Editing Fantasia (1940 film) (section)

=== Segments ===
More than 1,000 artists and technicians were used in the making of ''Fantasia'',<ref name=vhs1991>{{cite web|url=https://news.google.com/newspapers?id=Ya0fAAAAIBAJ&pg=1148%2C8087297 |title='Fantasia' marks anniversary with video |work=The Southeast Missourian |access-date=January 16, 2011 |date=October 29, 1991 |first=David |last=Hente |via=Google News Archive}}</ref> which features more than 500 animated characters.<ref name=mont1943>{{cite web|url=https://news.google.com/newspapers?id=z30tAAAAIBAJ&pg=5791%2C1440462 |title='Fantasia' returning in complete version |work=The Montreal Gazette |date=May 8, 1943 |access-date=February 12, 2011 |via=Google News Archive}}</ref> Segments were color-keyed scene by scene so the colors in a single shot would harmonize between preceding and following ones.{{sfn|Culhane|1983|p=150}} Before a segment's narrative pattern was complete, an overall color scheme was designed to the general mood of the music, and patterned to correspond with the development of the subject matter.{{sfn|Culhane|1983|p=150}} The studio's character model department sculpted three-dimensional [[Maquette|clay models]] so the animators could view their subject from all angles.{{sfn|Culhane|1983|p=22}} The live action scenes were filmed using the [[Technicolor#Three-strip Technicolor|three-strip Technicolor]] process, while the animated segments were shot in successive [[CMYK color model|yellow, cyan and magenta]]-exposed frames. The different pieces of film were then spliced together to form a complete print.<ref name=seattle1990/> A [[multiplane camera]] that could handle seven levels, three more than the studio's original model, was built specifically for the film.<ref>{{cite book | last1=Lee | first1=N. | last2=Madej | first2=K. | title=Disney Stories: Getting to Digital | publisher=Springer New York | series=SpringerLink : Bücher | year=2012 | isbn=978-1-4614-2101-6 | url=https://books.google.com/books?id=E9GVJJqNjGAC&pg=PA61 | access-date=2021-02-05 | page=61}}</ref> ''Fantasia'' has {{convert|3500|feet|m}} of multiplane footage, more than ''Snow White and the Seven Dwarfs'' and ''Pinocchio'' combined.{{sfn|Culhane|1983|p=199}}

====Toccata and Fugue in D Minor====
Disney had been interested in producing abstract animation since he saw ''[[A Colour Box]]'' by [[Len Lye]] from 1935. He explained the work done in the ''Toccata and Fugue'' was "no sudden idea&nbsp;... they were something we had nursed along several years but we never had a chance to try."{{sfn|Culhane|1983|pp=36–38}} Preliminary designs included those from effects animator [[Cy Young (animator)|Cy Young]], who produced drawings influenced by the patterns on the edge of a piece of sound film.{{sfn|Barrier|1999|pp=252–253}} In late 1938, Disney hired [[Oskar Fischinger]], a German artist who had produced numerous abstract animated films, including some with classical music, to work with Young. Upon review of three [[leica reel]]s produced by the two, Disney rejected all three. According to Huemer all Fishinger "did was little triangles and designs&nbsp;... it didn't come off at all. Too dinky, Walt said."{{sfn|Barrier|1999|p=253}} Fischinger, like Disney, was used to having full control over his work and not used to working in a group. Feeling his designs were too abstract for a mass audience,<ref name=la1990 /> Fishinger left the studio in apparent despair, before the segment was completed, in October 1939.{{sfn|Culhane|1983|pp=42–43}} Disney had plans to make the ''Toccata and Fugue'' an experimental three-dimensional film, with audiences being given cardboard [[Stereoscopy|stereoscopic frames]] with their souvenir programs, but this idea was abandoned.{{sfn|Culhane|1983|pp=36–38}}

