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WALT DISNEY PICTURES

MASTER ENGLISH SUBTITLE/SPOTTING LIST



"FANTASIA 2000"

TOTAL EXHIBITION FOOTAGE: 6,697 Feet + 7 Frames


TOTAL OVERALL FOOTAGE: 6,744, Feet + 7 Frames
TOTAL NUMBER OF REELS: 4 (2,000 foot)
TOTAL RUNNING TIME: 1 Hour 14 Minutes 24.29 Seconds

Prepared by:


MASTERWORDS

1512 11th Street #203

Santa Monica, CA 90401

(310) 394-7998/390-1033


For:
BUENA VISTA INTERNATIONAL, INC. DECEMBER 22, 1999


LABORATORY: 0.01 AT START MARK
135.0 = 1ST SCENE END
145.4 = 2ND SCENE END
147.4 = 3RD SCENE END
1. 25.0 29.6 4.6 DEEMS TAYLOR) (voice over)

ITAL It is my pleasant duty to welcome you here...

(note that Titles #1 - #13 & #15 are excerpts from the original "Fantasia", which was narrated by Deems Taylor)

2. 29.12 34.0 4.4 DEEMS TAYLOR) (voice over)

ITAL ...on behalf of all the artists and musicians...

3. 34.8 38.0 3.8 DEEMS TAYLOR) (voice over)



ITAL ...whose combined talents created...

4. 38.6 42.10 4.4 DEEMS TAYLOR) (voice over)


ITAL ...this new form of entertainment, "Fantasia".

(Fantasia : referring to the original 1940 Walt Disney film, a classic combination of animation and music - note that "Fantasia 2000" is an updating of this original film)

5. 44.0 47.0 3.0 DEEMS TAYLOR) (voice over)


ITAL What you will see on the screen...

(screen : movie screen)

6. 47.6 54.6 7.0 DEEMS TAYLOR)

...is a picture of the various abstract images that might pass through your mind...

(picture : i.e., `rendering')

(might pass through you mind : i.e., `you might imagine')

7. 54.12 59.10 4.14 DEEMS TAYLOR) (voice over)

ITAL ...if you sat in a concert hall listening to this music.

8. 65.10 70.12 5.2 DEEMS TAYLOR) (voice over)



ITAL There are three kinds of music in this program...

9. 71.2 75.4 4.2 DEEMS TAYLOR) (voice over)



ITAL First there's the kind that tells a definite story.

(kind : i.e., `type of music')


10. 77.8 82.2 4.10 DEEMS TAYLOR) (voice over)

ITAL The second kind, while it has no specific plot...

(kind : i.e., `type of music')

(plot : story)

11. 82.8 87.14 5.6 DEEMS TAYLOR) (voice over)



ITAL ...does paint a series of more or less definite pictures.

(more or less : somewhat - nearly, but not exactly)

12. 89.14 97.2 7.4 DEEMS TAYLOR) (voice over)

ITAL Then there's the third kind, music that exists simply for its own sake.

(kind : i.e., `type of music')

13. 97.14 100.14 3.0 DEEMS TAYLOR) (voice over)

ITAL The number that opens our program...

(number : musical number - piece of music)

14. 101.2 103.12 2.10 NARRATIVE TITLE) (of handbill)

Symphony No. 5 by Ludwig van Beethoven

(No. : abbreviation for, `Number')

(Ludwig van Beethoven : prolific German composer who lived from 1770 to 1827, one of the most popular and influential composers of all time)

(note that this is the first piece of music which will be performed in "Fantasia 2000")

15. 104.0 106.8 2.8 DEEMS TAYLOR) (voice over)


ITAL ...is music of this third kind.

16. 114.6 119.6 5.0 MAIN TITLE)

FANTASIA 2000

(note that this film is an updating of the original "Fantasia")

(we see the first animated segment, which is an abstract piece set to Beethoven's Fifth Symphony - following the segment, American comedian Steve Martin steps in front of the orchestra to narrate)

17. 382.6 389.6 7.0 STEVE MARTIN TO AUDIENCE)

It's amazing, but many of these musicians are playing for the first time...

(these musicians : referring to the musicians who performed Beethoven's Fifth Symphony)

(playing : i.e., `playing a musical instrument')

18. 389.12 397.0 7.4 STEVE MARTIN TO AUDIENCE)

...thanks to "Steve Martin's Two-Week Master-Musician Home-Study Course".

(thanks to : i.e., `because of their use of')

(Steve Martin : contemporary U.S. film actor and comedian)

(Two-Week Master-Musician Home-Study Course : humorous name Steve Martin has given to a supposed course of instruction one can complete in one's own home and that will teach one to become a master musician in two weeks)

19. 397.6 399.14 2.8 STEVE MARTIN TO AUDIENCE)

More about that later.

