1 00:00:10,678 --> 00:00:13,846 lt's my very pleasant duty to welcome you here 2 00:00:13,931 --> 00:00:16,516 on behaIf of aII the other artists and musicians 3 00:00:16,600 --> 00:00:17,892 whose combined taIents 4 00:00:17,976 --> 00:00:22,146 went into the creation of this new form of entertainment, Fantasia. 5 00:00:23,399 --> 00:00:25,400 What you will see on the screen 6 00:00:25,484 --> 00:00:28,111 is a picture of the various abstract images 7 00:00:28,195 --> 00:00:30,405 that might pass through your mind 8 00:00:30,489 --> 00:00:33,908 if you sat in a concert hall listening to this music. 9 00:00:37,705 --> 00:00:41,207 Now, there are three kinds of music on this Fantasia programme. 10 00:00:41,291 --> 00:00:44,627 First, there's the kind that tells a definite story. 11 00:00:45,671 --> 00:00:48,756 Then there's the kind that, while it has no specific plot., 12 00:00:48,841 --> 00:00:52,427 does paint a series of., more or less., definite pictures. 13 00:00:53,804 --> 00:00:55,346 Then there's a third kind, 14 00:00:55,431 --> 00:00:58,266 music that exists simply for its own sake. 15 00:00:59,476 --> 00:01:02,353 The number that opens our Fantasia programme 16 00:01:02,438 --> 00:01:04,939 is music of this third kind. 17 00:04:08,999 --> 00:04:11,250 You know, what's amazing is that many of these musicians 18 00:04:11,335 --> 00:04:13,878 are playing for the very first time. 19 00:04:13,962 --> 00:04:18,966 Thanks to Steve Martin's Two-Week Master Musician Home Study course. 20 00:04:19,051 --> 00:04:20,593 More about that later. 21 00:04:20,677 --> 00:04:23,763 Hello, and welcome to Fantasia 2000. 22 00:04:23,847 --> 00:04:26,599 It's been more than 60 years since Walt Disney and his artists, 23 00:04:26,683 --> 00:04:29,268 teamed up with maestro Leopold Stokowski 24 00:04:29,353 --> 00:04:32,772 to create a film they titled The Concert Feature. 25 00:04:32,856 --> 00:04:36,359 I think we're all glad that they changed the name to Fantasia. 26 00:04:36,652 --> 00:04:39,987 You know, Fantasia was meant to be a perpetual work in progress. 27 00:04:40,072 --> 00:04:43,115 Every time you went to see it, you'd experience some new pieces 28 00:04:43,200 --> 00:04:45,618 along with some old familiar favourites. 29 00:04:45,702 --> 00:04:49,038 But that idea fell by the wayside, until now. 30 00:04:49,331 --> 00:04:52,458 So let me turn things over to the great Itzhak Perlman, 31 00:04:52,542 --> 00:04:56,170 who, I have just been informed, plays the violin. 32 00:04:56,254 --> 00:04:58,965 Well, so do I. Big deal. Could I have my violin, please? 33 00:04:59,675 --> 00:05:03,010 Thank you. All right, boys, let's... 34 00:05:03,178 --> 00:05:05,262 Sorry. Could I have another stick thingy, please? 35 00:05:05,597 --> 00:05:07,515 And camera back on me. 36 00:05:07,641 --> 00:05:09,558 Camera back on me. 37 00:05:10,894 --> 00:05:12,269 Am I done? 38 00:05:13,563 --> 00:05:16,649 When you hear a title like Pines of Rome 39 00:05:16,733 --> 00:05:21,028 you might think of tree-lined streets and romantic ruins. 40 00:05:21,113 --> 00:05:23,990 But when the Disney animators heard this music, 41 00:05:24,074 --> 00:05:26,742 they thought of something completely different. 42 00:05:27,119 --> 00:05:28,995 Here is the Chicago Symphony Orchestra 43 00:05:29,079 --> 00:05:31,455 conducted by maestro James Levine, 44 00:05:31,540 --> 00:05:35,710 performing Ottorino Respighi's Pines of Rome. 45 00:16:04,714 --> 00:16:06,381 Beautiful, Ralph. 46 00:16:07,258 --> 00:16:08,258 Hi. 47 00:16:08,635 --> 00:16:11,803 Next, we're gonna take you to the streets of New York City 48 00:16:11,888 --> 00:16:15,098 for a piece that's inspired by a couple of my favourite artists. 49 00:16:15,183 --> 00:16:18,018 First there's the illustrator Al Hirschfeld, 50 00:16:18,102 --> 00:16:20,479 who's been drawing celebrities and Broadway stars 51 00:16:20,563 --> 00:16:22,481 for most of the 20th century. 