1 00:00:10,677 --> 00:00:13,846 It's my very pleasant duty to welcome you here 2 00:00:13,930 --> 00:00:16,515 on behalf of all the other artists and musicians 3 00:00:16,599 --> 00:00:17,891 whose combined talents 4 00:00:17,976 --> 00:00:22,146 went into the creation of this new form of entertainment, Fantasia. 5 00:00:23,398 --> 00:00:25,399 What you will see on the screen 6 00:00:25,483 --> 00:00:28,110 is a picture of the various abstract images 7 00:00:28,194 --> 00:00:30,404 that might pass through your mind 8 00:00:30,488 --> 00:00:33,907 if you sat in a concert hall listening to this music. 9 00:00:37,704 --> 00:00:41,206 Now, there are three kinds of music on this Fantasia programme. 10 00:00:41,291 --> 00:00:44,626 First, there's the kind that tells a definite story. 11 00:00:45,670 --> 00:00:48,756 Then there's the kind that, while it has no specific plot, 12 00:00:48,840 --> 00:00:52,426 does paint a series of, more or less, definite pictures. 13 00:00:53,803 --> 00:00:55,345 Then there's a third kind, 14 00:00:55,430 --> 00:00:58,265 music that exists simply for its own sake. 15 00:00:59,476 --> 00:01:02,352 The number that opens our Fantasia programme 16 00:01:02,437 --> 00:01:04,938 is music of this third kind. 17 00:04:08,998 --> 00:04:11,250 You know, what's amazing is that many of these musicians 18 00:04:11,334 --> 00:04:13,877 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 00:04:19,050 --> 00:04:20,592 More about that later. 21 00:04:20,677 --> 00:04:23,762 Hello, and welcome to Fantasia 2000. 22 00:04:23,846 --> 00:04:26,598 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 00:04:29,352 --> 00:04:32,771 to create a film they titled The Concert Feature. 25 00:04:32,855 --> 00:04:36,358 I think we're all glad that they changed the name to Fantasia. 26 00:04:36,651 --> 00:04:39,987 You know, Fantasia was meant to be a perpetual work in progress. 27 00:04:40,071 --> 00:04:43,115 Every time you went to see it, you'd experience some new pieces 28 00:04:43,199 --> 00:04:45,617 along with some old familiar favourites. 29 00:04:45,702 --> 00:04:49,037 But that idea fell by the wayside, until now. 30 00:04:49,330 --> 00:04:52,457 So let me turn things over to the great Itzhak Perlman, 31 00:04:52,542 --> 00:04:56,169 who, I have just been informed, plays the violin. 32 00:04:56,254 --> 00:04:58,964 Well, so do I. Big deal. Could I have my violin, please? 33 00:04:59,674 --> 00:05:03,010 Thank you. All right, boys, let's... 34 00:05:03,177 --> 00:05:05,262 Sorry. Could I have another stick thingy, please? 35 00:05:05,596 --> 00:05:07,514 And camera back on me. 36 00:05:07,640 --> 00:05:09,558 Camera back on me. 37 00:05:10,893 --> 00:05:12,269 Am I done? 38 00:05:13,563 --> 00:05:16,648 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 00:05:21,112 --> 00:05:23,989 But when the Disney animators heard this music, 41 00:05:24,073 --> 00:05:26,742 they thought of something completely different. 42 00:05:27,118 --> 00:05:28,994 Here is the Chicago Symphony Orchestra 43 00:05:29,078 --> 00:05:31,455 conducted by maestro James Levine, 44 00:05:31,539 --> 00:05:35,709 performing Ottorino Respighi's Pines of Rome. 45 00:16:04,713 --> 00:16:06,381 Beautiful, Ralph. 46 00:16:07,257 --> 00:16:08,257 Hi. 47 00:16:08,634 --> 00:16:11,803 Next, we're gonna take you to the streets of New York City 48 00:16:11,887 --> 00:16:15,098 for a piece that's inspired by a couple of my favourite artists. 49 00:16:15,182 --> 00:16:18,017 First there's the illustrator Al Hirschfeld, 50 00:16:18,102 --> 00:16:20,478 who's been drawing celebrities and Broadway stars 51 00:16:20,562 --> 00:16:22,480 for most of the 20th century. 