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Walt Disney Treasures - Behind The Scenes at Walt Disney Studio - DVD5 ENG - Sub ENG] [Tntvillage.Scambioetico]



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Behind The Scenes at the Walt Disney Studio













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Da più di 70 anni, gli Studio della Disney a Burbank (California, USA) è stato il punto focale
dell’intrattenimento in molti settori, dai film dal vivo, all’animazione, fino alla televisione. Behind the
Scenes at the Walt Disney Studio è un cofanetto che recupera questa eredità, e che contiene molto
materiale che risale fino alla produzione di Biancaneve.

Molti “leggendari” personaggi degli Studio compaiono nel cofanetto: Ollie Johnston, Frank Thomas, Ward
Kimball, Marc Davis, Milt Kahl, solo per fare alcuni nomi. Leonard Maltin organizza la presentazione, con vignette,
episodi della serie TV Disneyland ed anche un video completo, tutti inerenti all’attività degli Studio.











For the past 70-plus years, the Disney Studio in Burbank, CA has been the source of consistent entertainment in many
fields, from live-action movies, to animation, to television. Behind the Scenes at the Walt Disney Studio is a 2-disc
set that honors this legacy, containing various making-of material that dates back as early as Snow White’s
production.  

Many Disney legends make appearances, such as Ollie Johnston, Frank Thomas, Ward Kimball, Marc Davis, and Milt Kahl,
among others. Leonard Maltin once again serves as host, presenting short vignettes, Disneyland TV series episodes, and
even a full-length motion picture all dealing with the subject of the Disney Studio. 











Formato Audio/Video (Audio/Video Format):



2 dvd5 NTSC

Audio: ENG

Sottottitoli (Subtitles): English for hear impaired





Tempo Totale di RiProduction: 240 Minutes (4 ore)





1.33:1 Fullscreen (Original Ratio) / Dolby Digital Mono



Subtitles: English; Closed Captioned



Originally Released Between 1937 and 1957





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DISCO 1











Il Disco 1 inizia con materiale promozionale per i seguenti Walt Disney Treasures (1:20), seguiti da
un’introduzione di Leonard Maltin (1:14) che ci presenta un quadro su tutti i contenuti. Ogni argomento viene
brevemente introdotto da Leonard Maltin per avere informazioni sul suo significato.



“Trip Through the Walt Disney Studios” (1938, 12:18)  –
“A Trip Through the Walt Disney Studios” (1938, 12:18) è un corto video creato espressamente per la
RKO Pictures, il distributore della produzione Disney di quei tempi. La RKO richiese uno  “sguardo dietro le
quinte” per la produzione di Biancaneve e, più in generale riguardo allo Studio. Siccome non era
indirizzato direttamente al pubblico lo show è una cosa piuttosto “diretta”. 



“How Disney Cartoons Are Made” (1939, 10:30)  – “How
Disney Cartoons Are Made” (1939, 10:30) è un riciclo del materiale visto “Trip Through the Walt
Disney Studios,”, fatto apposta per la presentazione nei cinema del tempo, come un  lungo trailer per Biancaneve.
La narrazione è stata adattata ad essere più promozionale e maggiore enfasi è stata dedicata
all’avvento di Biancaneve sulle scene. 



“The Reluctant Dragon” (68:21) – The Reluctant Dragon (68:21):
originalmente preparato per essere presentao nei cinema, nel 1941, è il pezzo forte del Disco 1. Come molti
progetti di Walt durante gli anni di guerra, il Drago Riluttante era un progetto con bassi costi dal quale si volevano
ottenere discreti profitti, necessari in quel periodo. Sebbene contenga tre segmenti animati, il film si basa
prevalentemente su scene dal vivo con attori, ed è il primo film con attori della Disney, la cosiddetta
live-action. La star Robert Benchley rappresenta se stesso. Altri personaggi di rilievo sono Francis Gifford, artista,
Buddy Pepper, guida del tour negli Studio, Ward Kimball, che recita se stesso, e Clarence Nash, la voce di Paperino.

La storia parte dall’idea di Benchley di sottoporre a Walt il libro del Drago Riluttante, per farne fare un
cartone. Durante il tragitto negli Studio per poter vedere Walt, Benchley viene “distratto” da molte cose e
visita in pratica tutti gli Studio (Storyboarding, Effetti Sonori e Reparto Registrazioni). Durante le sue disavventure
abbiamo accesso a sequenze animate: “How to Ride a Horse” con Pippo, “Baby Weems”, una forma di
storia illustrata, e finalmente il pezzo animato riguardante il Drago Riluttante.



Pur essendo una cosa “datata”, il Drago Riluttante è un documentario sugli Studio ed è
un’esperienza divertente. Sia l’animazione che la parte recitata raggiungono ottimi livelli di
intrattenimento.





Starting off with a promo for other installments of the Walt Disney Treasures (1:20), disc one then presents an
introduction from Leonard Maltin (1:14), who gives an overall glimpse at the contents. From the main menu, the features
can be accessed, each coming with a brief intro from Maltin to provide some background information on the piece’s
significance. 



