Wikipedia

Fantasia 2000

This article is about the film. For the soundtrack, seeFantasia 2000 (soundtrack).

Fantasia 2000is a 1999 American animatedmusicalanthology filmproduced byWalt Disney Feature Animationand released byWalt Disney Pictures.Produced byRoy E. DisneyandDonald W. Ernst,it is the sequel to Disney's 1940 animated feature filmFantasia.Like its predecessor,Fantasia 2000consists of animated segments set to pieces of classical music. Segments are introduced by celebrities includingSteve Martin,Itzhak Perlman,Quincy Jones,Bette Midler,James Earl Jones,Penn & Teller,James Levine,andAngela Lansburyin live action scenes directed byDon Hahn.

Fantasia 2000
Theatrical release poster
Directed by
Produced by
Starring
CinematographyTim Suhrstedt
Edited by
  • Jessica Ambinder-Rojas
  • Lois Freeman-Fox
Production
company
Distributed byBuena Vista Pictures Distribution[1]
Release dates
  • January 1, 2000(2000-01-01)(IMAX)
  • June 16, 2000(2000-06-16)(United States)
Running time
74 minutes[1]
CountryUnited States[1]
LanguageEnglish
Budget$80–85 million[2][3]
Box office$90.9 million[2]

After numerous unsuccessful attempts to develop aFantasiasequel,The Walt Disney Companyrevived the idea shortly afterMichael Eisnerbecame chief executive officer in 1984. Development paused until the commercial success of the 1991 home video release ofFantasiaconvinced Eisner that there was enough public interest and funds for a sequel, to which he assigned Disney as executive producer. The music for six of the film's eight segments is performed by theChicago Symphony Orchestraconducted byJames Levine.The film includesThe Sorcerer's Apprenticefrom the 1940 original. Each new segment was produced by combiningtraditional animationwithcomputer-generated imagery.Fantasia 2000is also generally linked to theDisney Renaissance,as it commemoratesWalt Disney's third animated feature film.[4][5]

Fantasia 2000premiered on December 17, 1999, atCarnegie HallinNew York Cityas part of a concert tour that also visited London, Paris, Tokyo, and Pasadena, California. The film was then released in 75IMAXtheaters worldwide from January 1 to April 30, 2000, marking the first major Hollywood motion picture to be released in IMAX and also the first feature-length animated film to be released in the format. Its general release in regular theaters followed on June 16, 2000. The film received mostly positive reviews from critics, who praised several of its sequences, while also deeming its overall quality uneven in comparison to its predecessor. However, budgeted at about $80–$85 million, the film only grossed $90.9 million worldwide, making it abox office flop.[6]

Program

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See also:List of Disney's Fantasia characters
  1. Symphony No. 5byLudwig van Beethoven.The film begins with the sound of an orchestra tuning andDeems Taylor's introduction fromFantasia.Panels showing various segments fromFantasiafly in outer space and form the set and stage for an orchestra. Musicians take their seats and tune up as animators and artists draw at their desks beforeJames Levineapproaches the conductor's podium and signals the beginning of the piece. In the segment proper, abstract patterns and shapes that resemble hundreds of colorful triangle-shaped butterflies in dozens of magentas, reds, oranges, yellows, greens, cyans, turquoises, blues, indigos, violets, purples, pinks, grays, whites, and browns in various shades, tints, tones, and hues explore a world of light and darkness whilst being pursued by a swarm of dark black pentagon or hexagon-shaped bats. The world is ultimately conquered by light and color.
  2. Pines of RomebyOttorino Respighi.A family ofhumpback whalesare able to fly. The calf is separated from his parents, and becomes trapped in aniceberg.Eventually, he finds his way out with his mother's help. The family join a larger pod of whales, who fly and frolic through the clouds to emerge into outer space. Introduced bySteve Martin,who gives a brief history onFantasia's original purpose, after whichItzhak Perlmanintroduces the segment proper.
  3. Rhapsody in BluebyGeorge Gershwin.Set in New York City in the 1930s, and designed in the style ofAl Hirschfeld's known caricatures of the time, the story follows four individuals who wish for a better life. Duke is a construction worker who dreams of becoming a jazz drummer; Joe is a down-on-his-luck unemployed man who wishes he could get a job; Rachel is a little girl who wants to spend time with her busy parents instead of being shuttled around by her governess; and John is a harried rich husband who longs for a simpler, more fun life. The segment ends with all four getting their wish, though their stories interact with each other's without any of them knowing.[7]Introduced byQuincy Joneswith pianist Ralph Grierson.
  4. Piano Concerto No. 2, Allegro, Opus 102byDmitri Shostakovich.Based on the fairy tale "The Steadfast Tin Soldier"byHans Christian Andersen,a broken toy soldier with one leg falls in love with a toy ballerina and protects her from an evil jack-in-the-box.[8]Unlike the original story, this version has a happy ending. Introduced byBette Midlerfeaturing pianistYefim Bronfman.
  5. The Carnival of the Animals (Le Carnival des Animaux), FinalebyCamille Saint-Saëns.A flock offlamingoestries to force a slapstick member, who enjoys playing with ayo-yo,to engage in the flock's "dull" routines. Introduced byJames Earl Joneswith animatorEric Goldberg.
  6. The Sorcerer's Apprentice (Reprise)byPaul Dukas.Based on the 1797 poem "Der Zauberlehrling"byGoethe,the segment is the only one featured in bothFantasiaandFantasia 2000.It tells the story ofMickey Mouse,an apprentice ofsorcererYen Sid who attempts some of his master's magic tricks before knowing how to control them. Introduced byPenn & Tellerrather than using an archived recording of Deems Taylor introducing the segment as in the original film. The scene where Mickey shakes hands with Levine's predecessorLeopold Stokowskiis like that in the original film but Mickey is now voiced byWayne Allwineinstead of Walt Disney. This outro leads directly to the intro forPomp and Circumstance,with Donald Duck and Daisy Duck voiced byTony AnselmoandRussi Taylor,respectively.
  7. Pomp and Circumstance – Marches 1, 2, 3 and 4(also known asLand of Hope and Glory) by SirEdward Elgar.Based on the story ofNoah's Arkfrom theBook of Genesis,Donald DuckisNoah's assistant andDaisy Duckis Donald's girlfriend. Donald is given the task of gathering the animals to the Ark, and misses, loses, and reunites with Daisy in the process. Introduced byJames Levine.
  8. Firebird Suite—1919 VersionbyIgor Stravinsky.A Sprite is awoken by her companion, anelk,and accidentally wakes a fiery spirit of destruction in a nearby volcano who destroys the forest and seemingly the Sprite. The Sprite survives and the elk encourages her to restore the forest to its normal state. Introduced byAngela Lansbury.

