Fantasia 2000 subtitles

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TAYLOR: It's my very pleasant duty

to welcome you here...
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on behalf of all the other artists

and musicians
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whose combined talents
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went into the creation of this
new form of entertainment, Fantasia.
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What you will see on the screen
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is a picture of the various
abstract images
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that might pass through your mind
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if you sat in a concert hall

listening to this music.
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Now, there are three kinds of music

on this Fantasia program.
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First there's the kind

that tells a definite story.
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Then there's the kind that,

while it has no specific plot,
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does paint a series of, more or less,
definite pictures.
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Then there's a third kind,
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music that exists
simply for its own sake.

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The number that opens

our Fantasia program
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is music of this third kind.

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(CONDUCTOR TAPPING BATON)
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(MUSIC PLAYING)
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(MUSIC ENDS)
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You know, what's amazing

is that many of these musicians
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are playing for the very first time.
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Thanks to Steve Martin's Two-Week

Master Musician Home Study course.
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More about that later.
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Hello, and welcome to Fantasia 2000.
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It's been more than 60 years

since Walt Disney and his artists,
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teamed up with maestro
Leopold Stokowski

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to create a film they titled

The Concert Feature.
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I think we're all glad that
they changed the name to Fantasia.

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You know, Fantasia was meant to be

a perpetual work in progress.
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Every time you went to see it,

you'd experience some new pieces
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along with some old familiar favorites.

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But that idea fell by the wayside,

until now.
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So let me turn things over

to the great ltzhak Perlman,
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who, I have just been informed,

plays the violin.
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Well, so do I. Big deal.

Could I have my violin, please?
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Ahh, thank you. All right, boys, let's...

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Oh! Oh, sorry.
-(MAN GRUNTING)
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Could I have

another stick thingy, please?
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Oh, and camera back on me.
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Camera back on me.
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Am I done?
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When you hear a title like

Pines of Rome

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you might think of tree-lined streets

and romantic ruins.
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But when the Disney animators

heard this music,
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they thought of something

completely different.
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Here is the
Chicago Symphony Orchestra

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conducted by maestro James Levine,

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performing Ottorino Respighi's

Pines of Rome.
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(MUSIC PLAYING)
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(MUSIC ENDS)

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Beautiful, Ralph.
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Hi.
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Next, we're gonna take you

to the streets of New York City
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for a piece that's inspired by

a couple of my favorite artists.
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First there's the illustrator
AI Hirschfeld,

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who's been drawing celebrities

and Broadway stars
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for most of the 20th century.
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And then there's composer,
songwriter George Gershwin,
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who took jazz off the streets,

dressed her up,
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and took her to the concert hall.
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My friend Ralph Grierson

plays piano on this next number.
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And it all starts with a single

slinky note on a clarinet,
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and a simple line on a piece of paper.

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Ladies and gentlemen,

Rhapsody in Blue.
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(MUSIC PLAYING)
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(MUSIC ENDS)
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Hi. You may not know this,

but over the years,
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the Disney artists have
cooked up dozens of ideas
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for new Fantasia segments.
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Some of them made it

to the big screen this time,
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but others, lots of others...
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How can I put this politely? Didn't.
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For example, the Danish illustrator

Kay Nielsen drew these sketches
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for a segment inspired

by Wagner's Ride of the Valkyries.
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Here they are,
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and there they go.
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Now, Salvador Dali, you know,
the "limp watches" guy,
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he got into the act with an idea

that featured baseball
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as a metaphor for life.
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How come that didn't work?

Makes perfect sense to me.
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Let's see. Then we had

a bug ballet and a baby ballet,
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and for a time,
they even considered a sequence
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inspired by The Polka and The Fugue,

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from Weinberger's
Schwanda the Bagpiper.