52 00:16:22,564 --> 00:16:24,816 And then there's composer, songwriter George Gershwin, 53 00:16:24,900 --> 00:16:27,819 who took jazz off the streets, dressed her up, 54 00:16:27,903 --> 00:16:30,071 and took her to the concert hall. 55 00:16:30,155 --> 00:16:33,574 My friend Ralph Grierson plays piano on this next number. 56 00:16:33,701 --> 00:16:37,203 And it all starts with a single slinky note on a clarinet, 57 00:16:37,287 --> 00:16:40,415 and a simple line on a piece of paper. 58 00:16:40,541 --> 00:16:44,460 Ladies and gentlemen, Rhapsody in Blue. 59 00:29:19,382 --> 00:29:22,217 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 00:29:24,679 --> 00:29:26,555 for new Fantasia segments. 62 00:29:26,639 --> 00:29:29,224 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 00:29:31,853 --> 00:29:34,396 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 00:29:38,818 --> 00:29:42,780 for a segment inspired by Wagner's Ride of the Valkyries. 67 00:29:42,864 --> 00:29:44,615 Here they are, 68 00:29:44,699 --> 00:29:46,700 and there they go. 69 00:29:46,910 --> 00:29:50,120 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 00:29:52,874 --> 00:29:54,792 as a metaphor for life. 72 00:29:54,876 --> 00:29:57,795 How come that didn't work? Makes perfect sense to me. 73 00:29:57,879 --> 00:30:01,632 Let's see. Then we had a bug ballet and a baby ballet, 74 00:30:01,716 --> 00:30:04,009 and for a time, they even considered a sequence 75 00:30:04,093 --> 00:30:06,637 inspired by The Polka and the Fugue, 76 00:30:06,721 --> 00:30:10,307 from Weinberger's Schwanda the Bagpiper. 77 00:30:10,391 --> 00:30:12,851 But finally, a success. 78 00:30:12,936 --> 00:30:15,604 The Disney artists wanted to create a short film, 79 00:30:15,688 --> 00:30:18,315 based on Hans Christian Andersen's wonderful fairy tale 80 00:30:18,399 --> 00:30:20,192 The Steadfast Tin Soldier, 81 00:30:20,276 --> 00:30:24,196 but they could never find the perfect musical match until now. 82 00:30:24,572 --> 00:30:26,281 Here is Yefim Bronfman, 83 00:30:26,366 --> 00:30:29,326 playing the Shostakovich Piano Concerto Number 2, 84 00:30:29,410 --> 00:30:32,371 and The Steadfast Tin Soldier. 85 00:38:11,622 --> 00:38:13,873 These drawing boards have been the birthplace 86 00:38:13,958 --> 00:38:17,294 of some of the most beloved animal characters of all time. 87 00:38:17,378 --> 00:38:20,797 So it's no surprise that the artists chose for our next segment 88 00:38:20,881 --> 00:38:24,175 The Carnival of the Animals by Camille Saint-Saëns. 89 00:38:24,260 --> 00:38:27,637 Here, the sensitive strains of impressionistic music 90 00:38:27,722 --> 00:38:30,682 combine with the subtle artistry of the animator, 91 00:38:30,766 --> 00:38:33,560 to finally answer that age-old question, 92 00:38:33,644 --> 00:38:36,313 "What is man's relationship to nature?" 93 00:38:37,732 --> 00:38:39,065 Sorry. 94 00:38:39,734 --> 00:38:41,484 That age-old question, 95 00:38:41,569 --> 00:38:45,405 "What would happen if you gave a yo-yo to a flock of flamingos?" 96 00:38:46,240 --> 00:38:47,240 Who wrote this? 97 00:40:43,691 --> 00:40:46,067 Ladies and gentlemen, we'd like to take a moment, if we may, 98 00:40:46,152 --> 00:40:49,612 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 00:40:51,073 --> 00:40:53,032 hosting a birthday party for your daughter, 101 00:40:53,117 --> 00:40:55,034 and you've just shelled out 50 bucks, 102 00:40:55,119 --> 00:41:00,540 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 00:41:03,544 --> 00:41:05,336 "How did he do that?" 105 00:41:05,421 --> 00:41:09,340 But then you would probably just dismiss it as some sort of a trick. 