Production

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Development

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Fantasiais timeless. It may run 10, 20 or 30 years. It may run after I'm gone.Fantasiais an idea in itself. I can never build anotherFantasia.I can improve. I can elaborate. That's all.

—Walt Disney[9]

In 1940,Walt DisneyreleasedFantasia,his third animated feature film, consisting of eight animated segments set to pieces of classical music. Initially he planned to have the film on continual release with new segments replacing older ones so audiences would never see the same film twice. The idea was dropped following the film's initial low box office receipts and a mixed response from critics. Following preliminary work on new segments, the idea was shelved by 1942 and was not revisited for the remainder of Disney's life. In 1980, animatorsWolfgang ReithermanandMel Shawstarted preliminary work onMusicana,a feature film "mi xing jazz, classical music, myths, modern art... following the oldFantasiaformat "that was to present" ethnic tales from around the world with the music of the various countries ".[10]The project was cancelled in favor ofMickey's Christmas Carol(1983).[11]

Roy E. Disneypitched the idea of a sequel toFantasia.

The idea of aFantasiasequel was revived shortly afterMichael Eisnerbecame chief executive officer ofThe Walt Disney Companyin 1984, when Walt's nephew, vice chairmanRoy E. Disney,suggested it to him at a lunch.[12]The idea had first entered Disney's mind ten years earlier,[13]and he recalled Eisner's reaction: "It was as if a big light bulb went on over his head. The idea was enticing, but we didn't have the resources to carry it out".[14]However,Walt Disney StudioschairmanJeffrey Katzenbergshowed a lack of interest in the film.[15]He had once askedAndré Previnto work on aFantasiafilm but Previn declined after he learned it was to feature songs bythe Beatlesrather than classical music.[16]Eisner approachedLeonard Bernsteinwith the same idea, but while he seemed enthusiastic, Bernstein died before production began.[17]It took a further seven years before the film was reconsidered, after the 1990 reissue ofFantasiagrossed $25 million domestically[18]and the announcement of its limited availability onhome video in 1991prompted 9.25 million pre-orders.[19]Disney saw its commercial success as a sign that there was enough public interest in theFantasiafranchiseto make a sequel. Eisner finally gave thegreen-lightto the film in 1991, and had Disney serve as executive producer on the basis that its production was funded by the proceeds from the video sales.[15][20]Disney assignedDonald W. Ernstas producer[20]and Hendel Butoy as supervisory director, having liked his work onThe Rescuers Down Under(1990).[21]

During the search for a suitable conductor, Disney andWalt Disney Feature AnimationpresidentThomas SchumacherinvitedMetropolitan OperaconductorJames Levineand managerPeter Gelbto a meeting in September 1991.[22]Disney recalled: "I asked James what his thought was on a three minute version of Beethoven's fifth symphony. He paused and went 'I think the right three minutes would be beautiful'".[23]In November 1992, Disney, Schumacher, Levine, Gelb, and Butoy met in Vienna to discuss a collection of story reels developed, one of them beingPines of Rome,which Levine took an immediate liking to. Butoy described Levine's enthusiasm toward the film as "like a kid in a candy store".[23]Because Katzenberg continued to express some hostility towards the film, Disney held development meetings without him and reported directly to Eisner instead, something that authorJames B. Stewartwrote "would have been unthinkable on any other future animation project."[15]