(More : i.e., `I will tell you more')

20. 400.4 404.4 4.0 STEVE MARTIN TO AUDIENCE)

Hello, and welcome to "Fantasia 2000".

21. 404.12 412.2 7.6 STEVE MARTIN TO AUDIENCE)

Over 60 years ago, Walt Disney and his artists teamed with Leopold Stokowski...

(Leopold Stokowski : English-born American conductor who lived from 1882 to 1977 - he was conductor of the Philadelphia Orchestra for 25 years and conducted the music in the original "Fantasia")

22. 412.8 417.10 5.2 STEVE MARTIN TO AUDIENCE)

...to create a film they titled "The Concert Feature."

(meaning that "The Concert Feature" was the original title of "Fantasia")

23. 418.0 423.6 5.6 STEVE MARTIN TO AUDIENCE)

I think we're all glad they changed the name to "Fantasia".

(we : everyone)

24. 423.12 428.8 4.12 STEVE MARTIN TO AUDIENCE)

"Fantasia" was meant to be a perpetual work in progress.

(meaning that the producers had originally intended to continually update "Fantasia")

25. 429.0 433.6 4.6 STEVE MARTIN TO AUDIENCE)

Every time you saw it, you would experience new pieces...

(pieces : musical and animated segments)

26. 433.12 436.14 3.2 STEVE MARTIN TO AUDIENCE)

...along with some old favorites.

(old : familiar)

27. 437.6 442.6 5.0 STEVE MARTIN TO AUDIENCE)

But that idea fell by the wayside...until now.

(fell by the wayside : colloquial for, `was neglected')

28. 442.14 447.4 4.6 STEVE MARTIN TO AUDIENCE)

So let me turn things over to Itzhak Perlman...

(Itzhak Perlman : very prominent and popular contemporary American violinist, born in Israel in 1945)

(meaning that Steve Martin is going to hand over the narration duties to Itzhak Perlman)

29. 447.12 452.10 4.14 STEVE MARTIN TO AUDIENCE)

...who, I have just been informed, plays the violin.

(note humor in that while Itzhak Perlman's talent with the violin is very famous, Steve Martin is pretending that he just found out about it)

30. 453.2 456.12 3.10 STEVE MARTIN, THEN TO MUSICIAN)

Well, so do I. Big deal. My violin, please?

(so do I : i.e., `I also play the violin')

(Big deal : colloquialism meaning that something is overrated and actually of little value or importance - i.e., `So what?'- `That is nothing of any particular significance')

(My violin : i.e., `Hand me my violin')

(a musician hands Steve Martin a violin)

31. 457.4 459.6 2.2 STEVE MARTIN TO MUSICIAN)

Thank you.

32. 459.14 462.8 2.10 STEVE MARTIN TO ORCHESTRA)

All right, boys, let's--

(boys : familiar term of direct address to a group of young men - note that, here, Steve Martin is addressing an orchestra of both men and women)

(let's : note that Steve Martin stops speaking before fully saying, `let's begin playing')

(Steve Martin starts to play his violin - he loses his grip on this bow and it goes flying out of his hand)

33. 463.2 466.6 3.4 STEVE MARTIN TO MUSICIAN)

Could I have another stick-thingy?

(stick-thingy : referring to the violin bow, which is shaped somewhat like a stick - note that `thingy' is colloquial diminutive of `thing')

(note humor in the fact that Steve Martin apparently doesn't know how to correctly refer to the violin bow)

(the camera starts to dolly away from Steve Martin)

34. 466.12 469.10 2.14 STEVE MARTIN TO CAMERAMAN)

And camera back on me.

(meaning that Steve Martin would like the camera to focus on him again)

(the camera keeps dollying away from Steve Martin to reveal Itzhak Perlman)

35. 470.4 472.10 2.6 STEVE MARTIN TO CAMERAMAN)

Camera back on me.

36. 475.0 477.0 2.0 STEVE MARTIN TO DIRECTOR)

Am I done?

(i.e., `Am I finished with my duties as narrator?')

(camera holds on Itzhak Perlman, who takes over as narrator)

37. 479.0 483.8 4.8 ITZHAK PERLMAN TO AUDIENCE)

When you hear a title like "Pines of Rome"...

("Pines of Rome" : "The Pines of Rome" [in Italian, "Pini di Roma"] - orchestral tone poem written by Ottorino Respighi in 1924)

38. 483.14 489.14 6.0 ITZHAK PERLMAN TO AUDIENCE)

...you might think of tree-lined streets and romantic ruins.