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But finally, a success.
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The Disney artists

wanted to create a short film,
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based on Hans Christian Andersen's

wonderful fairy tale
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The Steadfast Tin Soldier,
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but they could never find

the perfect musical match until now.
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Here is Yefim Bronfman,
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playing the Shostakovich

Piano Concerto Number 2,
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and The Steadfast Tin Soldier.
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(THUNDER RUMBLING)
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(MUSIC PLAYING)
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(MUSIC ENDS)
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These drawing boards

have been the birthplace
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of some of the most beloved

animal characters of all time.
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So it's no surprise that the artists

chose for our next segment
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The Carnival of the Animals

by Camille Saint-Saëns.
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Here, the sensitive strains

of impressionistic music
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combine with the subtle artistry

of the animator,
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to finally answer that age-old question,
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"What is man's relationship to nature?"
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Oh, sorry.
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That age-old question,
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What would happen if you gave

a yo-yo to a flock of flamingos?"
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Who wrote this?
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(MUSIC PLAYING)
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(MUSIC ENDS)

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Ladies and gentlemen,
we'd like to take a moment, if we may,
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to talk about a little something

we like to refer to as magic.
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Picture this. You're at home,
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hosting a birthday party
for your daughter,

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and you've

just shelled out 50 bucks,
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so some pathetic loser can pull

a mangy rabbit out of a flea market hat.
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At first, you might wonder to yourself,

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"How did he do that?"
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But then you would probably

just dismiss it as some sort of a trick.
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And you know something?

You'd be right! It's just a trick.
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It's an example of what we

laughingly refer to as stage magic.
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We're here to tell you that all

stage magic is a fraud, a hoax, a sham.
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It's all based on deception

and, yep, lying. All of it.
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Sleight of hand... Lies.
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Transformations... Fraud.
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Dismemberment... Rip-off!
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Fake! All are illusions.
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What we're here to talk about

is real magic.
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We're gonna bring on a guy now
who's the real deal, the genuine article.
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In fact, he taught us
everything we know.
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And he is featured prominently

in the next sequence,
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from the original Fantasia,

The Sorcerer's Apprentice.
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(LAUGHS)
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You know, come to think of it,
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The Sorcerer's Apprentice,
is a little guy,

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who never speaks

and just kind of messes everything up,
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(WHISPERS) like him.
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(LAUGHS) And now...
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And now, the...
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Oh, hi. Hi, little fella. I gotta...

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And now, The Sorcerer's Apprentice.
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(CHUCKLES)
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(MUSIC PLAYING)
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(MUSIC ENDS)
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Mr. Stokowski. Mr. Stokowski!
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(WHISTLES)
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(CHUCKLES)
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Just wanted to offer

my congratulations, sir.
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(CHUCKLES)
Congratulations to you, Mickey.
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Aw, gee, thanks.

Well, I gotta run now. So long!
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Mr. Levine! Okay, Mr. Levine.
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Everybody's in place
for the next number.

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Thanks, Mickey.
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-Psst.

-When...
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But we can't find Donald.
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So you stay here and stall for time.

I'll be right back.
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MICKEY: (YELLING)
Donald! Oh, Donald!
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When we hear Sir Edward Elgar's

Pomp and Circumstance,
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we think of a graduation ceremony.
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MICKEY: Donald, where are ya?
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Actually, Elgar composed it

for many kinds of solemn events.
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MICKEY: Donald!
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This march inspired the Disney artists

to recreate the age-old story...
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(DAISY SHRIEKING)
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-MICKEY: Oh, sorry, Daisy.

-...of Noah's Ark,
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with one slight twist.
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-(KNOCKING)
-MICKEY: Oh, Donald Duck!
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-DONALD: Who is it?

-Donald, it's me, Mickey.
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You're on in 30 seconds. Hurry!
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What? You gotta be kidding!

I'm not even dressed...
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Psst. Okay, Jim, he's on his way.

Go to the intro.
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Ladies and gentlemen,

Pomp and Circumstance,

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starring Donald Duck.
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(MUSIC PLAYING)
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(MUSIC ENDS)
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Walt Disney described
the art of animation

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as a voyage of discovery
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into the realms of color,

sound and motion.
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The music from lgor Stravinsky's

ballet, The Firebird,
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inspires such a voyage.
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And so we conclude

this version of Fantasia
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with a mythical story

of life, death and renewal.
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(MUSIC PLAYING)
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(MUSIC ENDS)
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JIMINY: Camera back on me.
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Camera back on me, please.

Anyone? Hello?
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Hello? Could someone give me
a ride home?

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