106 00:41:09,425 --> 00:41:13,136 And you know something? You'd be right! It's just a trick. 107 00:41:13,220 --> 00:41:17,432 It's an example of what we laughingly refer to as stage magic. 108 00:41:17,683 --> 00:41:22,437 We're here to tell you that all stage magic is a fraud, a hoax, a sham. 109 00:41:22,521 --> 00:41:26,816 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 00:41:29,069 --> 00:41:31,237 Transformations... Fraud. 112 00:41:31,405 --> 00:41:34,115 Dismemberment... Rip-off! 113 00:41:34,325 --> 00:41:37,827 Fake! All are illusions. 114 00:41:38,287 --> 00:41:40,872 What we're here to talk about is real magic. 115 00:41:40,956 --> 00:41:44,125 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 00:41:47,004 --> 00:41:49,088 And he is featured prominently in the next sequence, 118 00:41:49,173 --> 00:41:52,634 from the original Fantasia, The Sorcerer's Apprentice. 119 00:41:54,428 --> 00:41:56,304 You know, come to think of it, 120 00:41:56,388 --> 00:41:59,349 The Sorcerer's Apprentice, is a little guy, 121 00:41:59,433 --> 00:42:03,353 who never speaks and just kind of messes everything up, 122 00:42:03,437 --> 00:42:04,687 like him. 123 00:42:05,397 --> 00:42:06,940 And now... 124 00:42:08,484 --> 00:42:10,026 And now, the... 125 00:42:10,778 --> 00:42:13,029 Hi. Hi, little fella. I gotta... 126 00:42:13,113 --> 00:42:16,282 And now, The Sorcerer's Apprentice. 127 00:51:37,344 --> 00:51:40,179 Mr Stokowski. Mr Stokowski! 128 00:51:42,432 --> 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 00:51:48,563 --> 00:51:52,274 Aw, gee, thanks. Well, I gotta run now. So long! 131 00:51:52,901 --> 00:51:55,611 Mr Levine! Okay, Mr Levine. 132 00:51:55,695 --> 00:51:57,655 Everybody's in place for the next number. 133 00:51:57,739 --> 00:51:59,490 Thanks, Mickey. 134 00:51:59,574 --> 00:52:01,200 When... 135 00:52:01,326 --> 00:52:02,785 But we can't find Donald. 136 00:52:02,869 --> 00:52:06,413 So you stay here and stall for time. I'll be right back. 137 00:52:07,541 --> 00:52:09,917 Donald! Oh, Donald! 138 00:52:10,210 --> 00:52:13,712 When we hear Sir Edward Elgar's Pomp and Circumstance, 139 00:52:13,797 --> 00:52:15,673 we think of a graduation ceremony. 140 00:52:15,757 --> 00:52:16,799 Donald, where are ya? 141 00:52:16,883 --> 00:52:20,803 Actually, Elgar composed it for many kinds of solemn events. 142 00:52:20,887 --> 00:52:22,096 Donald! 143 00:52:22,764 --> 00:52:27,268 This march inspired the Disney artists to recreate the age-old story... 144 00:52:28,061 --> 00:52:30,229 - Sorry, Daisy. - ...of Noah's Ark, 145 00:52:30,313 --> 00:52:32,189 with one slight twist. 146 00:52:32,315 --> 00:52:33,899 Donald Duck! 147 00:52:34,901 --> 00:52:36,819 - Who is it? - Donald, it's me, Mickey. 148 00:52:36,903 --> 00:52:38,195 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 --> 00:52:44,076 Okay, Jim, he's on his way. Go to the intro. 151 00:52:46,288 --> 00:52:49,081 Ladies and gentlemen, Pomp and Circumstance, 152 00:52:49,166 --> 00:52:51,500 starring Donald Duck. 153 00:59:10,672 --> 00:59:13,006 Walt Disney described the art of animation 154 00:59:13,091 --> 00:59:15,300 as a voyage of discovery 155 00:59:15,385 --> 00:59:18,220 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 00:59:22,183 --> 00:59:24,101 inspires such a voyage. 158 00:59:24,644 --> 00:59:27,396 And so we conclude this version of Fantasia 159 00:59:27,480 --> 00:59:31,650 with a mythical story of life, death and renewal. 160 01:14:22,416 --> 01:14:23,958 Camera back on me. 161 01:14:24,042 --> 01:14:27,211 Camera back on me, please. Anyone? Hello? 162 01:14:27,546 --> 01:14:31,048 Hello? Could someone give me a ride home?