“Trip Through the Walt Disney Studios” (1938, 12:18)  –
“A Trip Through the Walt Disney Studios” (1938, 12:18) is a short subject that was created exclusively for
RKO Pictures, Walt’s distributor in the early years of the studio. RKO requested a behind-the-scenes look at Snow
White’s production, and the goings-on of the studio in general,  

which is exactly what this short shows, with helpful narration. Since it was never meant to be shown to the public,
it’s fairly straightforward and “no frills”, as Maltin puts it, aside from the staged appearances by
studio staff. Available while viewing is a highly-informative optional subtitle track, which lists studio trivia
corresponding to what’s happening on screen. 



“How Disney Cartoons Are Made” (1939, 10:30)  – “How
Disney Cartoons Are Made” (1939, 10:30) is a recycling of the footage seen in “Trip Through the Walt Disney
Studios,” purposed to be shown in theaters as a lengthy trailer for Snow White. The narration becomes much more
promotional in nature, and more emphasis is put on Snow White coming to theaters. It’s quite interesting to
compare the two vignettes and notice the differences. 



“The Reluctant Dragon” (68:21) – Next up is the star
attraction of Disc 1: The Reluctant Dragon (68:21), originally released to theaters in 1941. As with most of
Walt’s projects during the years of World War II, Dragon was a lower-budgeted affair to get much-needed profit
easily. Although there are three animated segments within, most of the film involves real actors, technically making it
Walt’s first live-action movie. Robert Benchley stars as himself. Also making appearances are Francis Gifford as
an artist, Buddy Pepper as a tour guide, Ward Kimball playing himself, and Clarence Nash, the voice of Donald Duck. 



The story follows Benchley, as he takes a storybook called “The Reluctant Dragon” (about a dragon who is . .
. uh . . . reluctant) to the Disney Studio lot in an effort to have it made into a cartoon. As he heads for his meeting
with Walt, Benchley gets sidetracked and ends up exploring the many faucets of the lot, such as the Storyboarding, Sound
Effects, Paint, and Recording departments. Through his misadventures, we gain access to the animated segments:
“How to Ride a Horse,” starring Goofy, “Baby Weems,” shown in illustrated story-reel form, and
finally the piece which realizes Benchley’s title storybook about the dragon who didn’t want to fight
knights as a completed animated short subject. 



While Dragon definitely feels dated, and should by no means be considered a documentary about the studio, it does manage
to be an enjoyable experience. The animation is the most entertaining aspect, but the live-action parts are fun as well.










Bonus Material 



“Leonard Maltin’s Studio Tour” (24:03) ha un titolo
ingannevole. Ci si attenderebbe un vero tour degli Studio, mentre in raltà è una storia del complesso
degli Studio, arricchito da filmati e foto d’archivio. Maltin presenta gli inizi di Walt come animatore, come egli
abbia acquistato e ampliato gli Studio.



“Behind the Boards of Baby Weems” (5:50)  è una rara
intervista con Joe Grant, che è stato un creatore di storie degli Studio per molto tempo. Maltin discute con
Grant i suoi inizi agli Studio e l’inusuale formato del corto “Baby Weems”, presentato nel Drago
Riluttante. Grant rivela che in origine Sia il Drago Riluttante che Baby Weems erano stati concepiti come pezzi completi
da presentare al cinema, ma che in ultima analisi non ne valeva la pena, perché troppo lunghi. Egli spiega i
concetti che, sviluppati su questi progetti, hYears portato al Drago, a Make Mine Music (Musica Maestro) e The
Adventures of Ichabod and Mr. Toad (Le avventure di Ichabod and Mr. Toad).



“The Reluctant Dragon Gallery” (45 foto) contiene foto delle scene
di produzione e degli attori sul set.



“Studio Gallery” (7 foto) fornisce foto dell’Hyperion, 3 su 7
commentate da Leonard Maltin.







Bonus Material 



“Leonard Maltin’s Studio Tour” (24:03) has a rather misleading
title. While one might expect it to be an actual walk-around of the studio, it’s actually a history of the
complex, containing archival film and photos. Maltin entails Walt’s beginning as an animator, how he went about
acquiring the studio property, and his reasons for creating the aforementioned features on this disc. He reiterates
information from his earlier intros, but there’s enough new information here to warrant a watch. 



“Behind the Boards of Baby Weems” (5:50)  is a rare interview with
long-time Disney story-man and artist Joe Grant. Maltin discusses how Grant got his start at the studio and the unusual
story-reel format of the “Baby Weems” short seen in The Reluctant Dragon. Grant reveals that
“Weems” and the “Dragon” shorts from the film were both originally considered for full-length
theatrical releases, but ultimately didn’t warrant the longer running time. He explains that concepts such as
these were the springboard for the package features like Dragon, Make Mine Music, and The Adventures of Ichabod and Mr.
Toad. 



The final extras on Disc 1 are two thumbnail galleries. “The Reluctant Dragon Gallery” (45 stills) is made
up of several black-and-white production photos of the actors and sets. “Studio Gallery” (7 stills) displays
photos of the early Hyperion lot – 3 of the 7 have an audio commentary from Maltin going into their history. 







