaker 3>think he was really just begging off because he knew

972
00:50:11.000 --> 00:50:12.440
<v Speaker 3>how difficult this is going to be.

973
00:50:13.960 --> 00:50:17.440
<v Speaker 2>So the sinking of the animation time.

974
00:50:17.079 --> 00:50:20.679
<v Speaker 3>Of course incredible. WELLT Disney's response was to give him

975
00:50:20.719 --> 00:50:23.760
<v Speaker 3>tickets to the Ballet Roos de Monte Carlo and fly

976
00:50:23.960 --> 00:50:27.039
<v Speaker 3>him into Europe to like, go watch the go watch.

977
00:50:30.199 --> 00:50:33.880
<v Speaker 3>That's quite a punishment, go watch the best of all time.

978
00:50:33.920 --> 00:50:36.559
<v Speaker 3>In fact, you know, Disney, we've talked about this before,

979
00:50:36.599 --> 00:50:40.480
<v Speaker 3>the idea of Rotoscope about filming live action things for

980
00:50:40.519 --> 00:50:44.039
<v Speaker 3>the animators as a guide. Here in this case, there

981
00:50:44.119 --> 00:50:48.719
<v Speaker 3>was a ballerina named Irina Baronova. She's the lead for

982
00:50:48.760 --> 00:50:54.320
<v Speaker 3>the Mademoiselle Yupanova. They even listened based on her. So yeah,

983
00:50:54.400 --> 00:50:57.800
<v Speaker 3>I love the fucking alligators here. Man, there's something about

984
00:50:58.440 --> 00:51:01.880
<v Speaker 3>an open mouthed, wide eye ey'd stare. It is either

985
00:51:02.039 --> 00:51:06.159
<v Speaker 3>completely horrifying or completely hilarious. And it's completely hilarious here

986
00:51:06.280 --> 00:51:09.440
<v Speaker 3>with shades of horrifying. Once once we get a bit,

987
00:51:10.039 --> 00:51:12.280
<v Speaker 3>once we get a chorus of them all lined up

988
00:51:12.400 --> 00:51:14.840
<v Speaker 3>like menacing. Wise, Oh, this could go wrong.

989
00:51:15.639 --> 00:51:19.599
<v Speaker 2>It's the it's those capes and the hats, the red

990
00:51:19.840 --> 00:51:24.480
<v Speaker 2>just popping out and just again screaming horny, that red

991
00:51:25.920 --> 00:51:28.639
<v Speaker 2>when they lift up the cape and just flap it around,

992
00:51:28.840 --> 00:51:32.639
<v Speaker 2>really menacing and operatically. Yeah, I just I love that

993
00:51:32.719 --> 00:51:33.519
<v Speaker 2>out so much.

994
00:51:33.599 --> 00:51:36.559
<v Speaker 3>Everything is working here. All of the animation is fluid

995
00:51:36.559 --> 00:51:39.719
<v Speaker 3>and gorgeous, and it's as funny as Disney gets. Disney

996
00:51:39.800 --> 00:51:43.400
<v Speaker 3>was never a funny studio, No, not really, but this

997
00:51:43.599 --> 00:51:47.599
<v Speaker 3>is sort of in keeping with their wholesome take on

998
00:51:47.119 --> 00:51:50.559
<v Speaker 3>on on humor, but the most unwholesome.

999
00:51:50.840 --> 00:51:54.079
<v Speaker 2>Yeah, it's almost there. Is Disney at their most Warner broke.

1000
00:51:54.239 --> 00:51:56.119
<v Speaker 3>If you're looking at the placement of the segments here,

1001
00:51:56.159 --> 00:51:59.679
<v Speaker 3>this one makes sense that from this really horny segment

1002
00:51:59.719 --> 00:52:03.119
<v Speaker 3>we got into the as they described themselves, the depraved

1003
00:52:03.360 --> 00:52:04.960
<v Speaker 3>segment of Night on Bald Mountain.

1004
00:52:05.239 --> 00:52:07.360
<v Speaker 2>Well, yeah, but like the movie ends with this great

1005
00:52:07.519 --> 00:52:08.880
<v Speaker 2>golf ray, what are you gonna do?

1006
00:52:09.480 --> 00:52:12.480
<v Speaker 3>Yeah, well, I'm just saying this is the perfect entrede.

1007
00:52:12.840 --> 00:52:14.519
<v Speaker 3>Alligators and ostriches off.

1008
00:52:14.360 --> 00:52:18.440
<v Speaker 2>To each other, don't forget but the elephant.

1009
00:52:18.639 --> 00:52:21.760
<v Speaker 3>Yeah, and I love that it Not only is this

1010
00:52:21.840 --> 00:52:25.800
<v Speaker 3>sort of you know, ridiculous ballet we're watching, but they're

1011
00:52:25.800 --> 00:52:28.920
<v Speaker 3>breaking the fourth wall here because they're definitely on stage.

1012
00:52:28.960 --> 00:52:32.320
<v Speaker 3>They're breaking sceneer. The last shot in this is that

1013
00:52:32.480 --> 00:52:34.800
<v Speaker 3>they've performed so well that they've blown the doors off

1014
00:52:34.840 --> 00:52:36.039
<v Speaker 3>the front of the theater basis.

1015
00:52:37.639 --> 00:52:41.039
<v Speaker 2>And this probably played really well or really a cessive scene.

1016
00:52:41.079 --> 00:52:43.880
<v Speaker 2>I think at it's universal. I think it's probably had

1017
00:52:43.920 --> 00:52:47.239
<v Speaker 2>the audience and stitches that nineteen forty audience is losing.

1018
00:52:47.440 --> 00:52:51.159
<v Speaker 3>Oh I'm sure these alligators and these ostrich fucking hippos,

1019
00:52:51.159 --> 00:52:54.239
<v Speaker 3>Oh my god, no one, nay. I don't think anyone

1020
00:52:54.320 --> 00:52:56.159
<v Speaker 3>was prepared for it. And it's great and it's a

1021
00:52:56.199 --> 00:52:59.079
<v Speaker 3>great sort of denu modd because we're right here at

1022
00:52:59.079 --> 00:53:01.000
<v Speaker 3>the climax. But I want to jump back to the

1023
00:53:01.519 --> 00:53:04.480
<v Speaker 3>Flower the right of Spring, No, the Nutcracker Sweet, because

1024
00:53:04.480 --> 00:53:07.079
<v Speaker 3>there's a wintery segment there, which to me was the

1025
00:53:07.079 --> 00:53:09.760
<v Speaker 3>best segment in it. I mentioned I love those thistle

1026
00:53:10.119 --> 00:53:14.320
<v Speaker 3>Russian dancers, but the actual sort of snowflake ice fairy

1027
00:53:14.800 --> 00:53:18.840
<v Speaker 3>like ice dancing sequence, the wings on the fairies that

1028
00:53:18.880 --> 00:53:22.519
<v Speaker 3>are dancing across the ice are clearly all hand drawn

1029
00:53:22.760 --> 00:53:26.800
<v Speaker 3>and they are intricate and just spectacular. But that's followed

1030
00:53:26.920 --> 00:53:30.000
<v Speaker 3>up with this. It's almost a montage of all of

1031
00:53:30.039 --> 00:53:34.199
<v Speaker 3>these like sprites parading past the camera and they're all

1032
00:53:34.280 --> 00:53:39.079
<v Speaker 3>wearing snowflakes like gowns, basically like a skirt, and they're

1033
00:53:39.119 --> 00:53:42.920
<v Speaker 3>slowly like spinning, and the snowflakes themselves are so geometric.

1034
00:53:43.320 --> 00:53:46.360
<v Speaker 3>I was like, that's I cannot believe the level of

1035
00:53:46.440 --> 00:53:49.760
<v Speaker 3>skill for these fucking animators in this one sequence. Come

1036
00:53:49.800 --> 00:53:52.519
<v Speaker 3>to find out, the snowflakes themselves are all stop motion.

1037
00:53:52.840 --> 00:53:56.159
<v Speaker 3>They had they had filmed them and then animated the

1038
00:53:56.159 --> 00:53:58.679
<v Speaker 3>little sprites in between. That's not the case with their

1039
00:53:58.719 --> 00:54:02.079
<v Speaker 3>wings that mark that I was mentioning. But if you

1040
00:54:02.119 --> 00:54:04.800
<v Speaker 3>watch that sequence again, when you see that those yeah

1041
00:54:05.159 --> 00:54:10.639
<v Speaker 3>slowly spinning past, that's stop motion. But go ahead, well no.

1042
00:54:10.599 --> 00:54:12.840
<v Speaker 2>It reminds me of like the Flyses video. To take

1043
00:54:12.880 --> 00:54:15.000
<v Speaker 2>a couple of Popeye card a live action and the

1044
00:54:15.039 --> 00:54:18.400
<v Speaker 2>cameras would be panning and and everything. They must have

1045
00:54:18.480 --> 00:54:20.960
<v Speaker 2>done it either stop motions to animate on the actual

1046
00:54:21.199 --> 00:54:23.679
<v Speaker 2>or done the or made the blow up and film

1047
00:54:23.760 --> 00:54:25.840
<v Speaker 2>back and make them the you know when they do

1048
00:54:25.880 --> 00:54:26.360
<v Speaker 2>the animal.