Production began under theworking titleofFantasia Continuedwith a release in 1997.[12]The title was changed toFantasia 1999,followed byFantasia 2000to coincide with its theatrical release in 2000. Disney formed its initial running order with half of theFantasiaprogram and only "three or four new numbers"[24]with the aim of releasing a "semi-new movie".[25]Realizing the idea would not work, he kept threeFantasiasegments—The Sorcerer's Apprentice,The Nutcracker Suite,andDance of the Hours—in the program for "quite a while".[26]Night on Bald Mountainwas the most difficult segment for him to remove from his original running order because it was one of his favorites. He had placed it in the middle of the film withoutAve Maria,but felt it did not work and scrapped the idea.[27]Later on,Dance of the Hourswas dropped andThe Nutcracker Suitewas replaced byRhapsody in Blueduring the last few months of production following the response from numeroustest screenings.[28]Disney keptThe Sorcerer's Apprenticein the final program as a homage toFantasia.[29]The segment underwent digital restoration byCinesitein Los Angeles.[30]Disney considered usingClair de Lune,a piece originally made forFantasiathat followed twoGreat white heronsflying through theEvergladesat night, but thought it was "pretty boring".[28]An idea to have "a nightmare and a dream struggling for a sleeping child's soul" toRhapsody on a Theme of PaganinibySergei Rachmaninoffwas fully storyboarded, but fell through.[3]

Segments

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Symphony No. 5

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Symphony No. 5is anabstractsegment created byPixote Huntwith story development by Kelvin Yasuda. In December 1997, after rejecting pitches from four other animators, Disney and Ernst asked Hunt for his ideas.[31]Hunt first thought of the story on a morning walk in Pasadena, California, one depicting a battle of "good" against "evil" and how the conflict resolves itself.[32]It took Hunt approximately two years, from start to finish, to complete the segment. Disney and Ernst decided to go with Hunt's idea; Hunt avoided producing an entirely abstract work because "you can get something abstract on every computer screen" with ease.[33]Hunt divided the segment into 31 mini-scenes, noting down points in which he would employ vivid color when the music was bright and fluid, and then switch to darker hues when the music felt darker and denser.[34]To gain inspiration in how the shapes would move, Hunt and his associates visitedSan Diego Zoo,a butterfly farm, and observed slow motion footage of bats.[35]The segment combines hand drawn backgrounds using pastels and paint that were scanned into theComputer Animation Production System(CAPS), andcomputer-generated imagery(CGI) of abstract shapes and effects, which were layered on top.[36]Hunt explained that scanning each drawing "was a one-shot deal" as theplatenthat pressed onto it would alter the pastel once it had been scanned.[37]At one point during production, Hunt and Yasuda completed 68 pastel drawings in eight days.[34]The segment was produced usingHoudinianimation software.[30]

Pines of Rome

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Pines of Romewas the first piece Disney suggested for the film, as well as the first to be animated; designs appeared in the studio'sdailiesas early as October 1993.[38]Butoy served as director with James Fujii handling the story.[21]The opening to the piece gave Disney the idea of "something flying".[39]Butoy sketched the sequence on yellowPost-it notes.[40]The story originally involved the whales flying around from the perspective of a group of penguins, but the idea was scrapped to make the baby whale a central character. The whales were also set to return to Earth but Butoy said it "never felt quite right", leading to the decision to have them break through a cloud ceiling and enter a different world by the supernova.[41]Butoy created a "musical intensity chart" for the animators to follow which "tracked the ups and downs of the music... as the music brightens so does the color", and vice versa.[42]He explained that because CGI was in its infancy during development, the first third of the segment was hand drawn using pencil to get a feel of how the whales would move. When the drawings were scanned into the CAPS system, Butoy found the whales were either moving too fast or had less weight to them. The drawings were altered to make the whales slow down and "more believable".[43]The eyes of the whales were drawn by hand, as the desired looks and glances were not fully achievable using CGI.[44]Butoy recalled the challenge of having the water appear and move as naturally as possible; the team decided to write computer code from scratch as traditional animation would have been too time-consuming and would have produced undesired results.[45]The code handling the pod of whales was written so the whales would move away if they were to collide and not bump into, overlap, or go through each other. The same technique was used for the stampede scene inThe Lion King(1994), which was produced at the same time.[46]

Rhapsody in Blue

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Eric Goldberg,director ofRhapsody in BlueandThe Carnival of the Animals, Finale