39. 490.6 494.8 4.2 ITZHAK PERLMAN TO AUDIENCE)

But when the Disney animators heard this music...

40. 495.0 499.0 4.0 ITZHAK PERLMAN TO AUDIENCE)

...they thought of something completely different.

41. 499.6 506.10 7.4 ITZHAK PERLMAN TO AUDIENCE) (voice over)


ITAL Here is the Chicago Symphony Orchestra, conducted by maestro James Levine...

(maestro : title of respect used in referring to an eminent conductor of music)

(James Levine : prominent American conductor and pianist, born in 1943)

42. 507.2 512.14 5.12 ITZHAK PERLMAN TO AUDIENCE) (voice over)



ITAL ...performing Ottorino Respighi's "Pines of Rome".

(Ottorino Respighi : Italian composer who lived from 1879 to 1936)

(we see the "Pines of Rome" segment)
LAST FRAME OF PICTURE: 1429.15
END OF REEL 1AB


LABORATORY: 0.01 AT START MARK
187.10 = 1ST SCENE END
197.12 = 2ND SCENE END
201.6 = 3RD SCENE END

43. 35.0 37.8 2.8 QUINCY JONES TO RALPH GRIERSON)

Beautiful, Ralph.

(Beautiful : i.e., `You played beautifully')

(note that American composer and producer Quincy Jones is commenting on a quick melody that pianist Ralph Grierson has just played on the piano)

(Quincy Jones turns to camera and begins his narration)

44. 39.0 45.6 6.6 QUINCY JONES TO AUDIENCE)

Hi. Next we're going to take you to the streets of New York City...

45. 45.14 50.8 4.10 QUINCY JONES TO AUDIENCE)

...for a piece inspired by two of my favorite artists.

(piece : see Title #25)

46. 51.0 54.6 3.6 QUINCY JONES TO AUDIENCE)

First, illustrator Al Hirschfeld...

(Al Hirschfeld : contemporary U.S. illustrator, famous for his caricatures of theater personalities)

47. 54.14 61.6 6.8 QUINCY JONES TO AUDIENCE)

...who's been drawing Broadway celebrities for most of the 20th century.

(drawing : i.e., `drawing caricatures of')

48. 61.14 65.4 3.6 QUINCY JONES TO AUDIENCE)

Then, composer-songwriter George Gershwin...

(George Gershwin : U.S. composer who lived from 1898 to 1937)

49. 65.12 72.12 7.0 QUINCY JONES TO AUDIENCE)

...who took jazz off the streets, dressed her up, and took her to the concert hall.

(dressed...up : embellished - made fancier or more presentable)

(metaphorically meaning that Gershwin adapted jazz music for presentation to a classical audience)

50. 73.2 78.0 4.14 QUINCY JONES TO AUDIENCE)

My friend Ralph Grierson plays piano on this next number.

(Ralph Grierson : contemporary U.S. pianist)

(number : see Title #13)

51. 78.8 83.8 5.0 QUINCY JONES TO AUDIENCE)

And it all starts with a single, slinky note on a clarinet...

(slinky : graceful, sinuous, and sleek)

(note : musical note)

52. 83.14 88.6 4.8 QUINCY JONES TO AUDIENCE)

...and a simple line on a piece of paper.

(meaning that the animated segment will begin with the movement of a single line)

53. 89.0 94.4 5.4 QUINCY JONES TO AUDIENCE)

Ladies and gentlemen, "Rhapsody in Blue".

("Rhapsody in Blue" : work for piano and orchestra written by George Gershwin in 1924)

(the animated segment begins - in the segment, a stack of newspapers is deposited at a newsstand by a delivery truck)

54. 260.6 263.6 3.0 NARRATIVE TITLE) (of headline) (Optional)

JOBS SCARCE

(meaning that there is massive unemployment)

(later, a wealthy woman and her husband go to retrieve the woman's pet dog from a dog salon - there is a sign hanging in front of the salon)

55. 725.0 727.2 2.2 NARRATIVE TITLE) (of sign) (Optional)

Le Pampered Pooche

(Le : French for, `The')

(phony French-sounding term for, `The Pampered Pooch' - note that `Pooch' is colloquial for, `Dog' - also note alliteration)

(shortly thereafter, an attendant at the salon presents the woman's husband with the bill)

56. 939.2 941.2 2.0 NARRATIVE TITLE) (of bill) (Optional)

Le Bill

(Le : see Title #55)



(phony French-sounding term for, `The Bill' - meaning a bill for services)

(later, an unemployed man is given a job at a construction site - the foreman shows him a sign above the timeclock)

57. /1048.12 1051.0/ 2.4 NARRATIVE TITLE) (of sign) (Optional)