1049
00:54:26.440 --> 00:54:31.360
<v Speaker 3>It's the problem with computer animation that it's not tenable

1050
00:54:31.400 --> 00:54:34.519
<v Speaker 3>at all. There's nothing tactile about it. There's no boundaries

1051
00:54:34.559 --> 00:54:36.480
<v Speaker 3>to break, you know, when you've got to put a

1052
00:54:36.599 --> 00:54:39.480
<v Speaker 3>camera on a tripod and lock it down and get

1053
00:54:39.480 --> 00:54:42.199
<v Speaker 3>the lights perfect, and put this panel here and then

1054
00:54:42.480 --> 00:54:45.039
<v Speaker 3>put another thing underneath it, and we're gonna do one

1055
00:54:45.039 --> 00:54:46.480
<v Speaker 3>frame at a time, and you got it. You know,

1056
00:54:46.559 --> 00:54:48.880
<v Speaker 3>there's something about that just naturally makes you want to

1057
00:54:49.079 --> 00:54:52.079
<v Speaker 3>smash your way out of that routine that you know,

1058
00:54:52.199 --> 00:54:54.199
<v Speaker 3>makes you want to break the borders of the frame,

1059
00:54:54.559 --> 00:54:57.719
<v Speaker 3>do all this sort of interesting innovative stuff that I

1060
00:54:57.719 --> 00:55:00.400
<v Speaker 3>don't know, maybe I'm just pontificating here, but you're right,

1061
00:55:00.960 --> 00:55:03.679
<v Speaker 3>you don't see like at that time, all of those

1062
00:55:03.679 --> 00:55:07.039
<v Speaker 3>different animators that all the different companies were always thinking,

1063
00:55:07.239 --> 00:55:09.400
<v Speaker 3>for lack of a better phrase, outside the box.

1064
00:55:09.519 --> 00:55:11.840
<v Speaker 2>You know. It's like almost like in that argument for

1065
00:55:11.920 --> 00:55:15.360
<v Speaker 2>shooting on or shooting digital, like I haven't shot, I

1066
00:55:15.400 --> 00:55:18.079
<v Speaker 2>haven't said. I was a school for a hundred times

1067
00:55:18.079 --> 00:55:20.440
<v Speaker 2>I've always shot then, but there is something to be

1068
00:55:20.519 --> 00:55:23.800
<v Speaker 2>said about up that camera, you know, loading the magazine,

1069
00:55:23.960 --> 00:55:25.960
<v Speaker 2>having to do the math to get the light, which

1070
00:55:26.000 --> 00:55:27.199
<v Speaker 2>is always my biggest leak.

1071
00:55:27.639 --> 00:55:31.280
<v Speaker 3>And you know that it's there's you have a finite

1072
00:55:31.360 --> 00:55:34.159
<v Speaker 3>amount of time. Yeah, you get it right. And you

1073
00:55:34.199 --> 00:55:37.159
<v Speaker 3>know I said that, there's that some Spielberg like give

1074
00:55:37.320 --> 00:55:39.480
<v Speaker 3>meme kind of thing going around where you're saying, like,

1075
00:55:39.519 --> 00:55:42.679
<v Speaker 3>you know, digital is a perfect sort of photographic process,

1076
00:55:42.800 --> 00:55:47.079
<v Speaker 3>but you know, film was a magical chemical process, like

1077
00:55:47.239 --> 00:55:50.440
<v Speaker 3>the grain. When you see in film, it's moving, like

1078
00:55:50.519 --> 00:55:53.039
<v Speaker 3>even a still is moving because of the way that

1079
00:55:53.079 --> 00:55:56.400
<v Speaker 3>the chemicals all came together, Like there's constant motion. Whereas

1080
00:55:56.400 --> 00:55:59.400
<v Speaker 3>you're getting an absolute representation of life with the digital thing,

1081
00:55:59.559 --> 00:56:04.119
<v Speaker 3>you're getting some sort of artistic expression that's beyond even

1082
00:56:04.119 --> 00:56:06.559
<v Speaker 3>when you when you put it in a bath of chemical.

1083
00:56:06.320 --> 00:56:09.079
<v Speaker 2>Yeah, there's a certain that God, you're you know, you're

1084
00:56:09.119 --> 00:56:12.159
<v Speaker 2>depending on providence to get you. Yeah.

1085
00:56:12.199 --> 00:56:15.760
<v Speaker 3>Well, speaking of providence or lack thereof, here we go.

1086
00:56:16.000 --> 00:56:19.800
<v Speaker 3>It's everybody's favorite. Oh God, Yeah, So it's not I'm ball.

1087
00:56:20.199 --> 00:56:23.239
<v Speaker 3>It's just it's not only is it absolutely gordeous, it's

1088
00:56:23.239 --> 00:56:24.880
<v Speaker 3>like the thing we were all waiting for all of

1089
00:56:24.960 --> 00:56:26.320
<v Speaker 3>us little horror kids, you.

1090
00:56:26.280 --> 00:56:29.360
<v Speaker 2>Know, yeah, and even me who wasn't kid. This is

1091
00:56:29.400 --> 00:56:31.920
<v Speaker 2>still always what I was always waiting. I think I

1092
00:56:32.079 --> 00:56:34.960
<v Speaker 2>came across first, saw this sequence and probably a Disney

1093
00:56:34.960 --> 00:56:36.480
<v Speaker 2>Halloween Special or something like that.

1094
00:56:36.800 --> 00:56:40.039
<v Speaker 3>That's okay, The Disney Halloween Treat is what that.

1095
00:56:40.039 --> 00:56:45.320
<v Speaker 2>That's what it is, Disney HALLOWEENA I remember that noll oh.

1096
00:56:45.159 --> 00:56:48.119
<v Speaker 3>My goodness that played on Disney Channel a lot, but

1097
00:56:48.199 --> 00:56:51.599
<v Speaker 3>originally was I think like The Wild World of Disney

1098
00:56:51.679 --> 00:56:54.079
<v Speaker 3>or the whatever, the Wonderful World of the Wild World

1099
00:56:54.079 --> 00:56:55.719
<v Speaker 3>of Disney. It's a whole lot. It's like Ralph Box,

1100
00:56:55.719 --> 00:56:58.519
<v Speaker 3>She's very that No, the Wonderful World of Disney on Sundays,

1101
00:56:58.519 --> 00:57:01.960
<v Speaker 3>and I had recorded that on VHS, that the Disney

1102
00:57:02.000 --> 00:57:06.719
<v Speaker 3>Halloween Treat. I've seen this segment a lot because they

1103
00:57:06.719 --> 00:57:09.320
<v Speaker 3>don't have the full segment in it, like they cut

1104
00:57:09.360 --> 00:57:13.440
<v Speaker 3>around a lot. So seeing it again in its actual

1105
00:57:13.559 --> 00:57:17.840
<v Speaker 3>state is always a marvel. And my god, all the

1106
00:57:17.880 --> 00:57:20.880
<v Speaker 3>different styles of animation displayed. Because we get full sort

1107
00:57:20.880 --> 00:57:23.519
<v Speaker 3>of the hand painted cells on display here, we also

1108
00:57:23.559 --> 00:57:27.360
<v Speaker 3>get this chalk style that is just unbelievable. You know this,

1109
00:57:27.639 --> 00:57:31.079
<v Speaker 3>it doesn't necessarily stop motion, but ghosts that they just

1110
00:57:31.079 --> 00:57:34.880
<v Speaker 3>need they throw a filter on it. Like my new

1111
00:57:34.960 --> 00:57:39.119
<v Speaker 3>favorite part of this whole thing is when Chernibog, that's

1112
00:57:39.199 --> 00:57:43.480
<v Speaker 3>that demon's name, everybody. When Chernibog first sort of starts

1113
00:57:43.679 --> 00:57:47.280
<v Speaker 3>menacing the town, the shadow of his hand stretches out

1114
00:57:47.360 --> 00:57:50.159
<v Speaker 3>and we watch the shadow creep across the town and

1115
00:57:50.280 --> 00:57:53.559
<v Speaker 3>oh yeah, it has a physical effect on the buildings.

1116
00:57:53.599 --> 00:57:58.000
<v Speaker 3>The buildings all sort of sway like they're magnetized towards

1117
00:57:58.119 --> 00:58:02.079
<v Speaker 3>churna bog, Like they just very subtly creak in his

1118
00:58:02.199 --> 00:58:06.199
<v Speaker 3>direction before settling back like it's it was breathtaking.

1119
00:58:07.000 --> 00:58:10.239
<v Speaker 2>I like, I noticed that today because it was the

1120
00:58:10.360 --> 00:58:13.280
<v Speaker 2>last building too, especially like it was a church. Really

1121
00:58:13.360 --> 00:58:16.079
<v Speaker 2>just here you really get sucked into. It's really nice.

1122
00:58:16.119 --> 00:58:19.440
<v Speaker 2>I like those static egos that are like distorted by

1123
00:58:19.440 --> 00:58:22.360
<v Speaker 2>a lens, the way they kind of float through the scenes.

1124
00:58:22.599 --> 00:58:26.519
<v Speaker 3>And oh, he's a thing of beauty and he's ripped man.

1125
00:58:27.079 --> 00:58:29.039
<v Speaker 2>I had read that like on the internet that the

1126
00:58:29.119 --> 00:58:31.840
<v Speaker 2>bell Lagos had posed for it.