====''The Nutcracker Suite''====
In ''The Nutcracker Suite'', animator [[Art Babbitt]] is said to have credited [[The Three Stooges]] as a guide for animating the dancing mushrooms in the ''Chinese Dance'' routine. He drew with a music score pinned to his desk to work out the choreography so he could relate the action to the melody and the counterpoint, "those nasty little notes underneath&nbsp;... so something has to be related to that".{{sfn|Culhane|1983|pp=53–54}} The studio filmed professional dancers Joyce Coles and [[Marjorie Belcher]] wearing ballet skirts that resembled shapes of blossoms that were to sit above water for ''Dance of the Flutes''. An Arabian dancer was also brought in to study the movements for the goldfish in ''Arab Dance''.{{sfn|Culhane|1983|p=61}} [[Jules Engel]] also worked on the choreography and color-keying for this sequence.<ref>{{Cite web|last=Biederman|first=Patricia Ward|date=1995-11-11|title=An Animated Personal Vision: CalArts Teacher Jules Engel Is Honored for Lifetime in Film|url=https://www.latimes.com/archives/la-xpm-1995-11-11-me-1787-story.html|url-status=live|archive-url=https://web.archive.org/web/20201030133814/https://www.latimes.com/archives/la-xpm-1995-11-11-me-1787-story.html|archive-date=2020-10-30|access-date=2020-10-30|website=Los Angeles Times|language=en-US}}</ref> To avoid hard ink outlines, new techniques like transparent paint was used on the cels. The snowflakes used in the snowflake fairies sequence was difficult to draw by hand, so a man named Leonard Pickley, from the Special Effects Department, came up with the idea of using stop-motion animation. Diagrams of real snowflakes were traced by the Ink and Paint Department, who used a material a little heavier than regular cels, and painted them in translucent white. They were then cut out and placed on revolving spools attached to small steel rails. The mechanics was hidden under black velvet as the snowflakes were moved one frame at a time. The hand-drawn animation was added later.<ref>{{Cite web|url=https://d23.com/5-fascinating-facts-about-fantasias-nutcracker-suite/|title=5 Fascinating Facts About ''Fantasia''{{'}}s Nutcracker Suite|date=December 11, 2015|website=[[D23 (Disney)|D23]]}}</ref>

====''The Sorcerer's Apprentice''====
[[File:Disney taylor stokowski.jpg|right|thumb|Disney acting out a scene in ''The Sorcerer's Apprentice'' for Taylor and Stokowski]]
Animation on ''The Sorcerer's Apprentice'' began on January 21, 1938, when [[James Algar]], the director of the segment, assigned animator [[Preston Blair]] to work on the scene when Mickey Mouse wakes from his dream.{{sfn|Culhane|1983|p=22}} Each of the seven hundred members of staff at the time received a synopsis of Goethe's 1797 poem ''[[Der Zauberlehrling]]'', and were encouraged to complete a twenty-question form that requested their ideas on what action might take place.{{sfn|Culhane|1983|pp=15–16, 80–84}} Early on Disney considered using Dopey from ''Snow White and the Seven Dwarfs'' as the apprentice, but he did not want to dilute the impact of his debut feature and chose Mickey Mouse (who was redesigned for the film).<ref name=millimeter/> Stokowski suggested the cartoon could star "an entirely new personality" that represented "in the mind and heart of everyone seeing the film their own personality, so that they would enter into all the drama and emotional changes of the film in a most intense manner"; Disney rejected this also.<ref name=millimeter/> In its original form the segment opened with an overture followed by live action shots of Stokowski conducting in silhouette, filming for which took place in January 1938 with cinematographer [[James Wong Howe]].<ref name=millimeter/>