NIGHT SHIFT - 5:00 PM

(meaning that the night work shift begins at 5:00 PM)

(later, the wealthy woman's husband sees a handbill posted on a telephone pole)

58. /1163.14 1166.14 3.0 NARRATIVE TITLE) (of handbill) (Optional)

Harlem Jazz - TALENT NITE EVERY FRIDAY

(Harlem : section of New York City in the northeast part of Manhattan, with a large African-American population and once viewed as a center of jazz music)

(Nite : informal, simplified spelling of, `Night')

(Talent Nite : A night on which any amateur can perform)

(later, an amateur drummer arrives at the jazz club - there is a sign over the club's entrance)

59. 1178.8 1181.0 2.8 NARRATIVE TITLE) (of sign) (Optional)

Harlem Jazz

TALENT NITE

(see Title #58)

(the segment ends - American actress and singer Bette Midler is revealed as the next narrator)

60. 1225.12 1230.0 4.4 BETTE MIDLER TO AUDIENCE)

Over the years, the Disney artists...

61. 1230.8 1236.4 5.12 BETTE MIDLER TO AUDIENCE)

...have cooked up dozens of ideas for new "Fantasia" segments.

(cooked up : colloquial for, `conceived and developed')

62. 1236.12 1240.4 3.8 BETTE MIDLER TO AUDIENCE)

Some made it to the big screen this time...

(Some : i.e., `Some of the ideas')

(big screen : colloquial for, `movie screen')

(made it to the big screen : i.e., `were included in the movie')

(this time : i.e., `in this film')

(meaning that some of the segment ideas developed over the years have been used in "Fantasia 2000")

63. 1240.12 1244.0 3.4 BETTE MIDLER TO AUDIENCE)

But others, lots of others...

64. 1244.8 1247.4 2.12 BETTE MIDLER TO AUDIENCE)

How could I put this politely?

(put : say)

65. 1247.12 1249.4 1.8 BETTE MIDLER TO AUDIENCE)

...didn't.

(didn't : i.e., `didn't get included in this movie')

(we see sketches for various segments that were never produced)

66. 1249.10 1254.14 5.4 BETTE MIDLER TO AUDIENCE)

For example, Danish illustrator Kay Nielsen drew these sketches...

(Kay Nielsen : Danish illustrator who lived from 1886 to 1957 - he contributed to the "Ave Maria" and "Night on Bald Mountain" sequences in the original "Fantasia")

67. 1255.4 1260.10 5.6 BETTE MIDLER TO AUDIENCE)

...for a segment inspired by Wagner's "Ride of the Valkyries".

(Wagner : Richard Wagner [1813-1883] - German composer)

("Ride of the Valkyries" : title of a musical interlude from Wagner's 1856 opera, "Die Walküre" - the opera premiered in Munich in 1870)

68. 1261.0 1263.6 2.6 BETTE MIDLER TO AUDIENCE)

Here they are.

(i.e., `Here are the sketches.')

69. 1263.12 1266.12 3.0 BETTE MIDLER TO AUDIENCE)

And there they go.

(note that the sketches are drifting out of frame - also note humorous implication that this segment was rejected and will never be produced)

70. 1267.4 1271.10 4.6 BETTE MIDLER TO AUDIENCE)

Now, Salvador Dali, the limp-watches guy...

(Salvador Dali : Spanish illustrator and painter who lived from 1904 to 1989 and was a leader of surrealism)

(limp-watches : referring to Dali's most famous and popular surrealist painting, "Persistence of Memory", which features dozens of watches and clocks draped limply over branches, rocks and other hard surfaces)

(the limp-watches guy : humorously meaning that Dali was the man who painted "Persistence of Memory")

71. 1272.2 1278.8 6.6 BETTE MIDLER TO AUDIENCE)

...got into the act with an idea that featured baseball as a metaphor for life.

(got into the act : colloquial, for, `got involved')

72. 1278.14 1283.2 4.4 BETTE MIDLER TO AUDIENCE)

How come that didn't work? Makes sense to me.

(work : succeed - i.e., `become a "Fantasia" segment')

(Makes sense : i.e., `Dali's idea seems logical')

73. 1283.10 1288.8 4.14 BETTE MIDLER TO AUDIENCE)

Then we had a bug ballet...and a baby ballet.

(had : i.e., `had proposed as segments')

(bug : insect)

(bug ballet : note alliteration)

(baby ballet : note alliteration)

(meaning the Disney artists conceived a segment in which insects performed a ballet and another in which babies performed a ballet)

74. 1289.0 1292.10 3.10 BETTE MIDLER TO AUDIENCE)

And they even considered a sequence...