1127
00:58:31.239 --> 00:58:34.519
<v Speaker 3>And there is footage or rather there I think stills

1128
00:58:34.519 --> 00:58:37.119
<v Speaker 3>of him from his session there, but and you can

1129
00:58:37.119 --> 00:58:39.760
<v Speaker 3>see it in some of the facial expressions for Turnabog.

1130
00:58:39.840 --> 00:58:42.320
<v Speaker 3>You can see some lagos here, but it's my understanding

1131
00:58:42.400 --> 00:58:46.280
<v Speaker 3>that the head animator on that was unsatisfied with Lugosi's

1132
00:58:46.320 --> 00:58:50.039
<v Speaker 3>performance overall and just had his assistant take off his

1133
00:58:50.119 --> 00:58:52.199
<v Speaker 3>shirt and they filmed him doing all the moves that

1134
00:58:52.239 --> 00:58:52.719
<v Speaker 3>you're seeing.

1135
00:58:55.840 --> 00:59:01.440
<v Speaker 2>That's great man. Oh no, the director of yeah, the

1136
00:59:01.480 --> 00:59:04.599
<v Speaker 2>animators still that's kind of neat to oh yeah.

1137
00:59:04.760 --> 00:59:10.079
<v Speaker 3>Yeah. It adds another element of wonderful Chernibog mythos because.

1138
00:59:09.880 --> 00:59:11.880
<v Speaker 2>There's some of those facial expressions if you look.

1139
00:59:11.840 --> 00:59:14.880
<v Speaker 3>At that kind of look like both oh yeah, mouth

1140
00:59:15.400 --> 00:59:21.920
<v Speaker 3>his mouth when he's upset. Yeah, in particular, and my god,

1141
00:59:22.119 --> 00:59:25.320
<v Speaker 3>like what performance from Churnabog. You know, he goes through

1142
00:59:25.400 --> 00:59:29.280
<v Speaker 3>all the emotions delight to to disdain.

1143
00:59:29.800 --> 00:59:32.400
<v Speaker 2>When I'm especially fond of the hand when he's picking

1144
00:59:32.480 --> 00:59:35.559
<v Speaker 2>up the little demons and dropping the fire or he's

1145
00:59:35.559 --> 00:59:40.400
<v Speaker 2>building the little fire homonunculi or whatever, and then he

1146
00:59:40.519 --> 00:59:44.320
<v Speaker 2>crushes them ination on the hands, It's like, is it

1147
00:59:44.239 --> 00:59:49.800
<v Speaker 2>it rotoscope? Is it all? Just? I don't like it's spectacular? Hands?

1148
00:59:49.800 --> 00:59:52.800
<v Speaker 2>Are I have always been my nemesis with when I'm drawing,

1149
00:59:53.000 --> 00:59:56.360
<v Speaker 2>So just to see that kind of level back I

1150
00:59:56.440 --> 00:59:59.039
<v Speaker 2>was winged form the top of the mountain formed the peak.

1151
00:59:59.480 --> 01:00:05.519
<v Speaker 3>Hands are a trouble for a lot of artists. So honestly,

1152
01:00:06.119 --> 01:00:08.880
<v Speaker 3>it was this rewatch where I too noticed those hands,

1153
01:00:08.880 --> 01:00:11.239
<v Speaker 3>I think for the first time, because my attention was

1154
01:00:11.280 --> 01:00:14.280
<v Speaker 3>always fixated on all those little demons. First of all,

1155
01:00:14.599 --> 01:00:17.679
<v Speaker 3>it's this is a Disney movie, and we get little

1156
01:00:18.000 --> 01:00:22.400
<v Speaker 3>naked fire women. We then turn into little creatures who

1157
01:00:22.400 --> 01:00:25.880
<v Speaker 3>then turn into even worse creatures before being smushed out.

1158
01:00:25.920 --> 01:00:28.599
<v Speaker 3>So of course I was focused on the action going

1159
01:00:28.679 --> 01:00:31.519
<v Speaker 3>on in the palm of one hand, never noticing the

1160
01:00:31.559 --> 01:00:36.519
<v Speaker 3>other hand floating above and so gorgeous, like not just

1161
01:00:36.679 --> 01:00:39.880
<v Speaker 3>the just not just the likeness of a talented hand,

1162
01:00:40.320 --> 01:00:46.079
<v Speaker 3>but silhouetted both red and blue. And somehow that worked.

1163
01:00:46.320 --> 01:00:49.400
<v Speaker 2>Yeah, it really works. It's almost like pain, almost like

1164
01:00:49.679 --> 01:00:53.480
<v Speaker 2>in a meta homage to Leopold, the way he conducts

1165
01:00:53.519 --> 01:00:56.960
<v Speaker 2>with without baton, and he's all hands and turner body

1166
01:00:57.000 --> 01:00:59.840
<v Speaker 2>is up there like a conductor conducting symphony of.

1167
01:00:59.840 --> 01:01:05.199
<v Speaker 3>The I noticed that that every dead person is participating

1168
01:01:05.239 --> 01:01:10.280
<v Speaker 3>in this party. Every grave, a ghost comes. Yeah. There's

1169
01:01:10.280 --> 01:01:13.400
<v Speaker 3>a castle with a little pool beside it. Half a

1170
01:01:13.400 --> 01:01:14.800
<v Speaker 3>dozen ghosts come out of that water.

1171
01:01:15.199 --> 01:01:19.719
<v Speaker 2>Yeah, and one of those on a horse. It's every

1172
01:01:19.719 --> 01:01:21.239
<v Speaker 2>little creature's guys on little backstor.

1173
01:01:21.480 --> 01:01:23.119
<v Speaker 3>I loved that one of the ghosts comes out of

1174
01:01:23.159 --> 01:01:26.039
<v Speaker 3>the grave and like Shinny's its way through a noose

1175
01:01:26.119 --> 01:01:29.039
<v Speaker 3>that's hanging on a on a scaffold, like I remember this.

1176
01:01:29.519 --> 01:01:32.599
<v Speaker 2>Yeah, it's really sweet, man. I know that every single

1177
01:01:32.679 --> 01:01:33.519
<v Speaker 2>viewing I've ever.

1178
01:01:33.400 --> 01:01:36.880
<v Speaker 3>Had of the just waiting it's a rave for demons. Yeah,

1179
01:01:37.039 --> 01:01:38.920
<v Speaker 3>it's you're just having a good time.

1180
01:01:39.320 --> 01:01:43.000
<v Speaker 2>Yeah. The animation it's just so gorgeous and the design

1181
01:01:43.679 --> 01:01:46.599
<v Speaker 2>is just so wonderful. I mean, it's just a real

1182
01:01:46.639 --> 01:01:50.000
<v Speaker 2>mountain they're basing this on or something. Because it's it's mesmerizing.

1183
01:01:50.039 --> 01:01:52.760
<v Speaker 2>I can't. Like. I watched it again this morning, just

1184
01:01:52.719 --> 01:01:55.079
<v Speaker 2>when every where we started, I watched that sequence gets

1185
01:01:55.079 --> 01:01:55.760
<v Speaker 2>me every time.

1186
01:01:55.840 --> 01:01:58.599
<v Speaker 3>Then, Yeah, I had watched the movie again last night,

1187
01:01:58.639 --> 01:02:01.800
<v Speaker 3>and then just prior to recording, I put it on

1188
01:02:01.880 --> 01:02:04.000
<v Speaker 3>thinking I'm just going to watch a couple of seconds

1189
01:02:04.079 --> 01:02:06.719
<v Speaker 3>and then watch the entire sequence. I found myself just

1190
01:02:06.760 --> 01:02:08.719
<v Speaker 3>standing there mesmerized by this. Sam.

1191
01:02:09.159 --> 01:02:11.880
<v Speaker 2>I love this music. I intend to use it at

1192
01:02:11.880 --> 01:02:14.719
<v Speaker 2>some point in a horrific sequence or something, just because

1193
01:02:15.119 --> 01:02:17.679
<v Speaker 2>of this movie of what it's you know, this kind

1194
01:02:17.679 --> 01:02:20.079
<v Speaker 2>of influence, and I feel like a lot of what

1195
01:02:20.159 --> 01:02:23.159
<v Speaker 2>I think is cool looking in you know, a lot

1196
01:02:23.199 --> 01:02:25.159
<v Speaker 2>of what I think is cool about horror. It kind

1197
01:02:25.159 --> 01:02:27.159
<v Speaker 2>of comes from this. This is what I like. I

1198
01:02:27.239 --> 01:02:31.039
<v Speaker 2>like Demon Monston and the Devil, you know me looming

1199
01:02:31.079 --> 01:02:34.119
<v Speaker 2>over you and my I's got At the same time,

1200
01:02:35.480 --> 01:02:36.960
<v Speaker 2>this is formative for me.

1201
01:02:37.280 --> 01:02:40.079
<v Speaker 3>And as much as I'm a fan of dancing in

1202
01:02:40.119 --> 01:02:43.079
<v Speaker 3>general and a fan of the classical forms of dancing

1203
01:02:43.280 --> 01:02:46.239
<v Speaker 3>ballet clearly on display here, it's not until we get

1204
01:02:46.280 --> 01:02:49.039
<v Speaker 3>to the fucking Demon sequence that we get a sampling

1205
01:02:49.079 --> 01:02:52.280
<v Speaker 3>of modern dance. All those little demons are dancing in

1206
01:02:52.320 --> 01:02:55.760
<v Speaker 3>a modern jazz style. Man and only notice that for

1207
01:02:55.800 --> 01:02:57.760
<v Speaker 3>the first time, but was down for it.

