American children's animated fantasy films

5326 quotes found

"[when Nicodemus shows Mrs. Brisby a device in the corner. Two circles of metal set at right angles to form a rough globe, set in an ornate frame. The circles begin to spin, faster and faster. Energy plays across the surface of the globe described by its motion. A glowing green sphere appears, and images play across it. Nicodemus narrates the images] In the beginning, we were ordinary street rats, stealing our daily bread and living off the efforts of man's work. We were captured, put in cages, and sent to a place called NIMH. There were many animals there...in cages. They were put through the most unspeakable tortures to satisfy some scientific curiosity. Often at night I would hear them, crying out in anguish. Twenty rats and eleven mice were given injections...our world began changing. Then one night I looked upon the words under the cage door...and understood them. We had become intelligent. We could read. The miracle was kept secret from the scientists, and in the quiet of the night, we escaped through the ventilation system. The mice were blown away, sucked down dark air-shafts to their deaths. All except two...Jonathan and Mr. Ages. We were trapped by a locked door on the roof. It was Jonathan who made possible the unlocking of the door."

- The Secret of NIMH

0 likes1980s American animated filmsTraditionally animated filmsAmerican children's animated adventure filmsAmerican children's animated drama filmsAmerican children's animated fantasy films
"On Pinocchio, you mentioned something about pilot animation, and supervising animation. Finch's book [The Art of Walt Disney] is wrong on that—it depends on who you interview. Everyone has his own little thing, and I think that the tendency among all these guys is to make themselves as important as they possibly can. I think Frank Thomas and Freddy Moore and I don't know who else were involved in experimenting around with Pinocchio. Maybe Ollie Johnston, but Johnston was kind of coming up then. So was I, really. I was quite critical of ... I have a knack for alienating people by being a little bit outspoken, and they were rather obsessed with the idea of this boy being a wooden puppet. My God, they even had this midget who did the voice for "call for Phillip Morris" as the voice for a while, and it was terrible. I was rather outspoken about it. Why didn't they forget that he was a puppet and get a cute little boy, you can always draw the wooden joints and make him a wooden puppet afterwards. And Ham Luske said, "Well, why don't you do something about it, do a scene," and I did one. What I don't remember is whether they had a new voice by then or not. Probably they did have; I don't know. I did a scene of Jiminy Cricket underwater, knocking on a shell of an oyster, saying, "Uh, pardon me, pearl. Are you acquainted with Monstro the Whale?" The shell closed up and caused a swell in the current, which affected Jiminy. I made kind of a cute little boy out of him, and Walt loved it; this was actually my big chance. It was my move into being one of the top animators."

- Pinocchio (1940 film)

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"[First Lines and Introduction to "Toccata and Fugue in D Minor"] How do you do? Uh, my name is Deems Taylor, and it's my very pleasant duty to welcome you here on behalf of Walt Disney, Leopold Stokowski and all the other artists and musicians whose combined talents went into the creation of this new form of entertainment, Fantasia. What you're going to see are the designs and pictures and stories that music inspired in the minds and imaginations of a group of artists. In other words, these are not going to be the interpretations of trained musicians, which I think is all to the good. Now, there are three kinds of music on this Fantasia program. First, there's the kind that tells a definite story. Then there's the kind, that while it has no specific plot, does paint a series of more or less definite pictures. Then there's a third kind, music that exists simply for its own sake. Now, the number that opens our Fantasia program, the Toccata and Fugue, is music of this third kind, what we call absolute music. Even the title has no meaning beyond a description of the form of the music. What you will see on the screen is a picture of the various abstract images that might pass through your mind if you sat in a concert hall listening to this music. At first, you're more or less conscious of the orchestra, so our picture opens with a series of impressions of the conductor and the players. Then the music begins to suggest other things to your imagination. They might be, oh, just masses of color. Or they may be cloud forms. Or great landscapes or vague shadows or...geometrical objects floating in space. So now we present the Toccata and Fugue In D Minor by Johann Sebastian Bach, interpreted in pictures by Walt Disney and his associates, and in music by The Philadelphia Orchestra and its conductor, Leopold Stokowski."