75. 1293.2 1296.10 3.8 BETTE MIDLER TO AUDIENCE)

...inspired by the polka and the fugue...

(polka : lively couple dance of Bohemian origin, with music in duple meter)

(fugue : polyphonic composition based upon one, two, or more themes, which are enunciated by several voices or parts in turn, subjected to contrapuntal treatment, and gradually built up into a complex form having somewhat distinct divisions or stages of development and a marked climax at the end)

76. 1297.2 1302.2 5.0 BETTE MIDLER TO AUDIENCE)

...from Weinberger's "Schwanda the Bagpiper".

(Weinberger : Jaromir Weinberger [1896-1967] - Czech composer)

("Schwanda the Bagpiper" : opera written by Jaromir Weinberger and first performed in 1927)

77. 1302.10 1309.12 7.2 BETTE MIDLER TO AUDIENCE)

But, finally, a success. The Disney artists wanted to create a short film...

(a success : meaning an idea that came to fruition as a fully produced segment)

78. 1310.2 1316.10 6.8 BETTE MIDLER TO AUDIENCE)

...based on Hans Christian Andersen's "The Steadfast Tin Soldier".

(Hans Christian Andersen : [1805-75] Danish author, especially of fairy tales)

("The Steadfast Tin Soldier" : fairy tale by Hans Christian Andersen about a tin soldier and the hardships he endures for a ballerina)

79. 1317.2 1323.6 6.4 BETTE MIDLER TO AUDIENCE)

But they could never find the perfect musical match...until now.

(the perfect musical match : i.e., `the musical piece that would most perfectly suit an animated segment of "The Steadfast Tin Soldier"')

80. 1323.12 1330.12 7.0 BETTE MIDLER TO AUDIENCE)

Here is Yefim Bronfman playing the Shostakovich Piano Concerto No. 2...

(Yefim Bronfman : contemporary classical pianist and conductor, born in Tashkent)

(Shostakovich : Dimitri Shostakovich [1906-1975] - Russian composer)

(No. : abbreviation for, `Number')

81. 1331.4 1335.8 4.4 BETTE MIDLER TO AUDIENCE)

...and "The Steadfast Tin Soldier".

(we see the animated segment)

LAST FRAME OF PICTURE: 2008.11
END OF REEL 2AB


LABORATORY: 0.01 AT START MARK
78.10 = 1ST SCENE END
249.0 = 2ND SCENE END
421.2 = 3RD SCENE END

82. 24.14 28.6 3.8 JAMES EARL JONES TO AUDIENCE)

These drawing boards have been the birthplace...

(drawing board : rectangular board on which paper is placed or mounted for drawing or drafting)

(note that American actor James Earl Jones is standing among some animation drawing boards)

83. 28.12 33.12 5.0 JAMES EARL JONES TO AUDIENCE)

...of some of the most beloved animal characters of all time.

(referring to the many classic animal characters in Disney animated movies)

84. 34.2 38.12 4.10 JAMES EARL JONES TO AUDIENCE)

So it's no surprise that our next segment is...

85. 39.4 43.14 4.10 JAMES EARL JONES TO AUDIENCE)

..."The Carnival of the Animals" by Camille Saint-Saëns.

(The Carnival of the Animals : orchestral piece by Camille Saint-Saëns, composed in 1886)

(Camille Saint-Saëns : [1835-1921] French composer and pianist)

86. 44.4 48.12 4.8 JAMES EARL JONES TO AUDIENCE)

Here, sensitive strains of impressionistic music...

(Here : i.e., `In this segment of the film')

(strains : passage of melody as rendered or heard)

(impressionistic : referring to impressionism - late-19th-century and early-20th-century style of musical composition in which lush harmonies, subtle rhythms, and unusual tonal colors are used to evoke moods and impressions)

87. 49.2 53.6 4.4 JAMES EARL JONES TO AUDIENCE)

...combine with the subtle artistry of the animator...


88. 53.14 57.14 4.0 JAMES EARL JONES TO AUDIENCE)

...to finally answer that age-old question:

(age-old : ancient - from time immemorial)

89. 58.6 62.6 4.0 JAMES EARL JONES TO AUDIENCE)

What is man's relationship to nature?

(an animator sketching beside James Earl Jones interrupts him and gives him a note)

90. 64.2 66.2 2.0 JAMES EARL JONES TO ANIMATOR)

Oh, sorry.

(James Earl Jones reads the note aloud)

91. 67.2 69.10 2.8 JAMES EARL JONES TO AUDIENCE) (reading)

That age-old question:

92. 70.2 76.12 6.10 JAMES EARL JONES TO AUDIENCE) (reading)

What would happen if you gave a yo-yo to a flock of flamingos?