Layout artist Tom Codrick created what Dick Huemer described as "brilliantly colored thumbnails" from preliminary storyboard sketches using [[gouache|gouache paints]], which featured bolder use of color and lighting than any previous Disney short.{{sfn|Barrier|1999|p=251}} Mickey was redesigned by animator [[Fred Moore (animator)|Fred Moore]] who added pupils to his eyes for the first time to achieve greater ranges of expression.{{sfn|Culhane|1983|pp=80–84}}<ref name=chic1990>{{Cite news|url=https://www.chicagotribune.com/news/ct-xpm-1990-09-23-9003190603-story.html |title=The Fantasy of Disney's ''Fantasia'' – 50 Years Later, It's Still a Classical Masterpiece |first=Dick |last=Adler |newspaper=[[Chicago Tribune]]|date=September 23, 1990 |access-date=January 17, 2011}}</ref> Most of the segment was shot in live action, including a scene where a [[UCLA]] athlete was asked to run and jump across one of the studio's sound stages with barrels in the way, which was used for reference when Mickey traverses through water.{{sfn|Barrier|1999|p=244}} English silent film actor [[Nigel De Brulier]] was hired to portray Yen Sid for the camera for the animators to use for reference. A sorcerer's robe and hat was bought from a costume rental shop and decorated with stars and crescent moons.<ref name=millimeter/>

====''The Rite of Spring''====
An early concept for ''The Rite of Spring'' was to extend the story to the age of mammals and the first humans and the discovery of fire and man's triumph. [[John Hubley]], the segment's art director, explained that it was later curtailed by Disney to avoid controversy from [[creationists]], who promised to make trouble should he connect [[evolution]] with humans.{{sfn|Culhane|1983|p=126}} To gain a better understanding of the history of the planet the studio received guidance from [[Roy Chapman Andrews]], the director of the [[American Museum of Natural History]]; English biologist [[Julian Huxley]]; paleontologist [[Barnum Brown]]; and astronomer [[Edwin Hubble]].{{sfn|Culhane|1983|pp=120–121}}<ref name=fammuseumfant>{{cite web |author=Holliss, Richard  |url=http://disney.go.com/disneyatoz/familymuseum/exhibits/articles/fantasia/index.html |archive-url=https://web.archive.org/web/20061128022950/http://disney.go.com/disneyatoz/familymuseum/exhibits/articles/fantasia/index.html |archive-date=November 28, 2006 |title=''Fantasia''|website=Disney.com |url-status=dead |access-date=October 28, 2011}}</ref> Animators studied comets and [[nebula]]e at the [[Mount Wilson Observatory]], and observed a herd of iguanas and a baby alligator that were brought into the studio.<ref name=time1940>{{Cite magazine |url=https://content.time.com/time/subscriber/article/0,33009,777534,00.html |title=Music: Disney's Cinesymphony |archive-url=https://web.archive.org/web/20220104033239/http://content.time.com/time/subscriber/article/0,33009,777534,00.html |url-status=live |archive-date=January 4, 2022 |magazine=[[Time (magazine)|Time]] |date=November 18, 1940 |access-date=February 12, 2011}}</ref> The viewpoint was kept low throughout the segment to heighten the immensity of the [[dinosaur]]s.{{sfn|Culhane|1983|pp=120–121}}

====''The Pastoral Symphony''====
According to [[Ward Kimball]], the animators were "extremely specific on touchy issues". The female centaurs were originally drawn bare-breasted, but the [[Hays Code|Hays office]] enforcing the [[Motion Picture Production Code]] insisted that they discreetly hung garlands around the necks.{{sfn|Pinsky|2004|p=36}} The male centaurs were also toned down to appear less intimidating to the audience. Originally, the segment included a pair of black centaurs who tended to the others, but these were cut from the film in later releases due to their implications of racism. (see {{slink||Controversies}}).{{sfn|Pinsky|2004|p=36}}