52 00:16:22,565 --> 00:16:24,816 And then there's composer, songwriter George Gershwin, 53 00:16:24,901 --> 00:16:27,819 who took jazz off the streets, dressed her up, 54 00:16:27,904 --> 00:16:30,072 and took her to the concert hall. 55 00:16:30,156 --> 00:16:33,575 My friend Ralph Grierson plays piano on this next number. 56 00:16:33,701 --> 00:16:37,204 And it all starts with a single slinky note on a clarinet, 57 00:16:37,288 --> 00:16:40,415 and a simple line on a piece of paper. 58 00:16:40,541 --> 00:16:44,461 Ladies and gentlemen, Rhapsody in Blue. 59 00:29:19,383 --> 00:29:22,218 Hi. You may not know this, but over the years, 60 00:29:22,302 --> 00:29:24,595 the Disney artists have cooked up dozens of ideas 61 00:29:24,680 --> 00:29:26,556 for new Fantasia segments. 62 00:29:26,640 --> 00:29:29,225 Some of them made it to the big screen this time, 63 00:29:29,309 --> 00:29:31,769 but others, lots of others... 64 00:29:31,854 --> 00:29:34,397 How can I put this politely? Didn't. 65 00:29:35,023 --> 00:29:38,734 For example, the Danish illustrator Kay Nielsen drew these sketches 66 00:29:38,819 --> 00:29:42,780 for a segment inspired by Wagner's Ride of the Valkyries. 67 00:29:42,865 --> 00:29:44,615 Here they are, 68 00:29:44,700 --> 00:29:46,701 and there they go. 69 00:29:46,910 --> 00:29:50,121 Now, Salvador Dali, you know, the "limp watches" guy, 70 00:29:50,205 --> 00:29:52,790 he got into the act with an idea that featured baseball 71 00:29:52,875 --> 00:29:54,792 as a metaphor for life. 72 00:29:54,877 --> 00:29:57,795 How come that didn't work? Makes perfect sense to me. 73 00:29:57,880 --> 00:30:01,632 Let's see. Then we had a bug ballet and a baby ballet, 74 00:30:01,717 --> 00:30:04,010 and for a time, they even considered a sequence 75 00:30:04,094 --> 00:30:06,637 inspired by The Polka and the Fugue., 76 00:30:06,722 --> 00:30:10,308 from Weinberger's Schwanda the Bagpiper. 77 00:30:10,392 --> 00:30:12,852 But finally, a success. 78 00:30:12,936 --> 00:30:15,605 The Disney artists wanted to create a short film, 79 00:30:15,689 --> 00:30:18,316 based on Hans Christian Andersen's wonderful fairy tale 80 00:30:18,400 --> 00:30:20,193 The Steadfast Tin Soldier, 81 00:30:20,277 --> 00:30:24,197 but they could never find the perfect musical match until now. 82 00:30:24,573 --> 00:30:26,282 Here is Yefim Bronfman, 83 00:30:26,366 --> 00:30:29,327 playing the Shostakovich Piano Concerto Number 2, 84 00:30:29,411 --> 00:30:32,371 and The Steadfast Tin Soldier. 85 00:38:11,623 --> 00:38:13,874 These drawing boards have been the birthplace 86 00:38:13,959 --> 00:38:17,294 of some of the most beloved animal characters of all time. 87 00:38:17,379 --> 00:38:20,798 So it's no surprise that the artists chose for our next segment 88 00:38:20,882 --> 00:38:24,176 The Carnival of the Animals by Camille Saint-Saëns. 89 00:38:24,260 --> 00:38:27,638 Here, the sensitive strains of impressionistic music 90 00:38:27,722 --> 00:38:30,683 combine with the subtle artistry of the animator, 91 00:38:30,767 --> 00:38:33,560 to finally answer that age-old question, 92 00:38:33,645 --> 00:38:36,313 "What is man's relationship to nature?" 93 00:38:37,732 --> 00:38:39,066 Sorry. 94 00:38:39,734 --> 00:38:41,485 That age-old question, 95 00:38:41,569 --> 00:38:45,406 "What would happen if you gave a yo-yo to a flock of flamingos?" 96 00:38:46,241 --> 00:38:47,241 Who wrote this? 97 00:40:43,691 --> 00:40:46,068 Ladies and gentlemen, we'd like to take a moment, if we may, 98 00:40:46,152 --> 00:40:49,613 to talk about a little something we like to refer to as magic. 99 00:40:49,697 --> 00:40:50,989 Picture this. You're at home, 100 00:40:51,074 --> 00:40:53,033 hosting a birthday party for your daughter, 101 00:40:53,118 --> 00:40:55,035 and you've just shelled out 50 bucks, 102 00:40:55,120 --> 00:41:00,541 so some pathetic loser can pull a mangy rabbit out of a flea market hat. 103 00:41:00,875 --> 00:41:03,460 At first, you might wonder to yourself, 104 00:41:03,545 --> 00:41:05,337 "How did he do that?" 105 00:41:05,421 --> 00:41:09,341 But then you would probably just dismiss it as some sort of a trick. 