(you : impersonal pronoun)

(yo-yo : spoollike toy consisting of two thick wooden disks connected by a dowel pin in the center to which a string is attached, one end being looped around the player's finger so that the toy can by spun out and reeled in by wrist motion)

(James Earl Jones reacts with puzzlement)

93. 77.2 78.10/ 1.8 JAMES EARL JONES TO ANIMATOR)

Who wrote this?

(this : i.e., `this note')

(the animated segment begins - after the segment, Penn and Teller, a team of comic magicians, appear to introduce the next segment - Penn narrates as his silent partner, Teller, listens and nods)

94. 253.0 256.10 3.10 PENN TO AUDIENCE)

Ladies and gentlemen, we'd like a moment...

(we : Teller and I)

95. 257.0 261.8 4.8 PENN TO AUDIENCE)

...to talk about a little something we call "magic".

96. 262.0 266.14 4.14 PENN TO AUDIENCE)

Picture this. It's your daughter's birthday party...

(Picture : Imagine)

97. 267.6 273.0 5.10 PENN TO AUDIENCE)

...and you've just shelled out $50 so some loser...

(shelled out : colloquial for, `paid')

(loser : colloquial for, `untalented person who consistently fails at all aspects of life' - here implying, `untalented magician')

98. 273.8 278.8 5.0 PENN TO AUDIENCE)

...can pull a mangy rabbit out of a flea-market hat.

(mangy : having mange, any of various skin diseases caused by parasitic mites, affecting animals and characterized by loss of hair and scabby eruptions - dirty and sickly)

(flea-market : bought at a flea market, a market, often outdoors, consisting of a number of individual stalls selling old or used articles, curios and antiques, cut-rate merchandise, etc.)

(referring contemptuously to the stereotypical stage magician trick of pulling a rabbit out of a hat)

99. 279.0 285.2 6.2 PENN TO AUDIENCE)

At first, you might wonder to yourself, "How did he do that?"

(he : the magician)

(do that : i.e., `pull that rabbit out of a hat')

100. 285.10 291.4 5.10 PENN TO AUDIENCE)

But then you'd probably dismiss it as some sort of a trick.

101. 291.10 297.0 5.6 PENN TO AUDIENCE)

And, you know, you'd be right! It's just a trick!

102. 297.8 303.12 6.4 PENN TO AUDIENCE)

It's an example of what we laughingly refer to as "stage magic".

(we : Teller and I)

103. 304.2 310.14 6.12 PENN TO AUDIENCE)

We're here to tell you that all stage magic is a fraud, a hoax, a sham.

104. 311.6 317.2 5.12 PENN TO AUDIENCE)

It's all based on deception and, yup, lying. All of it!

(yup : colloquial for, `yes')

105. 317.10 320.8 2.14 PENN TO AUDIENCE)

Sleight of hand. Lies!

(Sleight of hand : Performance of feats requiring quick and clever movements of the hands, as card or coin magic, etc. - note that as Penn says this, Teller does a card trick)

106. 321.0 324.4 3.4 PENN TO AUDIENCE)

Transformations. Fraud!

(Transformations : referring to magic tricks of seemingly changing one object into something completely different - note that as Penn says this, Teller magically transforms his cards into a hatchet)

107. 324.12 329.12 5.0 PENN TO AUDIENCE)

Dismemberment. Rip off! Fake!

(Dismemberment : referring to tricks of seemingly cutting off various parts of the body - note that as Penn says this, Teller pretends to chop off his own hand with the hatchet)

(Rip off : note double meaning - [1] slang for, `Theft or deception'; and [2] referring to how a magician seems to literally rip, cut, or saw a limb off his or her assistant when performing stage magic that involves dismemberment)

108. 330.4 334.4 4.0 PENN TO AUDIENCE)

All are illusions.

(All : i.e., `All those magic tricks')

109. 334.12 338.8 3.12 PENN TO AUDIENCE)

We're here to talk about real magic.

(We : Teller and I)

110. 339.0 344.10 5.10 PENN TO AUDIENCE)

We're going to bring out a guy now who is the genuine article.

(bring out : i.e., `introduce')

(guy : referring to Mickey Mouse, who is the star of the next animated segment)

(genuine article : colloquialism referring to someone who is truly what they purport to be - here Penn means that Mickey Mouse entertains without trickery)

111. 345.0 348.0 3.0 PENN TO AUDIENCE)

He taught us everything we know.

(us : Teller and I)

(referring to their skills as magicians and entertainers)

112. 348.6 353.8 5.2 PENN TO AUDIENCE)

And he is in the next sequence, from the original "Fantasia"...

113. 353.14 357.6 3.8 PENN TO AUDIENCE)

..."The Sorcerer's Apprentice".