1208
01:02:57.840 --> 01:02:58.599
<v Speaker 2>Yeah, no kidding.

1209
01:02:58.639 --> 01:03:00.239
<v Speaker 3>Then's fucking great.

1210
01:03:00.559 --> 01:03:03.159
<v Speaker 2>Yeah, and they're and like when they're the ones a

1211
01:03:03.159 --> 01:03:05.480
<v Speaker 2>little bit in his hand too with the little naked

1212
01:03:05.519 --> 01:03:09.639
<v Speaker 2>fire women. Oh yeah, absolutely is. I guess modern jazz dancing.

1213
01:03:09.400 --> 01:03:11.239
<v Speaker 3>Is either you know it?

1214
01:03:11.599 --> 01:03:14.519
<v Speaker 2>You know it? How did this was the really played

1215
01:03:14.519 --> 01:03:16.639
<v Speaker 2>well too? I am? The movie was well received when

1216
01:03:16.639 --> 01:03:18.159
<v Speaker 2>it came out, Yeah.

1217
01:03:17.800 --> 01:03:22.880
<v Speaker 3>Very well received. There were some critics, mainly composers and conductors,

1218
01:03:23.079 --> 01:03:26.159
<v Speaker 3>who disagreed with Leopold's arrangements.

1219
01:03:26.400 --> 01:03:29.719
<v Speaker 2>Oh that's some toity toity.

1220
01:03:29.679 --> 01:03:33.280
<v Speaker 3>That's some great criticism right now, right, dare you use

1221
01:03:33.320 --> 01:03:33.840
<v Speaker 3>a bassoon?

1222
01:03:34.519 --> 01:03:36.880
<v Speaker 2>But did it just kind of disappear from memory?

1223
01:03:36.920 --> 01:03:41.079
<v Speaker 3>I guess here's what happened as well as the as

1224
01:03:41.119 --> 01:03:44.760
<v Speaker 3>well as it did critically, It basically came out right

1225
01:03:44.800 --> 01:03:49.079
<v Speaker 3>before the war. Oh yeah, and it was road showed. Okay,

1226
01:03:49.360 --> 01:03:52.480
<v Speaker 3>so they start in November of nineteen forty and they're

1227
01:03:52.559 --> 01:03:54.920
<v Speaker 3>road showing it across the United States. This isn't an

1228
01:03:54.960 --> 01:03:57.960
<v Speaker 3>open wide kind of thing. And as soon as the

1229
01:03:58.000 --> 01:04:01.519
<v Speaker 3>war happens, there's no chance that it can build an

1230
01:04:01.559 --> 01:04:03.719
<v Speaker 3>audience the way that the other Disney that.

1231
01:04:03.719 --> 01:04:06.239
<v Speaker 2>Makes sense, that does because I mean, does it play

1232
01:04:06.280 --> 01:04:08.639
<v Speaker 2>in the cinema again in the fifties or something.

1233
01:04:08.400 --> 01:04:11.679
<v Speaker 3>Or yeah, there are some revivals of it. Yeah, well,

1234
01:04:11.719 --> 01:04:14.119
<v Speaker 3>it got re issued in nineteen forty six as soon

1235
01:04:14.159 --> 01:04:18.599
<v Speaker 3>as the war. But in nineteen fifty five, that's when no, okay,

1236
01:04:18.719 --> 01:04:23.079
<v Speaker 3>nineteen sixty three. In fifty five, they noticed how deteriorated

1237
01:04:23.440 --> 01:04:26.159
<v Speaker 3>the print was becoming, and they began restoring it, and

1238
01:04:26.199 --> 01:04:29.159
<v Speaker 3>then in nineteen six they re released it in super scope.

1239
01:04:29.519 --> 01:04:32.679
<v Speaker 2>Whoa, And then you know it's that they butcher that up.

1240
01:04:32.719 --> 01:04:35.159
<v Speaker 3>I don't know. His budget ended up being two point

1241
01:04:35.159 --> 01:04:38.119
<v Speaker 3>two eight million, which is right around where that initial

1242
01:04:38.119 --> 01:04:41.480
<v Speaker 3>one hundred and twenty five thousand dollars was in modern day. Wow,

1243
01:04:41.519 --> 01:04:44.199
<v Speaker 3>that's better to think where the actual Fantas budget ended

1244
01:04:44.280 --> 01:04:44.639
<v Speaker 3>up being.

1245
01:04:44.920 --> 01:04:47.599
<v Speaker 2>So on here online that they put it out in

1246
01:04:47.679 --> 01:04:48.719
<v Speaker 2>the sixties again they.

1247
01:04:48.719 --> 01:04:50.840
<v Speaker 3>Put oh okay, so they put it out in the

1248
01:04:50.960 --> 01:04:54.039
<v Speaker 3>early sixties. They put it out in sixty nine, they

1249
01:04:54.039 --> 01:04:54.440
<v Speaker 3>put it out.

1250
01:04:54.480 --> 01:04:55.559
<v Speaker 2>That must have been up.

1251
01:04:55.639 --> 01:04:59.519
<v Speaker 3>Oh yeah, yeah, yeah, what Ollie Johnson, one of the animators,

1252
01:04:59.519 --> 01:05:02.119
<v Speaker 3>said that point everyone thought we were all on acid

1253
01:05:02.360 --> 01:05:06.880
<v Speaker 3>because they were all on acid watch in the movie.

1254
01:05:07.400 --> 01:05:09.719
<v Speaker 3>And then they re released it again in seventy seven,

1255
01:05:10.000 --> 01:05:12.960
<v Speaker 3>which is interesting because that's the year Stakowski Leopold, that's

1256
01:05:13.000 --> 01:05:15.400
<v Speaker 3>the year he died. And then you know, then it

1257
01:05:15.480 --> 01:05:18.320
<v Speaker 3>sort of ends starts ending up on video basically no

1258
01:05:18.920 --> 01:05:22.400
<v Speaker 3>again in eighty two that there was a fiftieth anniversary issue.

1259
01:05:22.400 --> 01:05:24.599
<v Speaker 3>I think that's the one we saw. It was re

1260
01:05:24.599 --> 01:05:28.519
<v Speaker 3>released in October fifth, nineteen ninety, where it gained twenty

1261
01:05:28.519 --> 01:05:32.719
<v Speaker 3>five million domestically, pretty good against its original billion dollar budget.

1262
01:05:33.119 --> 01:05:35.079
<v Speaker 3>And then it's you know, it's been on Home video

1263
01:05:35.079 --> 01:05:38.599
<v Speaker 3>over did again on Home nineteen ninety after okay, Yeah,

1264
01:05:39.079 --> 01:05:41.719
<v Speaker 3>to commemorate the video release that they made twenty five

1265
01:05:41.760 --> 01:05:44.719
<v Speaker 3>million dollars on. Yeah, the initial videotape came out that year,

1266
01:05:44.760 --> 01:05:47.000
<v Speaker 3>but it was that shitty pan and scan no stuff.

1267
01:05:47.320 --> 01:05:49.480
<v Speaker 3>Ave Maria, this is kind of a drag.

1268
01:05:49.920 --> 01:05:52.360
<v Speaker 2>It's not the prettiest recording.

1269
01:05:52.159 --> 01:05:56.239
<v Speaker 3>No, and the visuals, you know, it's it just feels

1270
01:05:56.280 --> 01:05:58.719
<v Speaker 3>like a Lenny reefinstall thing. You know, we're just like

1271
01:05:59.119 --> 01:06:01.920
<v Speaker 3>watching you know what I mean, We're like watching torches

1272
01:06:01.920 --> 01:06:04.719
<v Speaker 3>in a mountain. You know, just didn't I'm not trying

1273
01:06:04.719 --> 01:06:07.440
<v Speaker 3>to besmirch the fine name of Disney or anything with

1274
01:06:07.480 --> 01:06:10.679
<v Speaker 3>Lenny Reefin style there, but you know, you know what

1275
01:06:10.719 --> 01:06:13.519
<v Speaker 3>I'm saying, it's just this weird pastoral of you know,

1276
01:06:13.599 --> 01:06:19.000
<v Speaker 3>making grand what is you know, ordinary kind of rural behavior.

1277
01:06:19.400 --> 01:06:20.679
<v Speaker 2>The only thing I can think it was just meant

1278
01:06:20.679 --> 01:06:23.920
<v Speaker 2>to be the counter counterpoint to Night on Bald Mountain.

1279
01:06:24.000 --> 01:06:26.679
<v Speaker 3>I could have done so much more, so much, something

1280
01:06:26.760 --> 01:06:29.639
<v Speaker 3>much more interpretive. And you know, it's.

1281
01:06:29.480 --> 01:06:31.159
<v Speaker 2>Such a pretty song, was such pretty music.

1282
01:06:31.199 --> 01:06:33.559
<v Speaker 3>Yeah, you know, I don't know, like it could have

1283
01:06:33.599 --> 01:06:37.039
<v Speaker 3>been an impressionistic dream here, like it began with an

1284
01:06:37.039 --> 01:06:40.119
<v Speaker 3>impressionistic kind of thing, like they could have taken that

1285
01:06:40.159 --> 01:06:42.239
<v Speaker 3>to the limit here. Let the animators do whatever the

1286
01:06:42.280 --> 01:06:46.239
<v Speaker 3>fuck that whatever images you're getting for these three seconds,

1287
01:06:46.320 --> 01:06:47.000
<v Speaker 3>put that here.

