Drawn to Animation: Noah’s Ark and Animals

Fantasia 2000

Released: December 17, 1999

Early on in the 90’s I had heard through a number of my animation friends about a new feature film in the works that would continue Walt’s vision for a new Fantasia. The film was actually the brain child of Roy Disney who had thought of the idea back in the 70’s but had waited till 1990 to actually pitch the project. Work on the film began in earnest throughout much of the 90’s and was slated for a special release at the end of that decade.

I was naturally interested in any subsequent Fantasia sequel particularly if it embodied the artistry that we saw in the original Fantasia. It is amazing to me when you think back to the late 1930’s how technically beautiful the first film was on the screen and how it combined music and art without the use of computers or modern technology. Fantasia 2000 had a legacy to follow and it did not disappoint. What is also particularly special to me was Disney’s choice for musical arrangements. Peter Schickele, also known as PDQ Bach, was selected to assist James Levine, director of the Chicago Symphony, with all of the musical arrangements. During my college years while studying business, I also studied classical voice and was privileged to meet and collaborate with Mr. Schickele during my master voice classes at University of Alaska Fairbanks. It was a thrill to work alongside such a talented and accomplished musician.

Original key master setup, gouache on celluloid, watercolor on board

Background Artist: Michael Kurinsky

Animators: Various Studio, Unknown

Sequence 4.5, Scene 2.5

Acquired: December 13, 2002

Fantasia 2000 embodied the spirit of how animation can really be fun alongside the seriousness of classical music all in a modern day setting. I particularly loved how the animator’s wanted to showcase Donald Duck with his personal style into the story of Noah’s Ark while set to the tune of Pomp & Circumstance. This key master setup was one of those show-stopping pieces for sale in Disney’s original auction in 2000 that ended up being way beyond my budget. I particularly remember reflecting how fun and characteristic this setup portrayed that spirit in the film. This setup had high appeal and was the top auction piece out the 19 cel setups sold from this segment. Fast forward several years post the “Dot Com” bubble burst, I was offered the opportunity to purchase the piece. I remember reflecting during that auction, that I would love to own this piece one day.....I just find it amazing and funny how, art can oftentimes finds you, instead of you finding it.

As with many key master setups, this piece is a composite from several separate paintings, all of which combine in the final camera shot. As I was cataloging this piece for my collection, I like to deconstruct the piece and scan each level. You never know what you will learn or discovery when doing this with the art and over the years I have found some unexpected surprises when I just took the time to take a closer look. As the studio developed the shot they broke-down the background into five key elements as shown below.

The sky was painted in gouache watercolor on crescent board number 16 and notated with the scene and production markings. When examining the background, I also took a look at the backside and noted that this piece was produced nearly four years before the release of the film in 1996.

The next levels all composite the respective foreground elements that include the clouds (so they could be manipulated if necessary) and the deck of the ark as shown below.