Rhapsody in Blueis the firstFantasiasegment with music from an American composer. It originated in 1995 when director and animatorEric GoldbergapproachedAl Hirschfeldabout the idea of an animated short set to Gershwin's composition in the style of Hirschfeld's illustrations. In December 1998, the Goldbergs pitchedRhapsody in BluetoThomas Schumacherand received the green-light to produce it, and Hirschfeld agreed to serve as artistic consultant and allowed the animators to adapt his works.[47]Duke is named after jazz musicianDuke Ellington.[48]The bottom of his toothpaste tube reads "NINA", anEaster eggreferencing Hirschfeld's daughter Nina, whose name Hirschfeld inscribed in several of his drawings since her birth in 1945. Another easter egg references artist Emily Jiuliano, whose name is shown as "E. Jiuliano".[49]Rachel was designed after the Goldbergs' daughter;[50]John, or "Flying John", is based on animation historian and author John Culhane and Hirschfeld's caricature ofAlexander Woollcott.[50][51][52]Goldberg took Hirschfeld's original illustration of Gershwin and animated it to make him play part of the "rhapsody" on the piano.[50]The most difficult part of this particular scene to animate was the turning of Gershwin's head, as the original drawing depicted one angle of his head. The illustration also featuredIra Gershwinalongside his brother George, but Ira is not shown in the scene nor anywhere else in the film. Featured in the crowd emerging from the hotel are depictions ofBrooks Atkinsonand Hirschfeld, along with his wifeDolly Haas.[53][50]The sequence was so chromatically complex that the rendering process using the CAPS system delayed work onTarzan.[30]

Piano Concerto No. 2

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Piano Concerto No. 2was directed by Butoy with art director Michael Humphries. It originated in the 1930s when Walt Disney wished to adapt a collection ofHans Christian Andersenfairy tales into an animated film. The artists completed a series of preliminary designs based on the stories, including ones for "The Steadfast Tin Soldier"from 1938 byBianca Majolie[54]that were stored in the studio's animation research library and used for a 1991 Disney book that retold the story accompanied with the storyboard sketches. When Disney suggested using the Shostakovich piece, Butoy flipped through the book and found the story's structure fit to the music.[55]When Humphries saw the sketches he designed the segment with works byCaravaggioandRembrandtin mind to give the segment a "timeless" feel, while keeping the colors "as romantic as possible" during the scenes when the soldier and ballerina are first getting acquainted.[56][57]Live action footage of a real ballerina was used as a guide for the toy ballerina's movements.[58]Butoy found the Jack-in-a-box a difficult character to design and animate with its spring base and how he moved with the box. His appearance went through numerous changes, partly due to the lack of reference material available to the team.[59]

The segment marked the first time the Disney studio created a film's main characters entirely from CGI;[30]only backgrounds, secondary, or tertiary characters had been produced using CGI beforehand.[60]Initially Butoy askedPixar Animation Studiosto handle the computer graphics, but CGI artist Steve Goldberg convinced him to let Disney's own team produce it.[30]The backgrounds were completed by hand. Originally the drain sequence included friendly rats who performed comical gags, but the team found it did not fit the mood of the rest of the segment. The drains became a more scary environment, something that Butoy said was "what the music was telling us to do".[61]Rain animation fromBambi(1942) was scanned into the CAPS system and digitally altered to fit into the segment.[30]The ending was to feature the original ending with the soldier and ballerina melting in the fire, but the music was too upbeat to animate it and was changed.[62]An excerpt of the segment was shown at the 1998SIGGRAPHconference.[30]

The Carnival of the Animals, Finale

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The Carnival of the Animals, Finalewas directed and animated by Goldberg; his wife Susan was its art director. The idea originated from animatorJoe Grant,one of the two story directors onFantasiawho loved the ostriches inDance of the Hours.When development forFantasia 2000began, Grant suggested the idea of having one of the ostriches play with a yo-yo to the last movement ofThe Carnival of the Animals.The ostriches were later changed to flamingos as Disney wished to avoid reintroducing characters from the original film and thought flamingos would look more colorful on the screen.[63]Goldberg was partly inspired by co-directorMike Gabriel,who would play with a yo-yo as he took a break from working onPocahontas(1995); Gabriel is given a credit for "yo-yo tricks" in the end credits.[64]The segment was produced with CGI and 6,000watercolor paintingson heavy bond paper.[65]Susan chose a distinct colour palette for the segment which she compared to the style of a Hawaiian shirt. The Goldbergs and their team visited the zoo in Los Angeles and San Diego to study the anatomy and movement of flamingos.[66]

The Sorcerer's Apprentice

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Main article:Fantasia (1940 film) § The Sorcerer's Apprentice 2

Pomp and Circumstance (Land of Hope and Glory)