1288
01:06:47.360 --> 01:06:49.320
<v Speaker 2>It looks like that little bit the other the shot

1289
01:06:49.320 --> 01:06:52.360
<v Speaker 2>of the monks with the lanterns was very Tolkien vibe.

1290
01:06:53.320 --> 01:06:57.480
<v Speaker 3>Yeah, like the elves or that led Zeppelin.

1291
01:06:57.519 --> 01:06:59.079
<v Speaker 2>Or the led Zeppelin.

1292
01:06:59.639 --> 01:07:03.760
<v Speaker 3>That's a we're taking away from demons and but yeah,

1293
01:07:03.880 --> 01:07:04.280
<v Speaker 3>the only.

1294
01:07:04.159 --> 01:07:05.599
<v Speaker 2>Thing I think of is, Okay, we're going to be

1295
01:07:05.599 --> 01:07:06.119
<v Speaker 2>holy here.

1296
01:07:06.360 --> 01:07:10.119
<v Speaker 3>I don't know the only thing we have to be holy?

1297
01:07:10.440 --> 01:07:11.880
<v Speaker 2>Yeah, we have to be holy.

1298
01:07:12.119 --> 01:07:16.800
<v Speaker 3>We just had a fucking jamboree of of demons and creatures.

1299
01:07:17.119 --> 01:07:19.920
<v Speaker 3>Everyone was having a really good time, and it just.

1300
01:07:19.880 --> 01:07:21.960
<v Speaker 2>You know, it looks like they're going to come back tonight.

1301
01:07:22.079 --> 01:07:25.159
<v Speaker 3>So it's yeah, I wonder how often that party goes on.

1302
01:07:25.239 --> 01:07:26.559
<v Speaker 2>Man, it's it's on it.

1303
01:07:28.199 --> 01:07:30.800
<v Speaker 3>Yeah, Dems comes out to telling us that during his

1304
01:07:31.000 --> 01:07:32.760
<v Speaker 3>the Dichotomy of the Sacred.

1305
01:07:32.440 --> 01:07:34.880
<v Speaker 2>And the Profate, it that's like a Halloween type.

1306
01:07:34.960 --> 01:07:37.239
<v Speaker 3>Yeah, the German equivalent of Halloween.

1307
01:07:37.679 --> 01:07:39.239
<v Speaker 2>I'm should have a lot of you know, they also

1308
01:07:39.280 --> 01:07:40.000
<v Speaker 2>have pumpish not.

1309
01:07:40.039 --> 01:07:43.679
<v Speaker 3>Too hey man, any chance to celebrate the.

1310
01:07:43.559 --> 01:07:47.360
<v Speaker 2>Right now you're speaking of Germans and stuff. I think

1311
01:07:47.679 --> 01:07:51.960
<v Speaker 2>there's a similar demon and in Hackson.

1312
01:07:52.239 --> 01:07:55.159
<v Speaker 3>Oh yeah, they're kind of is but in a way

1313
01:07:55.280 --> 01:07:57.920
<v Speaker 3>that demons all look like demon Yeah, but.

1314
01:07:57.960 --> 01:08:00.280
<v Speaker 2>With the big the thing with that the big wings ship.

1315
01:08:00.599 --> 01:08:02.800
<v Speaker 3>I don't really remember him having wings. I just remember

1316
01:08:03.199 --> 01:08:05.880
<v Speaker 3>who who's Yeah, and we don't really get a chance

1317
01:08:05.920 --> 01:08:07.360
<v Speaker 3>to see turner Box's feet here.

1318
01:08:07.519 --> 01:08:09.840
<v Speaker 2>Oh no, he's part of He lives in the mountain

1319
01:08:09.960 --> 01:08:11.159
<v Speaker 2>or is the mountains?

1320
01:08:11.719 --> 01:08:15.920
<v Speaker 3>I love Mickey gives a good performance in this turn

1321
01:08:16.039 --> 01:08:19.159
<v Speaker 3>Bog gives the other good performance there. Yeah, well steals it,

1322
01:08:19.319 --> 01:08:22.439
<v Speaker 3>Yeah he does. He's so he's just so put upon

1323
01:08:22.640 --> 01:08:24.399
<v Speaker 3>when the bell starts this again.

1324
01:08:25.239 --> 01:08:29.720
<v Speaker 2>But when yeah, knock.

1325
01:08:31.840 --> 01:08:33.079
<v Speaker 3>People with here, Yeah.

1326
01:08:32.960 --> 01:08:33.960
<v Speaker 2>Because it's not painful.

1327
01:08:33.960 --> 01:08:37.720
<v Speaker 3>It's that's what I love about it. Yeah, it's like

1328
01:08:37.800 --> 01:08:40.520
<v Speaker 3>him having to wake up to go to work. Yeah, no,

1329
01:08:41.359 --> 01:08:44.119
<v Speaker 3>love me some churn Bog he too, And oh well

1330
01:08:44.159 --> 01:08:46.359
<v Speaker 3>we talked about a man. That's pretty much the end

1331
01:08:46.439 --> 01:08:46.640
<v Speaker 3>of this.

1332
01:08:47.000 --> 01:08:49.199
<v Speaker 2>Yeah, it's the end of that. Maybe they just figure

1333
01:08:49.199 --> 01:08:51.359
<v Speaker 2>people are gonna start walking out. Maybe's you meant to

1334
01:08:51.399 --> 01:08:52.600
<v Speaker 2>walk out or anything. I don't know.

1335
01:08:52.960 --> 01:08:55.920
<v Speaker 3>I would I hereby encourage everybody to end the movie

1336
01:08:55.960 --> 01:08:57.159
<v Speaker 3>once the bell starts, right.

1337
01:08:57.199 --> 01:09:00.399
<v Speaker 2>Yeah, really, the I don't like the choir and it's

1338
01:09:00.439 --> 01:09:03.319
<v Speaker 2>to that choir sounds very well. It sounds like the

1339
01:09:03.319 --> 01:09:05.800
<v Speaker 2>beginning of every Disney movie in the fifties, whenever or

1340
01:09:05.880 --> 01:09:11.880
<v Speaker 2>whatever they would have that. Oh my god, that's what

1341
01:09:11.920 --> 01:09:12.560
<v Speaker 2>it sounds like.

1342
01:09:12.800 --> 01:09:14.079
<v Speaker 3>He loved his vocal group.

1343
01:09:14.359 --> 01:09:17.119
<v Speaker 2>Yeah, there's a version of a by Sarah Brightman. It's

1344
01:09:17.119 --> 01:09:19.760
<v Speaker 2>just hurt. Oh my god, these guys don't really well.

1345
01:09:19.800 --> 01:09:21.760
<v Speaker 3>It's part and parcel with the segment that it's not

1346
01:09:21.840 --> 01:09:22.800
<v Speaker 3>really well thought out.

1347
01:09:23.159 --> 01:09:25.680
<v Speaker 2>But again, the multi playing camera thing is gorgeous when

1348
01:09:25.680 --> 01:09:29.000
<v Speaker 2>they do it, it's really fascinating. And it's the technologies.

1349
01:09:29.319 --> 01:09:32.239
<v Speaker 3>I believe the Maria sequence, the sequence that they up

1350
01:09:32.279 --> 01:09:36.079
<v Speaker 3>until the last moment, uh didn't have before the premiere,

1351
01:09:36.239 --> 01:09:38.199
<v Speaker 3>Like they had to refilm at four different times.

1352
01:09:38.520 --> 01:09:39.720
<v Speaker 2>Yeah, you were saying that earlier.

1353
01:09:39.880 --> 01:09:41.760
<v Speaker 3>Yeah, so that only makes that should have been a

1354
01:09:41.840 --> 01:09:46.000
<v Speaker 3>hint from God end this with But.

1355
01:09:46.000 --> 01:09:49.239
<v Speaker 2>Can you would they be able to end it with no?

1356
01:09:49.439 --> 01:09:51.239
<v Speaker 3>If that were the case, it would have to go

1357
01:09:51.279 --> 01:09:54.760
<v Speaker 3>from Chernibog to The Sorcerer's Apprentice, where Man has at

1358
01:09:54.840 --> 01:09:56.520
<v Speaker 3>least some control.

1359
01:09:57.680 --> 01:09:58.239
<v Speaker 2>Of darkness.

1360
01:09:58.439 --> 01:10:00.199
<v Speaker 3>In fact, that actually makes sense. They should have ended.

1361
01:10:00.720 --> 01:10:02.720
<v Speaker 2>Yeah, maybe Good triumphs over Evil.

1362
01:10:02.800 --> 01:10:06.279
<v Speaker 3>Yeah, it's kind of but not the direct answer.

1363
01:10:06.600 --> 01:10:09.119
<v Speaker 2>Yeah, now the end when we just like Good puts,

1364
01:10:09.239 --> 01:10:10.279
<v Speaker 2>let's evil take a nap.

1365
01:10:10.520 --> 01:10:13.159
<v Speaker 3>This film did spawn a sequel, but its original intention

1366
01:10:13.399 --> 01:10:17.119
<v Speaker 3>was to be sequalized every couple of years, not necessarily sequel,

1367
01:10:17.520 --> 01:10:21.560
<v Speaker 3>to be re released in the in the genius Disney marketing.