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DISCO 2











Leonard Maltin presenta il Disco 2, in cui sono contenuti episodi della serie antologica Disneyland.



“Story of the Animated Drawing” (1955, 51:47)  – Walt presenta
la storia dell’animazione attraverso il tempo, incluse alcune primitive tipologie di animazione meccanica
dell’800.

Viene inoltre presentata una drammatizzazione di “Gertie il Dinosauro” uno storico cartone non-Disney che
aiutò molto i pionieri dell’animazione ed è una dimostrazione di come la musica sarebbe stata
sincronizzata con i cartoni nei primi tempi del cinema.



“The Plausible Impossible” (1956, 51:07) – “Zio
Walt” approfondisce il concetto di ciò che viene reso possible grazie all’animazione, in “The
Plausible Impossible” (1956, 51:07). Animazioni di Topolino e Paperino sono state utilizzate per mostrare come le
leggi della fisica possono essere ignorate. Egli spiega che l’animazione deve avere radici nella realtà,
come ad es. viene mostrato in una clip sul rapporto con la natura in “Bambi”. Alcune clip di Fantasia sono
state usate per mostrare come la musica possa adattarsi ad una varietà di sequenze animate, mescolando e
confrontando segmenti di film con differenti spartiti. Una scena deliziosa è una scena cancellata da Biancaneve e
qui riportata solo con  disegni a  matita che aveva per titolo “Music in Your Soup”. Disney ne spiega il
processo di preparazione e sviluppo.



“The Tricks of Our Trade” (1957, 48:10) –  Infine, “The
Tricks of Our Trade” (1957, 48:10) presenta gli animatori mentre compiono studi dal vivo per creare i loro
disegni. Esempi tratta da Fantasia su come riprendere una vera ballerina per poi adattarla agli animali nella
“Dance of the Hours” e copiare reali bolle per produrre la lava bollente in “Rite of Spring”.
L’uso della cinepresa multi-piano viene mostrato come sturmento rivoluzionario, per gestire l’uso degli
sfondi.







Leonard Maltin gives another introduction (0:56) before the main menu is unveiled. Disc 2 is primarily concerned with
episodes from the Disneyland TV anthology series, and some of the most famous of those episodes appear here that are
often excerpted on other Disney DVDs. 

 





“Story of the Animated Drawing” (1955, 51:47)  – In
“Story of the Animated Drawing” (1955, 51:47), Walt serves as the delightful host, tracing the history of
animation back through time, including a look at some of the primitive mechanical contraptions that were used in the
1800s to experiment with the art form.  

Also featured are a dramatization of the historical non-Disney “Gertie the Dinosaur” short subject that
helped pioneer animation, and a demonstration of how music would be synchronized with cartoons in the early days of
cinema. 



“The Plausible Impossible” (1956, 51:07) – Uncle Walt then
dwells on how anything is possible in the animated medium during “The Plausible Impossible” (1956, 51:07).
Specially created animation of Mickey Mouse and Donald Duck is used to show how the laws of physics can be ignored. He
explains animation should still at least have roots in reality, which links to a lengthy clip of the nature-based Bambi.
More clips of Fantasia are used to show how music can apply to a variety of animated sequences, in a mix-and-match of
segments from the film to different scores. The most exciting highlight is a deleted scene from Snow White in rough
pencil form, entailing the musical number “Music in Your Soup”, as Mr. Disney explains the editing process.




“The Tricks of Our Trade” (1957, 48:10) –  Lastly, “The
Tricks of Our Trade” (1957, 48:10) dwells on animators studying real life to create their illustrations. Examples
are given from Fantasia on following a live ballerina to draw the animals’ movements in “Dance of the
Hours,” and copying actual bubbles to produce the boiling lava in “Rite of Spring.” The groundbreaking
multi-plane camera is shown off, demonstrating how it is used to mimic real landscapes. 















Supplemental Features



“Kem Weber Gallery”  (36 foto)  mostra disegni per la costruzione e
l’architettura degli edifici di Burbank. 



“Tour of the Disney Studio”  è una mezz’ora di dialogo
trasmessa alla radio dall’Australia, in cui Homer Brightman, Harry Reeves, Eric Larson, e Walt presentano
informazioni sulla produzione dei film a disegni animati. E’ interessante ascoltare Walt mentre riferisce riguardo
al progetto di animazione mista inizialmente pensato per “Alice in Wonderland”, prima che fosse cambiato.







Supplemental Features

“Kem Weber Gallery”  (36 stills)  has architectural concept art for
the Burbank lot, with one still accompanied by Maltin’s audio commentary, detailing the biography of the designer.




“Tour of the Disney Studio”  is a rare half-hour radio broadcast
from Australia, in which studio personnel Homer Brightman, Harry Reeves, Eric Larson, and Walt himself offer general
information on the making of the animated films. It’s interesting to hear Walt as he refers to the upcoming Alice
in Wonderland as a live-action/animation hybrid, before the plans for the film changed. 









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