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Mostly known as Britain's most loved patriotic song (thanks its choral counterpartLand of Hope and Glory)[67]the original march was created for royal and solemn events, but Eisner suggested his use as a stand-alone piece after he attended a graduation and thought its familiarity would be suitable for aFantasiasegment.[68]His idea involved a selection ofDisney princessesand heroes in a wedding procession carrying their future children who would then be presented in a ceremony. The animators' preliminary designs depicted aGreco-Romansetting; one of the staff members described the artwork as "an appalling abuse" of the characters. Eisner agreed to drop the story, but insisted that the music be used.[69]After numerous ideas were scrapped due to the difficulty in writing a clear plot,[70]animator and directorFrancis Glebascame up with the Noah's Ark idea that he titledDonald's Last Roundup!,[71]later retitled asNoah's Duck,[27]and pitched it thinking it was "laden with comic possibilities".[72]

The Firebird

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The Firebirdwas inspired by the 1980 eruption of Mount St. Helens

To close the film, Disney wanted a piece that was "emotionally equivalent" to theNight on Bald MountainandAve Mariasegments that closedFantasia.[73]Disney choseThe Firebirdas the piece to use after "half a dozen" others were scrapped, includingSymphony No. 9byBeethovenand the "Hallelujah Chorus"fromMessiahbyHandel.[25]Disney thought of the idea of the Earth's destruction and renewal after passingMount St. Helensfollowing itseruption in 1980.[74]French twinsPaul and Gaëtan Brizzifrom Disney's Paris studio were hired to direct the segment.[30]The Sprite is aDryad-like creature fromGreek mythology.[75]Her form changes six times; she is introduced as a Water Sprite who plants flowers as a Flower Sprite. She becomes a Neutral Sprite where her growth trail stops and an Ash Sprite when the forest has been destroyed. The segment ends with her as a Rain-Wave Sprite, followed by the Grass Sprite. The segment originally ended with the Sprite in the form of a flowing river that rises up into the sky and transforms into a Sun Sprite, but this was abandoned.[76]The elk's antlers were produced by CGI and placed on top of its body that was drawn traditionally. The segment was produced using Houdini animation software.[30]

Music

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The music toThe Sorcerer's Apprenticewas already recorded on January 9, 1938, for the first film atCulver Studios,California withLeopold Stokowskiconducting a group of session musicians. The recording ofRhapsody in Blueused in the film is an edited version ofFerde Grofé's orchestration of the piece performed by thePhilharmonia Orchestrawith conductorBruce Broughton.The shortened version was made by cutting 125barsof piano solo in three different places.[77]A recording of James Levine conducting both pieces with the Philharmonia appears on thefilm's soundtrack.[78]

The remaining six pieces were recorded at theMedinah Templein Chicago, performed by theChicago Symphony Orchestraconducted by Levine.[79]Pines of Romewas re-arranged in 1993 byBruce Coughlin,who reduced the four-movement piece by cutting the second movement and trimming sections of the third and fourth movements. The piece was recorded on March 28, 1994.[80]The second recording involvedSymphony No. 5,Carnival of the Animals,andPomp and Circumstance,on April 25, 1994.[80]Carnival of the Animals, Finaleuses two pianos played by Gail Niwa and Philip Sabransky.Pomp and Circumstancewas arranged byPeter Schickele[81]and features theChicago Symphony Chorusand soprano soloistKathleen Battle.The next recording took place on April 24, 1995, forPiano Concerto No. 2with pianistYefim Bronfman.[80]On September 28, 1996,The Firebirdwas the final piece to be recorded; its session lasted for three hours.[80]The piece was arranged using four sections from Stravinsky's1919 revisionof the score.

Interstitials

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Disney felt the need to keepinterstitials(bridges) as used inFantasiain order to give audiences a chance to "cleanse their emotional palate" from the previous segment while also providing some information about the next one.[82]Don Hahndirected the live action scenes which were designed byPixote Hunt.[83]Hahn came up with the set and backgrounds while eating lunch; he proceeded to sketch a rough idea of what he imagined on a napkin. He "wanted to show images on shapes like big sails of a clipper ship. They fly in on the wind and form a sort ofStonehengeconcert hall in the middle of a vast, empty, imaginary plain ".[84]

Hahn recalled some difficulty in finding someone to host the film, so the studio decided to use a group of artists and musicians from various fields of entertainment.[85]The interstitials were filmed in various locations; the orchestra, Jones, Lansbury, and Bronfman[86]were shot in Los Angeles, Perlman and Midler in New York City, and others in Boston, Massachusetts.[87]Each scene was filmed in front of agreen screento allow shots of the orchestra or the set to be placed behind them.[88]The shots of Levine, the artists, and the orchestra were filmed on October 31, 1998.[89]The piano Grierson plays in his scene with Jones is the same one on which he playedRhapsody in Bluefor the soundtrack.[90]

Release

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Fantasia 2000had its premiere atCarnegie HallinNew York City.