====''Dance of the Hours''====
''Dance of the Hours'' was directed by [[Norman Ferguson (animator)|Norman Ferguson]] and [[Thornton Hee]] and was completed by eleven animators.{{sfn|Culhane|1983|p=170}} Most of the story was outlined in a meeting in October 1938, including the creation of the main alligator character, Ben Ali Gator. Its story, direction, layout, and animation underwent several rewrites, yet Disney wanted to present animals performing a legitimate caricature ballet sequence with comedic "slips".{{sfn|Culhane|1983|pp=162, 164}} The design of the elephants and alligators were based on those by German illustrator [[Heinrich Kley]], while the hippos and ostriches were based on those by cartoonist [[T. S. Sullivant]]. To gain a better idea on the animals' movements, the crew visited [[Griffith Park Zoo]] in Los Angeles.{{sfn|Culhane|1983|pp=167–168}} Animator [[John Hench]] was assigned to work on the segment, but resisted as he knew little about ballet. Disney then gave Hench season tickets to the [[Ballet Russe de Monte Carlo]] with backstage access so he could learn more about it.{{sfn|Denney|Williams|2004|p=136}}

The studio filmed several people in live action to help with the animation of the characters. The lead ostrich, Madmoiselle Upanova, is based on [[Irina Baronova]].{{sfn|Culhane|1983|pp=170–171}}<ref name=chic1990/><ref name=S2014>{{cite magazine|url=https://issuu.com/pubhouse/docs/cso_lsprwrap5_may10_11|title=Symphony at the Movies: Program Notes|first=Alexander|last=Rannie|pages=28–29|magazine=Soundings|date=May 10, 2014|publisher=Colorado Symphony Orchestra|volume=11|issue=5|access-date=January 5, 2019|via=[[Issuu]]}}</ref> Hyacinth Hippo, the prima ballerina, was inspired by dancers [[Marge Champion]] and [[Tatiana Riabouchinska]] and actress Hattie Noel who weighed over {{convert|200|lbs}}, the animators studying the "least quiver of her flesh, noticing those parts of her anatomy that were subjected to the greatest stress and strain".{{sfn|Pinsky|2004|p=36}}{{sfn|Culhane|1983|pp=170–171}} Riabouchinska's husband [[David Lichine]] was used for Ben Ali Gator's movements.<ref name=S2014/>

====''Night on Bald Mountain'' and ''Ave Maria''====
''Night on Bald Mountain'' was directed by [[Wilfred Jackson]]. Its story closely follows the descriptions that Mussorgsky had written on his original score of the tone poem.{{sfn|Culhane|1983|p=185}} Chernabog was animated by [[Vladimir Tytla|Vladimir "Bill" Tytla]], his design inspired from a pencil sketch by Swiss artist Albert Hurter of a demon sitting atop a mountain unfolding its wings. Despite Hurter never producing animation for Disney, the studio temporarily hired him to produce pencil sketches for the animators to gain inspiration from.{{sfn|Culhane|1983|p=185}} Chernabog and parts of the segment were developed further by Danish-born illustrator [[Kay Nielsen]].{{sfn|Culhane|1983|p=185}} Tytla conducted research on all the characters he had animated and being [[Ukrainians|Ukrainian]], was familiar with the folklore that the story detailed.{{sfn|Culhane|1983|p=185}} Actor [[Béla Lugosi]], best known for his role in ''[[Dracula (1931 English-language film)|Dracula]]'' (1931), was brought in to provide reference poses for Chernabog, but Tytla disliked the results. He then got Jackson to pose shirtless which gave him the images he needed.<ref name=la1990 /> At one point in its development, the idea of using [[black cat]]s to represent evil was considered, but Disney rejected it as he thought cats had always been used.{{sfn|Culhane|1983|p=188}}

The film's program reads that ''Ave Maria'' provides "an emotional relief to audiences tense from the shock" of ''Night on Bald Mountain''.{{sfn|Culhane|1983|p=198}} Disney did not want much animated movement, but wanted the segment to bring the background artwork to the forefront which became a showcase for the multiplane camera.{{sfn|Culhane|1983|p=199}} An early story outline had the segment end with a [[Madonna (art)|Madonna]] presented on the screen with the clouds, but Disney decided against this as he did not want to suggest overly religious imagery.{{sfn|Culhane|1983|p=200}} There were ideas of releasing scents throughout the theater during ''Fantasia'', including the smell of [[incense]] during ''Ave Maria''.{{sfn|Barrier|1999|p=246}}