- Fantasia (1940 film)

0 likes1940s American animated filmsTraditionally animated filmsAmerican children's animated fantasy filmsAmerican children's animated musical filmsFairy films
"[Introduction to "Rite of Spring"] When Igor Stravinsky wrote his ballet, The Rite of Spring… [a chime sound is heard; somebody has knocked over a set of tubular bells] I repeat, when Igor Stravinsky wrote his ballet, The Rite of Spring, his purpose was, in his own words, to "express primitive life." And so Walt Disney and his fellow artists have take him at the word. Instead of presenting the ballet in its original form, as a simple series of tribal dances, they have visualized it as a pageant, as the story of the growth of life on Earth. And that story, as you're going to see it, isn't the product of anybody's imagination. It's a coldly accurate reproduction of what science thinks went on during the first few billion years of this planet's existence. Science, not art, wrote the scenario of this picture. According to science, the first living things here were single-celled organisms, tiny little white or green blobs of nothing in particular that lived under the water. And then, as the ages passed, the oceans began to swarm with all kinds of marine creatures. Finally, after about a billion years, certain fish, more ambitious than the rest, crawled up on land and became the first amphibians. And then, several hundred million years ago, nature went off on another tack and produced the dinosaurs. Now, the name "dinosaur" comes from two Greek words meaning "terrible lizard", and they certainly were all of that. They came in all shapes and sizes, from little, crawling horrors about the size of a chicken to hundred-ton nightmares. They were not very bright. Even the biggest of them had only the brain of a pigeon. They lived in the air and the water as well as on land. As a rule, they were vegetarians, rather amiable and easy to get along with. However, there were bullies and gangsters among them. The worst of the lot, a brute named Tyrannosaurus Rex was probably the meanest killer that ever roamed the earth. The dinosaurs were lords of creation for about 200 million years. And then...Well, we don't exactly know what happened. Some scientists think that great droughts and earthquakes turned the whole world into a gigantic dustbowl. In any case, the dinosaurs were wiped out. That is where our story ends. Where it begins is at a time infinitely far back, when there was no life at all on earth. Nothing but clouds of steam, boiling seas and exploding volcanoes. So now, imagine yourselves out in space billions and billions of years ago, looking down on this lonely, tormented little planet, spinning through an empty sea of nothingness."

- Fantasia (1940 film)

0 likes1940s American animated filmsTraditionally animated filmsAmerican children's animated fantasy filmsAmerican children's animated musical filmsFairy films
"All right. Come on. That's all right. Don't be timid. [the soundtrack timidly comes to the center of the screen] Atta soundtrack. Now, watching him, I discovered that every beautiful sound also creates an equally beautiful picture. Now, look! Will the soundtrack kindly produce a sound? [it is silent] Go on, don't be nervous. Go ahead. Any sound. [blows a "raspberry", vibrating as it does so; chuckles] Well, that isn't quite what I had in mind. Suppose we hear and see the harp. [it plays a glissando of the harp] Now one of the strings, say, oh, the violin. [it plays a violin ascending up, then down, then strings plucked] And now-now, one of the woodwinds, a flute. [the soundtrack plays the flute] Very pretty. Now, let's have a brass instrument, the trumpet. [the soundtrack plays the trumpet, and blows a loud note of the last one] All right. Now, how about a low instrument, the bassoon? [the soundtrack plays a minor scale on bassoon, ending on a very low note] Go on. Go on. Drop the other shoe, will you? [it sounds an even deeper note, obviously the lowest] Well, now to finish, suppose we see some of the percussion instruments, beginning with the bass drum. [it starts with the bass drum, the crash of the cymbals, drum snare, plays the drum roll of the snare, and ends with the ding of the triangle; laughs] Thanks a lot, old man."

- Fantasia (1940 film)

0 likes1940s American animated filmsTraditionally animated filmsAmerican children's animated fantasy filmsAmerican children's animated musical filmsFairy films
"[Introduction to "The Pastoral Symphony"] The symphony that Beethoven called the Pastoral, his sixth, is one of the few pieces of music he ever wrote that tells something like a definite story. He was a great nature lover, and in this symphony, he paints a musical picture of a day in the country. Now, of course, the country that Beethoven described was the countryside with which he was familiar. But his music covers a much wider field than that, and so Walt Disney has given the Pastoral Symphony a mythological setting, and that setting is of Mount Olympus, the abode of the gods. And here, first of all, we meet a group of fabulous creatures of the field and forest, unicorns, fauns, Pegasus, the flying horse, and his entire family, the centaurs, those strange creatures that are half-man and half-horse. And their girlfriends, the centaurettes. Later on, we meet our old friend, Bacchus, the god of wine, presiding over a bacchanal. The party is interrupted by a storm, and now, we see Vulcan forging thunderbolts and handing them over to the king of all the gods, Zeus, who plays darts with them. As the storm clears, we see Iris, the goddess of the rainbow. And Apollo, driving his sun chariot across the sky. And then Morpheus, the god of sleep, covers everything with his cloak of night, as Diana, using the new moon as a bow, shoots an arrow of fire that spangles the sky with stars."