Fantasia 2000was officially announced on February 9, 1999, during a Disney presentation at theNew Amsterdam Theaterin New York City which featured a screening ofThe Carnival of the Animals.[91][92]The film premiered atCarnegie HallinNew York Cityon December 17, 1999, for three nights as part of a five-city concert tour.[93]The animation was presented on a screen above the stage while Levine conducted thePhilharmonia Orchestra[94]with a video auto-cue to time the music to the images.[95]Performances followed at theRoyal Albert Hallin London on December 21; theThéâtre des Champs-Élyséesin Paris on December 22; theOrchard Hallin Tokyo on December 27; and thePasadena Civic Auditoriumin Pasadena, California on December 31,[96]where Derrick Inouye conducted as part of a black tie $2,000-per-head New Year's Eve event.[97]Each of the seven performances cost over $1 million.[98]

Home media

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Fantasia 2000was first released on VHS and DVD on November 14, 2000,[99][100]with both featuring a specially made introduction in which Roy gives a history of key innovations brought by various Disney productions (specificallySteamboat Willie,Flowers and Trees,Snow White and the Seven Dwarfs,Fantasia,The Great Mouse Detective,Beauty and the Beast,Toy Story 2andDinosaur). While it was available as a single-disc DVD, a three-disc set titledThe Fantasia Anthologywas released, including a digital copy of the film, a restored print ofFantasiato commemorate its 60th anniversary, and a third disc containing bonus features.[101]The DVD releases of both films were alsoTHXcertified on this set.[102]

On November 30, 2010, the film was issued for DVD and Blu-ray in a single and two-disc set withFantasiaand a four-disc DVD and Blu-ray combo pack. The Blu-ray transfer presents the film in1080phigh-definition videowithDTS-HD Master Audio7.1 surround sound.[103]The film was withdrawn from release after its return to the "Disney Vault"moratoriumon April 30, 2011.[104]

The film, along withFantasiaand the 2018 compilationCelebrating Mickey(containing 13 Mickey Mouse shorts fromSteamboat WillietoGet a Horse!), was reissued in 2021 as part of the U.S. Disney Movie Club exclusiveThe Best of Mickey Collection(Blu-ray/DVD/Digital).[105]Both films were also broadly released for the first time in 2021 on multiple U.S. purchased streaming platforms, includingMovies Anywhereand its retailers.[106][107]

Soundtrack

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See also:Fantasia 2000 (soundtrack)

Walt Disney Recordsreleased 60,000 copies of a limited edition of the film's soundtrack on November 30, 1999, in the United States and internationally under theSony Classicallabel.[108]With a running time of 60 minutes, the album features Levine conducting the Philharmonia Orchestra onRhapsody in BlueandThe Sorcerer's ApprenticeatAIR Studiosin London, and the Chicago Symphony Orchestra for the remaining six tracks using the recordings from the Medinah Temple.[78]The soundtrack went on to reach the number one spot on theBillboardTop Classical Albums chart in July 2000.[109]AFantasia 2000 Deluxe Read-Alongcassette and CD followed which contains two tracks telling the stories ofPomp and CircumstanceandThe Sorcerer's Apprentice,with narration byPat Carroll.Included in the set is a 44-page book containing some of the film's artwork.[110]

Track listing
No.TitleLength
1."Symphony No. 5"2:51
2."Pines of Rome"10:18
3."Rhapsody in Blue"12:32
4."Piano Concerto No. 2, Allegro, Opus 102"7:22
5."Carnival of the Animals (Le Carnaval des Animaux), Finale"1:54
6."The Sorcerer's Apprentice"9:33
7."Pomp and Circumstance, Marches #1, 2, 3, & 4"6:18
8."Firebird Suite—1919 Version"9:11

Reception

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Box office

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Fantasia 2000first opened inIMAXtheatres for a four-month run from January 1 to April 30, 2000, becoming the first animated feature-length film shown in the format.[93][111]The idea to release it in IMAX first originated fromDick Cookduring meetings the studio had about the best way to create "a sense of event" for the film. Roy Disney believed its uniqueness from typical feature films gave it a psychological advantage.[112][113]A temporary 622-seat theatre costing almost$4 millionwas built in four weeks for its Los Angeles run as Disney was unable to reach an agreement to only have the film shown during the four months at the city's sole IMAX theater at the time at theCalifornia Science Center.[65][114]Disney enforced the exclusive screening rule on the other IMAX cinemas that showed the film which limited its release.[115]Each theater was decorated with a museum-like exhibit with educational material and large displays.[116]

After opening at 75 theaters worldwide, the film grossed over$2.2 millionin 54 cinemas in North America in its opening weekend, averaging $41,481 per theater,[117]and $842,000 from 21 screens in 14 markets.[118]It set new records for the highest gross for any IMAX engagement and surpassed the highest weekly total for any previously released IMAX film.[119]Its three-day worldwide gross surpassed$3.8 million,setting further records at 18 venues worldwide.[120]Fantasia 2000grossed a worldwide total of$21.1 millionin 30 days,[121]and$64.5 millionat the end of its IMAX run.[122]