(The Sorcerer's Apprentice : symphonic poem written in 1897 by French composer Paul Dukas - note that this segment was included in the original "Fantasia")

114. 359.4 364.8 5.4 PENN TO AUDIENCE)

Come to think of it, the sorcerer's apprentice is...

(Come to think of it : i.e., `Now that I think about it')

(the sorcerer's apprentice : referring to the character portrayed by Mickey Mouse in the "Sorcerer's Apprentice" sequence)

115. 365.0 372.0 7.0 PENN TO AUDIENCE)

...a little guy who never speaks and just messes everything up.

(little : short)

(note that in "The Sorcerer's Apprentice", the diminutive Mickey Mouse has no speaking lines and causes havoc in a sorcerer's lair)

116. 372.8 374.8 2.0 PENN TO AUDIENCE)

Like him.

(him : Teller)

(note that, in their stage act, Teller never speaks - also note that, during this introduction, Teller is `messing everything up' by secretly cutting off Penn's ponytail)

117. 375.8 377.6 1.14 PENN TO AUDIENCE)

And now--

(Penn stops in mid-sentence as he sees the scissors with which Teller cut off his hair - Teller quickly tosses the scissors aside)

118. 379.14 382.12 2.14 PENN TO AUDIENCE)

And now, "The--

(Teller interrupts Penn to show him the rabbit he has pulled out of a hat)

119. 384.0 386.14 2.14 PENN TO RABBIT)

Hi, little fella.

(fella : fellow)

120. 387.4 392.4 5.0 PENN TO AUDIENCE)

And now, "The Sorcerer's Apprentice".

(the animated segment begins - after the segment, Mickey Mouse runs up to conductor Leopold Stokowski, who is at the podium)

121. 1232.14 1237.10 4.12 MICKEY TO STOKOWSKI)

Mr. Stokowski? Mr. Stokowski!

(Stokowski : see Title #21)

(note that Titles #121 - #124 are from the original "Fantasia")

(Stokowski turns to Mickey)

122. 1240.2 1244.10 4.8 MICKEY TO STOKOWSKI)

Just wanted to offer my congratulations, sir.

(Mickey and Stokowski shake hands)

123. 1245.6 1249.0 3.10 STOKOWSKI TO MICKEY)

Congratulations to you, Mickey.

124. 1249.8 1255.2/ 5.10 MICKEY TO STOKOWSKI)

Gee, thanks. Well, got to run now. So long!

(Gee : mild colloquial interjection)

(got to : i.e., `I have to')

(run : colloquial for, `leave')

(So long : colloquial farewell)

(Mickey turns and runs across the soundstage to conductor James Levine, who is at another podium)

125. 1255.14 1258.0 2.2 MICKEY TO JAMES LEVINE)

Mr. Levine?

(see Title #41)

126. 1258.8 1262.12 4.4 MICKEY TO JAMES LEVINE)

Okay, everybody's in place for the next number.

(everybody : referring to the animated "performers")

(in place : i.e., `in their assigned places' - `ready to begin')

(number : see Title #13)

127. 1263.4 1265.4 2.0 JAMES LEVINE TO MICKEY)

Thanks, Mickey.

(James Levine turns to camera to begin his narration)

128. 1265.10 1267.2 1.8 JAMES LEVINE TO AUDIENCE)

When--

(Mickey interrupts Levine, tugging on his coat - Levine turns to him)


129. /1268.6 1274.14 6.8 MICKEY TO JAMES LEVINE)

But we can't find Donald. So you stall for time. I'll be right back.

(Donald : Donald Duck - popular Disney animated character, who is the star of the next animated segment)

(stall for time : delay - meaning that Levine should extend his narration to give Mickey time to find Donald)

(Mickey runs off, searching for Donald - James Levine turns to camera and resumes his narration)

130. 1277.12 1281.0 3.4 MICKEY) (calling)

Donald! Oh, Donald!

131. 1281.8 1286.10 5.2 JAMES LEVINE TO AUDIENCE)

When we hear Sir Edward Elgar's "Pomp and Circumstance"...

(Sir : the distinctive title of an English knight)

(Edward Elgar : [1857-1934] English composer)

("Pomp and Circumstance" : series of marches written by Elgar from 1901 to 1930 - Elgar's most well-known music)

132. 1287.0 1289.12 2.12 JAMES LEVINE TO AUDIENCE)

...we think of graduation.

(graduation : referring to a school graduation ceremony - note that "Pomp and Circumstance" is commonly played at high school and college graduation ceremonies)

133. 1290.2 1291.14 1.12 MICKEY) (calling)

Donald, where are you?