1368
01:10:22.000 --> 01:10:24.520
<v Speaker 3>Even from the first day. It was to be re

1369
01:10:24.520 --> 01:10:27.399
<v Speaker 3>released with segments pulled out with replaced with newer si

1370
01:10:27.560 --> 01:10:29.399
<v Speaker 3>So every couple of years they'd basically just make a

1371
01:10:29.439 --> 01:10:33.399
<v Speaker 3>new short, a new silly symphony, but like highbrow, and

1372
01:10:33.680 --> 01:10:36.720
<v Speaker 3>they would say, pull out the dance of the sugar

1373
01:10:36.720 --> 01:10:39.640
<v Speaker 3>Pump fairies, you know, and put in some newer people.

1374
01:10:39.880 --> 01:10:41.960
<v Speaker 2>Was it is that related to what they were worked

1375
01:10:42.000 --> 01:10:43.880
<v Speaker 2>on with Dolly at one point for a little bit.

1376
01:10:44.159 --> 01:10:46.600
<v Speaker 3>No, absolutely, yeah, that was going to be a segment.

1377
01:10:46.880 --> 01:10:49.319
<v Speaker 3>And I think there there are a couple of segments

1378
01:10:49.520 --> 01:10:52.399
<v Speaker 3>I can't really access at the moment, but a couple

1379
01:10:52.439 --> 01:10:55.880
<v Speaker 3>of segments did get made just as their own sort

1380
01:10:55.880 --> 01:10:58.439
<v Speaker 3>of standalone pieces, not part of because they abandoned the

1381
01:10:58.439 --> 01:11:01.079
<v Speaker 3>Fantasia idea, but every up only years. I guess they

1382
01:11:01.079 --> 01:11:03.359
<v Speaker 3>would always announce that there was going to be, including

1383
01:11:03.560 --> 01:11:07.479
<v Speaker 3>recently as recently as twenty nineteen, the Disney Corporation allowed

1384
01:11:07.520 --> 01:11:11.199
<v Speaker 3>that they're now the Disney Corporation announced that they're developing

1385
01:11:11.239 --> 01:11:13.239
<v Speaker 3>a new one, and I have not heard anything since that,

1386
01:11:13.479 --> 01:11:15.640
<v Speaker 3>but you never would in the world of animation.

1387
01:11:15.880 --> 01:11:19.359
<v Speaker 2>No, and the two thousand it was Sorcerer's Apprentice was

1388
01:11:19.399 --> 01:11:22.039
<v Speaker 2>still in there, and night on Bald Mountain was still

1389
01:11:22.079 --> 01:11:23.640
<v Speaker 2>in there, and then everything.

1390
01:11:23.359 --> 01:11:27.359
<v Speaker 3>Else was new, so a little closer to Walt's original idea,

1391
01:11:27.920 --> 01:11:30.920
<v Speaker 3>but really just cherry picked the best ones. Yeah, we're

1392
01:11:30.960 --> 01:11:31.520
<v Speaker 3>being honest.

1393
01:11:31.960 --> 01:11:33.800
<v Speaker 2>Yeah, they sure did it. They had one where the

1394
01:11:33.880 --> 01:11:38.840
<v Speaker 2>graduationsng with Donald Duck as Noah, which is in the arc,

1395
01:11:38.880 --> 01:11:40.840
<v Speaker 2>which is kind of good. Was actually nice because I

1396
01:11:40.880 --> 01:11:44.119
<v Speaker 2>like Donald and the Rapist in Blue is the best.

1397
01:11:44.319 --> 01:11:46.600
<v Speaker 2>But there was also singing with the blue Whales.

1398
01:11:46.800 --> 01:11:49.359
<v Speaker 3>Yeah I'm flying and it was computer generated.

1399
01:11:49.840 --> 01:11:53.399
<v Speaker 2>Yeah, and of course the Flamingos, which, yeah, the Flamingos

1400
01:11:53.399 --> 01:11:57.039
<v Speaker 2>are funny, but it's all like celebrity celebrities of the time,

1401
01:11:57.159 --> 01:11:58.399
<v Speaker 2>kind of doing the Dean.

1402
01:11:58.600 --> 01:12:01.479
<v Speaker 3>That are not fit to hold teams baton. Yeah, he

1403
01:12:01.560 --> 01:12:02.039
<v Speaker 3>has one.

1404
01:12:02.439 --> 01:12:03.760
<v Speaker 2>It really dates it, I.

1405
01:12:03.720 --> 01:12:07.039
<v Speaker 3>Think, yeah, because it's all the it's all the same

1406
01:12:07.079 --> 01:12:09.840
<v Speaker 3>celebrities that Disney was just dealing with at that time anyway.

1407
01:12:09.920 --> 01:12:11.960
<v Speaker 2>Yeah, oh, here it's Bett Miller and pen here comes

1408
01:12:11.960 --> 01:12:12.560
<v Speaker 2>Steve Martin.

1409
01:12:12.640 --> 01:12:17.159
<v Speaker 3>Where can WHOOPI Goldberg be exactly? Robin Williams good in there.

1410
01:12:18.279 --> 01:12:20.319
<v Speaker 3>I think he was mad at the company at that point.

1411
01:12:20.479 --> 01:12:20.920
<v Speaker 2>Yeah, that's right.

1412
01:12:21.319 --> 01:12:26.319
<v Speaker 3>Oh, Mickey only has three fingers because so he doesn't

1413
01:12:26.319 --> 01:12:27.119
<v Speaker 3>have to sign a check.

1414
01:12:29.279 --> 01:12:31.319
<v Speaker 2>They end up giving him like a casso or something.

1415
01:12:31.560 --> 01:12:33.920
<v Speaker 3>Yeah, yeah, to lure him back.

1416
01:12:34.000 --> 01:12:36.479
<v Speaker 2>Yeah, but no, you know, if this is a really

1417
01:12:36.520 --> 01:12:39.640
<v Speaker 2>neat thing, it's I wish they did revisit it. Disney

1418
01:12:39.640 --> 01:12:41.840
<v Speaker 2>could stand to do with something a little on guardy,

1419
01:12:41.720 --> 01:12:42.800
<v Speaker 2>but they'd like to play it safe.

1420
01:12:43.079 --> 01:12:46.359
<v Speaker 3>Yeah, but like they have everything there, just yeah reasonable.

1421
01:12:46.560 --> 01:12:49.479
<v Speaker 3>You know, it's always great when you let a bunch

1422
01:12:49.520 --> 01:12:51.720
<v Speaker 3>of creative people just do what the fuck they want.

1423
01:12:51.960 --> 01:12:55.640
<v Speaker 3>And I know that it's such a lockdown world, the

1424
01:12:55.640 --> 01:12:58.760
<v Speaker 3>world of animate these days. You know, everyone's following the formula,

1425
01:12:58.800 --> 01:13:01.800
<v Speaker 3>whatever formula that they've decided is the one for them.

1426
01:13:02.159 --> 01:13:04.199
<v Speaker 3>But it's good to let them cut loose every once

1427
01:13:04.239 --> 01:13:06.399
<v Speaker 3>in a while and give us something fucking bananas.

1428
01:13:06.720 --> 01:13:10.000
<v Speaker 2>Yeah, it's just a cost. I don't know. It's Disney. Man.

1429
01:13:10.039 --> 01:13:12.159
<v Speaker 2>They spend one hundred million dollars on a Pixar movie,

1430
01:13:12.199 --> 01:13:14.880
<v Speaker 2>I think they can spend twenty million bucks on experimental piece.

1431
01:13:15.239 --> 01:13:18.880
<v Speaker 3>Yeah. I get a bunch of fucking animation students, you

1432
01:13:18.920 --> 01:13:21.840
<v Speaker 3>know who would be your interns, and instead pay them

1433
01:13:21.840 --> 01:13:25.159
<v Speaker 3>a workingman's salary. All they do eight hours a day

1434
01:13:25.279 --> 01:13:27.359
<v Speaker 3>is come up with fucking something crazy and cool.

1435
01:13:27.640 --> 01:13:29.760
<v Speaker 2>You know, I feel like they do the animation that

1436
01:13:29.840 --> 01:13:32.760
<v Speaker 2>just kind of died down. You know, American animators are

1437
01:13:32.760 --> 01:13:35.600
<v Speaker 2>in the Union. They find the cheapest creo that they

1438
01:13:35.600 --> 01:13:37.720
<v Speaker 2>could they can find, and then what they get back

1439
01:13:37.840 --> 01:13:40.880
<v Speaker 2>is that you want. That's not saying Asian animas are bad.

1440
01:13:40.960 --> 01:13:43.920
<v Speaker 2>That's just saying that when you're you know, you're buying

1441
01:13:44.000 --> 01:13:47.159
<v Speaker 2>essentially Kmart brand. It's an animation house and to get

1442
01:13:47.199 --> 01:13:48.439
<v Speaker 2>it out quick and get it out.

1443
01:13:48.720 --> 01:13:52.199
<v Speaker 3>And Disney ought to be encouraging the next generation of

1444
01:13:52.199 --> 01:13:55.079
<v Speaker 3>two D. I mean, they don't need to help three D.