Following its release in 1,313 regular theatres in the United States on June 16, 2000, the film grossed an additional$2.8 millionin its opening weekend that ranked eleventh at the box office. This followed nearly half a year of release in the IMAX format, possibly blunting the amount earned in the weekends of wide release.[123]Fantasia 2000has earned a total worldwide gross of over$90.8 millionsince its release, with $60.7 million of that total from the U.S. market, and the rest through foreign box office sales.[2]The film had cost around $90 million and was viewed by Eisner as Roy Disney's "folly".[98]

Critical response

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OnRotten Tomatoes,Fantasia 2000holds anapproval ratingof 81% based on 85 reviews, with an average rating of 7/10. Its consensus reads: "It provides an entertaining experience for adults and children alike."[124]OnMetacritic,the film has a weighted average score of 59 out of 100 based on 27 critics, indicating "mixed or average reviews".[125]

Entertainment Weeklygave a "B−" rating; its reviewer, Bruce Fretts, calledSymphony No. 5"maddeningly abstract",Piano Concerto No. 2"charmingly traditional" and thoughtRhapsody in Bluefit well to the music, butPomp and Circumstance"inexplicably inspires biblicalkitsch".The review ends with a criticism of the inadequate quality ofThe Sorcerer's Apprenticeon the IMAX screen.[126]Todd McCarthyofVarietypointed out that while the originalFantasiafelt too long and formal, its "enjoyable follow-up is, at 75 minutes, simply too breezy and lightweight". He summarized the film "like a light buffet of tasty morsels rather than a full and satisfying meal".[127]

In his December 1999 review for theChicago Sun-Times,Roger Ebertgave the film a rating of three stars out of four. He described some of the animation (such asFirebird Suite,his favorite segment) as "powerful", though he thought others, like the dance of the abstract triangles inSymphony No. 5,to be "a little pedestrian". He admiredRhapsody in Blueand its interlocking stories, pointing out its style was reminiscent of theMadelinepicture books byLudwig Bemelmans.He thoughtPines of Romepresented itself well in the IMAX format and found thePiano Concerto No. 2played "wonderfully as a self-contained film", while he foundThe Sorcerer's Apprenticeto be "not as visually sharp as the rest of the film". He nonetheless described the film overall as "splendid entertainment".[8]Film criticStephen HoldenofThe New York Timeswrote that the film "often has the feel of a giant corporate promotion whose stars are there simply to hawk the company's wares" while noting the film "is not especially innovative in its look or subject matter."[98]Firebird Suitewas his favorite segment which left "a lasting impression of the beauty, terror, and unpredictability of the natural world". He foundThe Sorcerer's Apprenticefit well with the rest of the film and the battle inSymphony No. 5too abbreviated to amount to much.[7]He found the segment with the whales failed in that the images "quickly become redundant".[7]He foundRhapsody in Blueto be the second-best in the film with its witty, hyper-kinetic evocation of the melting pot with sharply defined characters. He found the segment with the flamingos cute and the one with the tin soldier to be romantic.[7]James Berardinellifound the film to be of uneven quality. He feltSymphony No. 5was "dull and uninspired", the yo-yoing flamingos "wasteful", and the New York City-based story of Rhapsody in Blue interesting but out of place in this particular movie. He found the story of the tin soldier to successfully mix its music with "top-notch animation" and "an emotionally rewarding story". He felt the Firebird section was "visually ingenious", andPomp and Circumstancethe most light-hearted episode and the one with the most appeal to children, in an otherwise adult-oriented film. To himThe Sorcerer's Apprenticewas an enduring classic.[75]

David Parkinson of British film magazineEmpirerates the film three stars out of five, calling it a "curate's egg,with moments of hilarity and beauty alternating with the pompous and the banal ". Moments ofSymphony No. 5andThe Firebirdhe thought lacked the "abstract grace" fromToccata and Fuguefrom the original, andPines of Romewas "even less successful" due to the computer imagery which affected its quality. He claimsRhapsody in Blueis "guilty of some dubious racial and sexual caricaturing", but hailed the film's IMAX presentation as "a breathtaking spectacle". He summarized the film as "slightly more successful" than the originalFantasia,more child-friendly and a "mixed bag of delights".[128]Richard CorlissofTimemagazine wrote a positive review of the film, citingPines of Romeas "a superb, uplifting flight of the spirit" andPiano Concerto No. 2"a gorgeous blend of traditional and computer animation". He drew a comparison toThe Firebirdwith the 1997 Japanese animated filmPrincess Mononoke.[3]Brian Sibleywrote a mostly negative review inSight & Sound,a monthly magazine published by theBritish Film Institute,in June 2000. He pointed out that though the film includes moments of comedy and pastoral, "the themes running through the old 'Fantasia' – the struggle between light and dark, the war between chaos and order, the ultimate triumph of goodness – find only a pale equivalent in this new version". He compared the film's orchestra set to scenes fromA Matter of Life and Death(1946) and thought the CGI inSymphony No. 5lacked the technical qualities ofToy Story.Sibley argued the film lacked an even quality, highlightingPines of Romewith its "breathtaking" opening before "its magic has been overtaken by chronic boredom" when the baby whale reunites with his parents.Pomp and Circumstance,he thought, contained "shamefully sloppy animation" but is saved by Donald's comical gags, but pointed outRhapsody in Blue,with its "strong lines and vivid, flat colours that are fashionably retro", and the "classic Disneyesque... exquisite beauty and raw natural violence" inFirebird Suite,as the film's most successful segments as they "ironically, hark back to older times".[129]