106 00:41:09,425 --> 00:41:13,137 And you know something? You'd be right! It's just a trick. 107 00:41:13,221 --> 00:41:17,432 It's an example of what we laughingly refer to as stage magic. 108 00:41:17,684 --> 00:41:22,437 We're here to tell you that all stage magic is a fraud, a hoax, a sham. 109 00:41:22,522 --> 00:41:26,817 It's all based on deception and, yep, lying. All of it. 110 00:41:26,901 --> 00:41:28,902 Sleight of hand... Lies. 111 00:41:29,070 --> 00:41:31,238 Transformations... Fraud. 112 00:41:31,406 --> 00:41:34,116 Dismemberment... Rip-off! 113 00:41:34,325 --> 00:41:37,828 Fake! All are illusions. 114 00:41:38,288 --> 00:41:40,873 What we're here to talk about is real magic. 115 00:41:40,957 --> 00:41:44,126 We're gonna bring on a guy now who's the real deal, the genuine article. 116 00:41:44,210 --> 00:41:46,920 In fact, he taught us everything we know. 117 00:41:47,005 --> 00:41:49,089 And he is featured prominently in the next sequence, 118 00:41:49,174 --> 00:41:52,634 from the original Fantasia, The Sorcerer's Apprentice. 119 00:41:54,429 --> 00:41:56,305 You know, come to think of it, 120 00:41:56,389 --> 00:41:59,349 The Sorcerer's Apprentice, is a little guy, 121 00:41:59,434 --> 00:42:03,353 who never speaks and just kind of messes everything up, 122 00:42:03,438 --> 00:42:04,688 like him. 123 00:42:05,398 --> 00:42:06,940 And now... 124 00:42:08,484 --> 00:42:10,027 And now, the... 125 00:42:10,778 --> 00:42:13,030 Hi. Hi, little fella. I gotta... 126 00:42:13,114 --> 00:42:16,283 And now, The Sorcerer's Apprentice. 127 00:51:37,344 --> 00:51:40,180 Mr Stokowski. Mr Stokowski! 128 00:51:42,433 --> 00:51:45,351 Just wanted to offer my congratulations, sir. 129 00:51:45,936 --> 00:51:48,229 Congratulations to you, Mickey. 130 00:51:48,564 --> 00:51:52,275 Aw, gee, thanks. Well, I gotta run now. So long! 131 00:51:52,902 --> 00:51:55,612 Mr Levine! Okay, Mr Levine. 132 00:51:55,696 --> 00:51:57,655 Everybody's in place for the next number. 133 00:51:57,740 --> 00:51:59,491 Thanks, Mickey. 134 00:51:59,575 --> 00:52:01,201 When... 135 00:52:01,327 --> 00:52:02,786 But we can't find Donald. 136 00:52:02,870 --> 00:52:06,414 So you stay here and stall for time. I'll be right back. 137 00:52:07,541 --> 00:52:09,918 Donald! Oh, Donald! 138 00:52:10,211 --> 00:52:13,713 When we hear Sir Edward Elgar's Pomp and Circumstance, 139 00:52:13,798 --> 00:52:15,673 we think of a graduation ceremony. 140 00:52:15,758 --> 00:52:16,800 Donald, where are ya? 141 00:52:16,884 --> 00:52:20,804 Actually, Elgar composed it for many kinds of solemn events. 142 00:52:20,888 --> 00:52:22,096 Donald! 143 00:52:22,765 --> 00:52:27,268 This march inspired the Disney artists to recreate the age-old story... 144 00:52:28,062 --> 00:52:30,230 -Sorry, Daisy. -...of Noah's Ark, 145 00:52:30,314 --> 00:52:32,190 with one slight twist. 146 00:52:32,316 --> 00:52:33,900 Donald Duck! 147 00:52:34,902 --> 00:52:36,820 -Who is it? -Donald, it's me, Mickey. 148 00:52:36,904 --> 00:52:38,196 You're on in 30 seconds. Hurry! 149 00:52:38,280 --> 00:52:40,698 What? You gotta be kidding! I'm not even dressed... 150 00:52:41,408 --> 00:52:44,077 Okay, Jim, he's on his way. Go to the intro. 151 00:52:46,288 --> 00:52:49,082 Ladies and gentlemen, Pomp and Circumstance, 152 00:52:49,166 --> 00:52:51,501 starring Donald Duck. 153 00:59:10,672 --> 00:59:13,007 Walt Disney described the art of animation 154 00:59:13,091 --> 00:59:15,301 as a voyage of discovery 155 00:59:15,385 --> 00:59:18,221 into the realms of colour, sound and motion. 156 00:59:18,805 --> 00:59:22,099 The music from Igor Stravinsky's ballet, The Firebird, 157 00:59:22,184 --> 00:59:24,101 inspires such a voyage. 158 00:59:24,645 --> 00:59:27,396 And so we conclude this version of Fantasia 159 00:59:27,481 --> 00:59:31,651 with a mythical story of life, death and renewal. 160 01:14:22,416 --> 01:14:23,959 Camera back on me. 161 01:14:24,043 --> 01:14:27,212 Camera back on me, please. Anyone? Hello? 162 01:14:27,547 --> 01:14:31,049 Hello? Could someone give me a ride home?