1445
01:13:55.520 --> 01:13:58.359
<v Speaker 3>That's what everyone's going to school for. Yeah, not necessarily

1446
01:13:58.359 --> 01:14:01.399
<v Speaker 3>come work for them, just because that's where everyone's going.

1447
01:14:01.760 --> 01:14:04.880
<v Speaker 3>So somebody needs to be fostering the old hand to

1448
01:14:05.000 --> 01:14:06.279
<v Speaker 3>drawn gorgeousness.

1449
01:14:06.479 --> 01:14:08.880
<v Speaker 2>And it's weird because you know, one of my one

1450
01:14:08.880 --> 01:14:10.760
<v Speaker 2>of the grad schools I wanted to go to with

1451
01:14:10.840 --> 01:14:13.760
<v Speaker 2>the school, I dropped out of school at some point

1452
01:14:13.840 --> 01:14:16.600
<v Speaker 2>and then I went back and got my degree after COVID.

1453
01:14:16.800 --> 01:14:18.520
<v Speaker 2>But when I was there the first time, I wanted

1454
01:14:18.520 --> 01:14:21.560
<v Speaker 2>to go to cal Art and that's the Disney found

1455
01:14:21.600 --> 01:14:24.920
<v Speaker 2>and fund and everything, and that's where you know all

1456
01:14:24.960 --> 01:14:30.159
<v Speaker 2>those great anime animators and directors, sim Burton Gate, Brad

1457
01:14:30.239 --> 01:14:33.479
<v Speaker 2>Bird was at it. My professor, late great Professor Menendez

1458
01:14:33.479 --> 01:14:35.039
<v Speaker 2>for this is the Nandez from you know V he

1459
01:14:35.239 --> 01:14:37.119
<v Speaker 2>was there's the seventies or eighties.

1460
01:14:37.359 --> 01:14:41.000
<v Speaker 3>I think Kennedy Tarkowski came out of yeah somebody.

1461
01:14:40.960 --> 01:14:43.640
<v Speaker 2>He was doing a Popeye mod's sakes and they canceled it.

1462
01:14:43.880 --> 01:14:46.479
<v Speaker 2>Really you that I was making a pop Eye movie

1463
01:14:46.479 --> 01:14:49.640
<v Speaker 2>that you guys Hi Anyway, I don't know why. I mean,

1464
01:14:49.960 --> 01:14:53.239
<v Speaker 2>like I said, Disney has their own college. I did

1465
01:14:53.279 --> 01:14:56.159
<v Speaker 2>the two D movies. Just stop making money and that's

1466
01:14:56.199 --> 01:14:56.720
<v Speaker 2>what it was.

1467
01:14:56.840 --> 01:14:59.720
<v Speaker 3>Or Yeah, I think I don't think that it's not

1468
01:14:59.840 --> 01:15:02.279
<v Speaker 3>they stop making money. I just don't think it has

1469
01:15:02.319 --> 01:15:04.960
<v Speaker 3>to be a bottom line issue, like two D costs

1470
01:15:05.119 --> 01:15:07.560
<v Speaker 3>this much, three D costs this much. They both earned

1471
01:15:07.600 --> 01:15:09.159
<v Speaker 3>this much. We're doing three D.

1472
01:15:09.439 --> 01:15:11.960
<v Speaker 2>Yeah, yes, I just wish they'd, you know, give it

1473
01:15:12.000 --> 01:15:13.800
<v Speaker 2>a shot because the last time they tried it was

1474
01:15:13.880 --> 01:15:15.239
<v Speaker 2>what Princess and the.

1475
01:15:15.279 --> 01:15:18.159
<v Speaker 3>Frog and even that's gonna heaping helping of a lot

1476
01:15:18.199 --> 01:15:19.319
<v Speaker 3>of Yeah.

1477
01:15:19.359 --> 01:15:21.840
<v Speaker 2>They were doing they started using that in Great Mouse.

1478
01:15:21.880 --> 01:15:24.840
<v Speaker 3>That's the first teacher for the cogs in the clock. Yeah,

1479
01:15:25.119 --> 01:15:27.880
<v Speaker 3>it was startling. Then now I don't like it.

1480
01:15:27.920 --> 01:15:30.119
<v Speaker 2>I always hate a siege shows up in the two

1481
01:15:30.159 --> 01:15:32.720
<v Speaker 2>DN and like now they've gotten they do three D

1482
01:15:32.880 --> 01:15:35.439
<v Speaker 2>anime that looks like two D like that X Men

1483
01:15:35.560 --> 01:15:36.399
<v Speaker 2>ninety seven.

1484
01:15:36.199 --> 01:15:38.680
<v Speaker 3>I think absolutely it was and Blue.

1485
01:15:38.520 --> 01:15:41.600
<v Speaker 2>Eyed Samurai and Netflix, which, by the way, having everybody

1486
01:15:41.600 --> 01:15:44.119
<v Speaker 2>in the world to watch one of the finest animated things.

1487
01:15:44.359 --> 01:15:47.159
<v Speaker 2>That being said, it's clearly three D animate and then

1488
01:15:47.359 --> 01:15:49.920
<v Speaker 2>cell shaded looks hand. So we're at a point not

1489
01:15:50.199 --> 01:15:52.399
<v Speaker 2>like you can get away with it, yeah, but it's

1490
01:15:52.479 --> 01:15:54.520
<v Speaker 2>like I draw it at least.

1491
01:15:54.920 --> 01:15:57.479
<v Speaker 3>I mean, look, there's some you gotta have. I don't know,

1492
01:15:57.720 --> 01:15:59.920
<v Speaker 3>there's no answer for it. Bring back two D, like

1493
01:16:00.239 --> 01:16:03.000
<v Speaker 3>somebody out there wants to do it, let them do it.

1494
01:16:03.039 --> 01:16:05.439
<v Speaker 2>Because even though like I mean watched I always have

1495
01:16:05.560 --> 01:16:07.840
<v Speaker 2>Warner Brothers at least the Superhero Park two D at least,

1496
01:16:07.840 --> 01:16:09.960
<v Speaker 2>and they looked great. And now they're just that cell

1497
01:16:10.039 --> 01:16:11.880
<v Speaker 2>shaded c you know it looks like a cut seer

1498
01:16:11.880 --> 01:16:12.880
<v Speaker 2>a PlayStation. Yeah.

1499
01:16:12.920 --> 01:16:14.680
<v Speaker 3>As much as I'm enjoying all the new stuff, it

1500
01:16:14.680 --> 01:16:15.960
<v Speaker 3>does seem a little too computer.

1501
01:16:16.359 --> 01:16:18.399
<v Speaker 2>Yeah, like their Watchmen. I can't wait to see it,

1502
01:16:18.439 --> 01:16:20.600
<v Speaker 2>But it does look like a Telltale game.

1503
01:16:20.680 --> 01:16:21.920
<v Speaker 3>Oh I watched it.

1504
01:16:21.439 --> 01:16:22.399
<v Speaker 2>It was it good?

1505
01:16:22.960 --> 01:16:27.359
<v Speaker 3>Yes, yes, I question its relevancy, but it's certainly the

1506
01:16:27.399 --> 01:16:30.560
<v Speaker 3>full story. Okay, we got some good performances in there too.

1507
01:16:30.880 --> 01:16:32.680
<v Speaker 2>It does it seem like we're just trying to hang

1508
01:16:32.720 --> 01:16:34.239
<v Speaker 2>on to the rights or something.

1509
01:16:34.520 --> 01:16:37.079
<v Speaker 3>Absolutely, the parent come the rights. I don't know what's

1510
01:16:37.079 --> 01:16:37.680
<v Speaker 3>going on with it.

1511
01:16:37.720 --> 01:16:39.840
<v Speaker 2>I don't know why their disaster over there at Warner Brothers.

1512
01:16:40.119 --> 01:16:43.279
<v Speaker 3>Yeah, there's they got bigger problems than the relevancy of

1513
01:16:43.319 --> 01:16:44.399
<v Speaker 3>a Watchman remake.

1514
01:16:44.560 --> 01:16:46.399
<v Speaker 2>But yeah, they announced that they were like wanting to

1515
01:16:46.399 --> 01:16:49.439
<v Speaker 2>put like eight billion dollars in Las Vegas Valley for

1516
01:16:49.520 --> 01:16:51.640
<v Speaker 2>a movie studio where they gonna get eight billion.

1517
01:16:52.199 --> 01:16:52.840
<v Speaker 3>I wondered that.

1518
01:16:53.359 --> 01:16:56.399
<v Speaker 2>Canceling as ride offs were they gonna get eight billion bucks?

1519
01:16:56.640 --> 01:16:58.399
<v Speaker 3>I thought they were eight billion in debt, Like I

1520
01:16:58.399 --> 01:17:00.760
<v Speaker 3>thought that was the reason they brought onzas Lap. Now

1521
01:17:00.760 --> 01:17:03.159
<v Speaker 3>they're committing to a studio here.

1522
01:17:03.359 --> 01:17:05.520
<v Speaker 2>And they've been back on negative credit.

1523
01:17:05.279 --> 01:17:08.000
<v Speaker 3>Walk Sony's coming here too, you know, not.

1524
01:17:07.880 --> 01:17:11.079
<v Speaker 2>To you know, get off topic, but the only that's

1525
01:17:11.119 --> 01:17:16.000
<v Speaker 2>ever going to happen because unless the legislature like changes

1526
01:17:16.399 --> 01:17:19.239
<v Speaker 2>the tax credit for filming here, it's not gonna happen.