Accolades

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Award Category Name Result
28th Annie Awards[130] Outstanding Achievement in An Animated Theatrical Feature Walt Disney Pictures Nominated
Outstanding Individual Achievement for Character Animation Eric Goldberg Won
Outstanding Individual Achievement for Production Design In an Animated Feature Production Susan McKinsey Goldberg Won
Outstanding Individual Achievement for Production Design In an Animated Feature Production Paul Brizzi,Gaetan Brizziand Carl Jones Nominated
Individual Achievement in Storyboarding Ted C. Kierscey Won
43rd Grammy Awards[131] Compilation Soundtrack Album for a Motion Picture, Television or other Visual Media James Levineand theChicago Symphony Orchestra Nominated
12th PGA Golden Laurel Awards[citation needed] Vision Award for Theatrical Motion Pictures Won
1st Phoenix Film Critics Society Awards[132] Best Animated Film Nominated
Best Family Film Nominated

Credits

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Note: All segments performed by theChicago Symphony Orchestrawith conductorJames Levine,except where noted.

Segment Personnel
Live-action scenes
Symphony No. 5 in C minor, I. Allegro con brio
Pines of Rome
Rhapsody in Blue
Piano Concerto No. 2 in F Major, Allegro, Op. 102
The Carnival of the Animals (Le Carnival des Animaux), Finale
The Sorcerer's Apprentice
Pomp and Circumstance – Marches 1, 2, 3 and 4
Firebird Suite – 1919 Version

Short films and cancelled sequel

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Development on a third film began in 2002 under theworking titleFantasia 2006.Plans were made to includeOne by OnebyPixote HuntandThe Little MatchgirlbyRoger Allersin the film before the project was cancelled in 2004 for unknown reasons, with the proposed segments instead being released as standalone short films.

Destinois an animated short film released in 2003 by The Walt Disney Company.Destinois unique in that its production began in 1945, 58 years before its eventual completion. The project was originally a collaboration between Walt Disney and Spanish surrealist painterSalvador Dalí,and features music written by Mexican songwriter Armando Domínguez and performed by Dora Luz. In 1999, Walt Disney's nephew,Roy E. Disney,while working onFantasia 2000,unearthed the dormant project and decided to bring it back to life. It was later released as a bonus short on the special edition DVD and Blu-ray ofFantasia 2000.

Lorenzois a 2004 American animated short film produced by Walt Disney Feature Animation about a cat named Lorenzo who is "dismayed to discover that his tail has developed a personality of its own". The short was directed byMike Gabrieland produced by Baker Bloodworth. It premiered at theFlorida Film Festivalon March 6, 2004, and later appeared as a feature before the filmRaising Helen;however, it did not appear on the DVD release of the film. Work on the film began in 1943, but was shelved. It was later found along withDestino.

One by Oneis a traditionally animated short film directed by Pixote Hunt and released by Walt Disney Pictures on August 31, 2004, as an extra feature on the DVD release ofThe Lion King II: Simba's PrideSpecial Edition.

The Little Matchgirlis a 2006 animated short film directed by Roger Allers and produced byDon Hahn.It is based on an original story byHans Christian AndersenentitledThe Little Girl with the MatchesorThe Little Match Girl,published in 1845.[133]

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Bibliography

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DVD media

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  • Donald W. Ernst(prod.),Roy E. Disney(prod.),James Levine(cond.) (November 14, 2000).The Fantasia Anthology: Fantasia 2000—Audio Commentary (Ernst, Disney, Levine)(DVD). Disc 2 of 3. Burbank, CA: Walt Disney Studios Home Entertainment.UPC786936163872.
  • Various segment directors (November 14, 2000).The Fantasia Anthology: Fantasia 2000—Audio Commentary (Segment Directors)(DVD). Disc 2 of 3. Burbank, CA: Walt Disney Studios Home Entertainment.UPC786936163872.
  • Various cast and crew members (November 14, 2000).The Fantasia Anthology: Fantasia 2000—The Making of Fantasia 2000(DVD). Disc 2 of 3. Burbank, CA: Walt Disney Studios Home Entertainment.UPC786936163872.
  • Various cast and crew members (November 14, 2000).The Fantasia Legacy—Supplemental Features(DVD). Disc 3 of 3. Burbank, CA: Walt Disney Studios Home Entertainment.UPC786936163872.
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