The final shot, beginning with a black foreground and a shining white light in the background, measured {{convert|217|feet|m}} of film; according to Disney historian John Culhane, this was likely the longest continuous scene in animation history to date.{{sfn|Culhane|1983|p=203}} Ed Gershman, who worked on the segment, described how the animation of the procession figures was so closely drawn, "a difference in the width of a pencil line was more than enough to cause jitters, not only to the animation, but to everyone connected with the sequence."{{sfn|Culhane|1983|p=200}} The jittering created on the first shoot led Disney to order a time-consuming and expensive redo. The studio had no camera that moved slowly and continuously enough to film the segment as Disney wanted, so a custom horizontal camera crane was built that accommodated glass panes {{convert|4|feet|m}} wide, with the artwork painted on them, so they could be shifted out of the way as the camera tracked through.{{sfn|Culhane|1983|pp=203–204}} Workers shot continuously for six days and nights, but following processing they discovered the camera was fitted with the wrong type of lens and had photographed the track, stands, and themselves. Three days into the third reshoot, a minor earthquake rocked the wooden stands and panels that kept the glass panes in place. Rather than carry on with the risk of jittered footage, they started over for a fourth time and completed one day before the film's premiere. The finished film was rushed to New York on a charter plane and spliced into place with four hours to spare.{{sfn|Culhane|1983|pp=203–204}}{{sfn|Pegolotti|2003|p=248}}

====Live action====
The live action scenes were the first to be filmed inside [[Walt Disney Studios (Burbank)#The Annette Funicello Stage, Stage 1|Stage 1]], a 11,000 sq ft production sound stage built at Disney's Burbank studios in 1940. It was subsequently dedicated to the film.<ref>{{cite web|url=https://www.hmdb.org/m.asp?m=174816|title=The ''Fantasia'' Stage – Stage One – The Walt Disney Studios|publisher=The Historical Marker Database|access-date=July 18, 2023}}</ref> The on-screen musicians were not the Philadelphia Orchestra but in fact local players, with Disney sound effects artist [[Jimmy MacDonald (sound effects artist)|Jimmy MacDonald]] on timpani and composer [[Paul Smith (composer)|Paul Smith]] on violin.{{sfn|Eagan|2010|p=323}} Taylor's introductions were filmed in August 1940, with Howe returning as cinematographer. Howe adds visual energy with brief flashes of colour projected onto some instruments as the musicians tune up, and changes the hues of the side lighting for each introduction for variety.{{sfn|Pegolotti|2003|p=246}} The jam session during the intermission includes a theme from ''The Pastoral Symphony'' and "Bach Goes to Town", a jazz tune popularised by [[Benny Goodman]]. David Butler points out the significance of the brief interlude, demonstrating to the audience that "these musicians aren't serious all the time" and that jazz is seen as an "antidote to serious music."{{sfn|Butler|2002|p=53}}

In 1940, [[Ub Iwerks]] was re-hired at the Disney studios as a technical supervisor for special visual effects. Among his first assignments was the handshake scene with Mickey Mouse and Stokowski. The scene was produced by filming Stokowski shaking hands in thin air, after which the animators placed drawing paper on top of the photographic print and matched Mickey's actions with his. The animation was photographed with the Stokowski film inside the camera to create a single negative that combined both sequences.<ref name=UB40>{{cite magazine|url=https://archive.org/details/PopularMechanics1942/Popular_Mechanics_01_1942/page/n87/mode/2up|title=Movie Cartoons Come to Life|first=Ub|last=Iwerks|magazine=Popular Mechanics|pages=35–37|date=January 1942|access-date=July 18, 2023}}</ref>