134. 1292.4 1297.12 5.8 JAMES LEVINE TO AUDIENCE)

Actually, Elgar composed it for many kinds of solemn events.

135. 1298.2 1299.14 1.12 MICKEY) (calling)

Donald!

136. 1300.8 1307.8 7.0 JAMES LEVINE TO AUDIENCE)


This march inspired the Disney artists to recreate the age-old story...

(march : piece of music with a rhythm suited to accompany marching - referring to "Pomp and Circumstance")

(age-old : see Title #88)

(a woman's scream is heard off screen)

137. 1307.14 1309.10 1.12 MICKEY TO DAISY)

Sorry, Daisy.

(Daisy : Daisy Duck - popular Disney animated character who is commonly paired with Donald as his romantic interest - note implication that Mickey has entered Daisy's dressing room during his search for Donald)

138. 1310.0 1314.10 4.10 JAMES LEVINE TO AUDIENCE)

...of Noah's ark, with one slight twist.

(Noah's ark : referring to the Biblical story told in the book of Genesis, chapters 5-9, relating how the patriarch Noah builds an ark to protect his family and animals of every species from a worldwide flood)

(twist : i.e., `change in the story' - note that Donald Duck stars in this rendition of the Biblical tale)

(Levine hears a knock, he turns to see a shadow of Mickey on the back wall as Mickey opens the door to a bathroom - Donald is inside the bathroom, taking a shower)

139. 1315.0 1317.8 2.8 MICKEY TO DONALD)

Oh, Donald Duck!

140. 1318.10 1320.6 1.12 DONALD TO MICKEY)

Who is it?

141. 1320.12 1323.12 3.0 MICKEY TO DONALD)

Mickey. You're on in 30 seconds.

(You're on : colloquial for, `Your performance begins')

142. 1324.2 1328.6 4.4 DONALD TO MICKEY)

(over scene end) You're kidding! I'm not even dressed yet!

(kidding : joking)

(Mickey hurries back to James Levine)

143. 1328.12 1332.8/ 3.12 MICKEY TO JAMES LEVINE)

He's on his way, Jim. Go to the intro.

(He : Donald)

(on his way : i.e., `approaching' - `almost ready to perform')

(Jim : diminutive for, `James')

(intro : short for, `introduction' - referring to the introduction to "Pomp and Circumstance")

144. 1335.8 1340.0 4.8 JAMES LEVINE TO AUDIENCE)

Ladies and gentlemen, "Pomp and Circumstance"...

145. 1340.8 1343.14/ 3.6 JAMES LEVINE TO AUDIENCE)

...starring Donald Duck.

(the animated segment begins)

LAST FRAME OF PICTURE: 1908.5
END OF REEL 3AB


LABORATORY: 0.01 AT START MARK
109.0 = 1ST SCENE END
113.6 = 2ND SCENE END
130.11 = 3RD SCENE END
146. 17.0 24.0 7.0 ANGELA LANSBURY TO AUDIENCE)

Walt Disney described the art of animation as a voyage of discovery...

(note that actress Angela Lansbury is now serving as narrator)

147. 24.8 29.4 4.12 ANGELA LANSBURY TO AUDIENCE)

...into the realms of color, sound and motion.

148. 29.12 34.6 4.10 ANGELA LANSBURY TO AUDIENCE)

The music from Igor Stravinsky's ballet "The Firebird"...

(Igor Stravinsky : [1882-1971] Russian-born composer, famous mainly for the ballets "The Firebird", "Petrushka" and "The Rite of Spring")

(The Firebird : ballet written by Igor Stravinsky in 1910)

149. 34.14 38.0 3.2 ANGELA LANSBURY TO AUDIENCE)

...inspires such a voyage.

150. 38.6 42.10 4.4 ANGELA LANSBURY TO AUDIENCE)

And so we conclude this version of "Fantasia"...

151. 43.2 49.6 6.4 ANGELA LANSBURY TO AUDIENCE)

...with a mythical story of life, death and renewal.

(the animated sequence begins)

152. 1383.4 1387.14 4.10 STEVE MARTIN) (voice over)

ITAL Camera back on me. Camera back on me, please.

(Camera back on me : see Title #34)

(note that Steve Martin's voice is heard over the Disney logo following the end credits)

153. 1388.6 1390.10 2.4 STEVE MARTIN) (voice over)


ITAL Anyone? Hello?

154. 1391.2 1393.0 1.14 STEVE MARTIN) (voice over)



ITAL Hello?

155. 1393.8 1396.12 3.4 STEVE MARTIN) (voice over)



ITAL Could someone give me a ride home?
LAST FRAME OF PICTURE: 1397.8
END OF REEL 4AB

END OF FILM


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