INTERVIEWER: What were some of the techniques employed in making the Silly Symphonies that were vital to being able to make a feature-length animated film? That was kind of a period of great experimentation.

WOOLIE REITHERMAN: Yeah, it was. Of course, color and music—I don’t know about techniques—but color and music had a greater opportunity, in a different vein, than the music that went with the shorts, the Mickey Mouse shorts. They used to call it “Mickey Mouse music”. I guess they still do.

The Old Mill was a thrust into a richer effects type of animation and also in the way it was staged and photographed, the camera work. But I think, mainly, the thrust of those Symphonies was—I don’t know if the word “class” fits it, but it was a thrust to an attempt at something more beautiful. And we used symphonic music in it, too; public domain, of course. But the main thing is that it was a whole different creative thrust and there was also… to me the thing I remember the most, there was a certain innocence and naiveté in those little shorts which I think also translated to Snow White.
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