1527
01:17:19.319 --> 01:17:21.840
<v Speaker 2>And you know, like they gave half of that way

1528
01:17:21.880 --> 01:17:24.600
<v Speaker 2>would Elon Musk showed up Tesla. So I don't think

1529
01:17:24.640 --> 01:17:26.239
<v Speaker 2>we're ever going to get money back. And you have

1530
01:17:26.319 --> 01:17:28.239
<v Speaker 2>to have a million dollar budget in order to even

1531
01:17:28.319 --> 01:17:31.520
<v Speaker 2>qualify for it. It's really complicated. It's basically what it

1532
01:17:31.600 --> 01:17:33.760
<v Speaker 2>boils down to. If you're going to shoot the Nevada Desert,

1533
01:17:34.039 --> 01:17:34.840
<v Speaker 2>it's better to do it.

1534
01:17:35.279 --> 01:17:37.760
<v Speaker 3>But these are studios they're talking about. This isn't there

1535
01:17:38.199 --> 01:17:40.800
<v Speaker 3>a single production this is but that.

1536
01:17:40.560 --> 01:17:43.279
<v Speaker 2>That would apply to everything they made would still fall

1537
01:17:43.399 --> 01:17:45.319
<v Speaker 2>under that tax credit, So everything they would make it be.

1538
01:17:45.279 --> 01:17:48.399
<v Speaker 3>Cheaper, right. I keep hearing there are plans for the

1539
01:17:48.439 --> 01:17:51.000
<v Speaker 3>studio and that studio and that studio all to come here,

1540
01:17:51.039 --> 01:17:55.039
<v Speaker 3>but it's all contingent upon that, Yeah, the legislature, And.

1541
01:17:54.960 --> 01:17:57.960
<v Speaker 2>They only mean every couple of years. Yay. So I

1542
01:17:58.000 --> 01:18:00.960
<v Speaker 2>don't know what that if that that's going to happen anytime.

1543
01:18:01.000 --> 01:18:02.960
<v Speaker 2>You know, I'd like to have make my life a

1544
01:18:03.000 --> 01:18:03.840
<v Speaker 2>lot easier.

1545
01:18:03.560 --> 01:18:06.439
<v Speaker 3>If they know what suned their bread is buttered on exactly.

1546
01:18:06.479 --> 01:18:10.199
<v Speaker 3>That's that legislation and get fucking like four movie studios

1547
01:18:10.199 --> 01:18:12.079
<v Speaker 3>here in Evana will become new Hollywood.

1548
01:18:12.439 --> 01:18:14.239
<v Speaker 2>It'll be more like new Atlanta. Though.

1549
01:18:14.560 --> 01:18:15.760
<v Speaker 3>Yeah, that's fine by me, man.

1550
01:18:16.840 --> 01:18:18.479
<v Speaker 2>It was like Hollywood too funny. I'm like, you know,

1551
01:18:18.520 --> 01:18:21.600
<v Speaker 2>they got Atlanta. It's gonna be places too filmed. The

1552
01:18:21.640 --> 01:18:22.960
<v Speaker 2>bosses are still going to live.

1553
01:18:23.079 --> 01:18:23.920
<v Speaker 3>Work autus good.

1554
01:18:24.319 --> 01:18:26.560
<v Speaker 2>But at the same time, it's just going to make traffic.

1555
01:18:26.840 --> 01:18:29.720
<v Speaker 3>You know what, Let's have an exit, a mass exodus

1556
01:18:29.720 --> 01:18:31.760
<v Speaker 3>of lost from Los Angeles to here, and then we'll

1557
01:18:31.760 --> 01:18:32.199
<v Speaker 3>go there.

1558
01:18:32.479 --> 01:18:34.199
<v Speaker 2>Oh yeah, really beach fun Yeah.

1559
01:18:34.000 --> 01:18:35.399
<v Speaker 3>Man, the studios are still there.

1560
01:18:35.720 --> 01:18:38.600
<v Speaker 2>Yeah man, it's a good talk. Though. I appreciate the

1561
01:18:38.920 --> 01:18:42.119
<v Speaker 2>going deep dive into the history of cinema with with

1562
01:18:42.239 --> 01:18:45.319
<v Speaker 2>an old picture like this that's been around forever and

1563
01:18:45.439 --> 01:18:49.560
<v Speaker 2>has influenced generations of cartoon maker and filmmaker. I think

1564
01:18:49.600 --> 01:18:53.199
<v Speaker 2>basically has helped introduce all people to classical music. All

1565
01:18:53.319 --> 01:18:56.520
<v Speaker 2>my education for classical music as a kid, came from anime,

1566
01:18:56.720 --> 01:18:57.720
<v Speaker 2>came from this, and came.

1567
01:18:57.560 --> 01:19:01.800
<v Speaker 3>From Warner Brothers back when created. We're attempting to expand

1568
01:19:01.840 --> 01:19:04.279
<v Speaker 3>your mind while making giggle like an idiot.

1569
01:19:04.560 --> 01:19:06.319
<v Speaker 2>Yeah, basically now they just want to get you to

1570
01:19:06.640 --> 01:19:09.479
<v Speaker 2>giggle like an idiot, which I don't get it, because

1571
01:19:09.560 --> 01:19:13.479
<v Speaker 2>if stuff was really well done and expanding your mind,

1572
01:19:13.760 --> 01:19:15.039
<v Speaker 2>people would tune in more.

1573
01:19:15.159 --> 01:19:18.760
<v Speaker 3>I don't like that's up and under them, such as Fantasia.

1574
01:19:19.239 --> 01:19:20.680
<v Speaker 2>Right, those are the thoughts that kept me out of

1575
01:19:20.720 --> 01:19:21.119
<v Speaker 2>the really.

1576
01:19:21.000 --> 01:19:24.359
<v Speaker 3>Good fan Fantasia actually naturally leads us into what's going

1577
01:19:24.439 --> 01:19:26.079
<v Speaker 3>to be our next topic. We're gonna be looking at

1578
01:19:26.279 --> 01:19:29.680
<v Speaker 3>an Italian film from nineteen seventy seven called a Legro

1579
01:19:29.840 --> 01:19:34.319
<v Speaker 3>non Tropo. It is a one for one parody of Fantasia.

1580
01:19:34.920 --> 01:19:39.039
<v Speaker 3>It is spectacular. Can't wait, but until.

1581
01:19:38.880 --> 01:19:40.560
<v Speaker 2>Then where it's Italian?

1582
01:19:40.560 --> 01:19:42.359
<v Speaker 3>Oh my god, I can Oh my god. Yes you're

1583
01:19:42.359 --> 01:19:44.479
<v Speaker 3>going to dig it. But until then, Antonio, where can

1584
01:19:44.479 --> 01:19:46.359
<v Speaker 3>people find you? If they're looking for you?

1585
01:19:45.760 --> 01:19:49.000
<v Speaker 2>You can check out my work at Swampmedia Group dot

1586
01:19:49.039 --> 01:19:53.119
<v Speaker 2>com and watch my movie Space Detective Space detectivemovie dot com.

1587
01:19:53.199 --> 01:19:55.119
<v Speaker 3>As for me, you're here on Weading Way media where

1588
01:19:55.159 --> 01:19:57.479
<v Speaker 3>all amost of stuff that I do, but keep tuning

1589
01:19:57.520 --> 01:20:01.560
<v Speaker 3>into midnight viewing. We're twice a week show days and Fridays.

1590
01:20:01.960 --> 01:20:04.680
<v Speaker 3>Every Monday is the Father Malone Weekly round Up with

1591
01:20:04.680 --> 01:20:08.159
<v Speaker 3>with my co host my pug Ripley Gene and every

1592
01:20:08.159 --> 01:20:11.119
<v Speaker 3>Friday alternates between the Horror Anthology Podcast, where we are

1593
01:20:11.119 --> 01:20:13.279
<v Speaker 3>currently looking at Tales from the dark Side and this

1594
01:20:13.319 --> 01:20:16.359
<v Speaker 3>show Anthologies Attack, where we look at every anthology no

1595
01:20:16.399 --> 01:20:19.399
<v Speaker 3>matter the genre or the media for that matter. Our

1596
01:20:19.439 --> 01:20:22.720
<v Speaker 3>theme song here is done by HP and if you

1597
01:20:22.760 --> 01:20:25.520
<v Speaker 3>want to subscribe to us, that would be great, or

1598
01:20:25.600 --> 01:20:27.800
<v Speaker 3>give us five stars over on the Apple podcast that

1599
01:20:27.880 --> 01:20:30.680
<v Speaker 3>actually helps out a great deal. And if you have

1600
01:20:30.800 --> 01:20:33.319
<v Speaker 3>a little money in your pocket and feel like sharing

1601
01:20:33.359 --> 01:20:37.039
<v Speaker 3>that with us, go to patreon dot com slash Father Malone.

1602
01:20:37.239 --> 01:20:41.239
<v Speaker 3>Until next time, try to enjoy the daylight when is

1603
01:20:41.319 --> 01:20:43.520
<v Speaker 3>not Yeah, I don't know, I just keep saying trying to.

1604
01:20:45.159 --> 01:21:23.319
<v Speaker 3>I'll come up with a fucking permanent thing. It's on point, folks,