- Fantasia (1940 film)

0 likes1940s American animated filmsTraditionally animated filmsAmerican children's animated fantasy filmsAmerican children's animated musical filmsFairy films
"[Introduction to "The Sorcerer's Apprentice"] Ladies and gentlemen, we'd like to take a moment, if we may, to talk about a little something we like to refer to as "magic". Picture this. You're at home, hosting a birthday party for your daughter, and you've just shelled out 50 bucks, so some pathetic loser can pull a mangy rabbit out of a flea market hat. At first, you might wonder to yourself, "How did he do that?" But then you would probably just dismiss it as some sort of a trick. And you know something? You'd be right! It's just a trick! It's an example of what we laughingly refer to as stage magic. We're here to tell you that all stage magic is a fraud, a hoax, a sham. It's all based on deception and, yep, lyin', all of it. Sleight of hand...Lies! Transformations...Fraud! Dismemberment...Rip-off! Fakes! All are illusions! What we're here to talk about is real magic. We're gonna bring on a guy now who's the real deal, the genuine article. In fact, he taught us everything we know. And he is featured prominently in the next sequence, from the original Fantasia, The Sorcerer's Apprentice. [laughs] You know, come to think of it, The Sorcerer's Apprentice, is a little guy, who never speaks and just kind of messes everything up. [whispers, pointing at Teller, who cuts off his hair] Like him. [laughs] And now... [faces Teller, who throws the scissors offstage] Wh...And now, the... [sees Teller, holding a bunny; chuckles] Oh, hi, hi, little fella. I gotta...And now, The Sorcerer's Apprentice. [chuckles]"

- Fantasia 2000

0 likes2000s American animated filmsTraditionally animated filmsAmerican children's animated fantasy filmsAmerican children's animated musical filmsPackage films
"[last lines of the film, during the credits] I was this close to getting rid of the Smurfs, and you ruined everything. I knew I should have gotten a dog from the shelter. [Azrael grumbles incoherently] I'm not saying this to be cruel, okay? I'm saying it to be constructive. You're a useless feline. [Azrael meows angrily] That's just mean. That's mean. There was a line, and you crossed it. [Azrael scoffs] I was just jib-jabbing, and you crossed the line and that stung. I demand an apology. [Azrael grumbles] You were going to learn this one way or another, but...I am not your real father. [Azrael meows sadly] But that does not matter now. What matters is destroying the Smurfs. Any thoughts? I mean, I have thoughts. But I always like to spitball off your thoughts. [Azrael meows incoherently] Azrael, I am not going to sugarcoat this. Your ideas are terrible. [Azrael yowls, Monty screeches] I can't think with this music! Can someone please shut off the music? [Azrael meows confusedly] And what's with all these words...scrolling in front of me? Did the Smurfs do this so that I would be distracted and not be able to destroy them as easily? [Azrael grumbles incoherently, Gargamel reluctantly reads the credits] "Matte painters"? I do not know what that means. Someone just made that up, right? Oh, I feel sorry for whoever "Matte" is. "Look development artists"? Oh yes, of course. Let is develop some looks. Like, maybe an angry look. Because you two totally ruined my plans! [Azrael meows frustratedly] Am I going mad, Azrael? For the last time, Get them to shut off this music!"

- Smurfs: The Lost Village

0 likesAmerican computer-animated filmsAmerican children's animated adventure filmsAmerican children's animated comedy filmsAmerican children's animated fantasy filmsFilms based on television series
"[first lines of the film] [She lifts a tray to her mom in a photo] The number one rule in my family? Honor your parents. They're the supreme beings who gave you life who sweated and sacrificed so much to put a roof over your head, food on your plate, [Ming gives Mei a whole load off food] an epic amount of food. [Ming and Mei do the peace sign] The least you can do in return is [Ming and Mei holding a trophy] every single thing they ask. [In the spa with Mei and Ming] Of course some people are like, "Be careful". Honoring your parents sounds great, [Mei now grown up in her teen years lifts the tray to her mother Ming] but if you take it too far, well, you might forget to honor yourself. [the scene cuts to her in close-up; to the viewers] Luckily, I don't have that problem. [She leaps out of the picture frame and lands onto the sidewalk, carrying a case] I'm Meilin Lee. And ever since I turned 13, I've been doing my own thing, making my own moves; 24/7, 365! I wear what I want, [revealing her case] say what I want, and I will not hesitate to do a spontaneous cartwheel if I feel so moved! [She tries to do a cartwheel] Crap! [crashes and quickly collects her stuff; on the trolley] Not to brag, but being 13 means I'm officially a grown-up. [Showing her card to the driver] At least according to the Toronto Transit Commission."

- Turning Red

0 likesAnimated filmsPixarAmerican computer-animated filmsAmerican children's animated comedy filmsAmerican children's animated fantasy films