Stokowski, you see, was more than a famous conductor - he was a superstar. In the history of art and entertainment, few have reached the point where one name says it all. Even more interesting is that the great conductor’s billing is not “Leopold Stokowski” - instead, it’s simply that one mighty name. The original 1940 theatrical poster reads “Walt Disney’s Fantasia with Stokowski.” Aside from distributors and the like, other people rarely shared billing with Walt on a Disney production’s poster. As veteran Disney director Ben Sharpsteen simply said decades later, “Mickey Mouse was, when you come right down to it… a good choice.” Of course Mickey does portray the Apprentice (wearing a costume similar to Dopey’s) in what has been acclaimed as one of his most brilliant animated performances. This is merely a suggestion… discard immediately if it does not interest you.” Walt in fact did have strong reasons to star Mickey, not the least of which was that Mickey does represent “you and me” as a kind of “everyman” (or “everymouse”). I feel that if you create a new personality which represents every one of us, it might be a valuable factor in the years to come, and enlarge the scope. Stokowski proposed another route: “What would you think of creating an entirely new personality for this film instead of using Mickey? A personality that could represent you and me You may have strong reasons for wishing Mickey to be the hero…. However, as Walt began developing an animated film based on Dukas’s symphonic piece with Leopold Stokowski in 1937, Snow White and the Seven Dwarfs was on the verge of becoming a blockbuster, and it was suggested Dopey play the Apprentice instead of Mickey. Walt wanted to star Mickey in an animated version of The Sorcerer’s Apprentice, and Fantasia evolved from that miniature musical.
Dopey Might Have Been the Sorcerer’s Apprentice So join in D23’s celebration of Fantasia by conducting yourself through these fascinating facts about phenomenal Fantasia.ġ. As one of the most elaborate and lavishly produced animated features ever created, Fantasia has a symphony of behind-the-scenes stories swirling around it. With “music you can see and pictures you can hear,” Walt Disney’s Fantasia (1940) has been fascinating audiences for many years. Walt listens to the Fantasia score being recorded at Philadelphia’s Academy of Music in 1939, where nine “sound cameras” captured Stokowski and the Philadelphia Orchestra’s magnificent performanes for Disney’s award-winning Fantasound sound syste
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