Christopher Finch and Linda Rosenkrantz: There must be a great difference between animating something like Robin Hood, where George Bruns won’t really write the final score until the entire picture is completed, and working on a picture like Fantasia, where the music is everything, where it’s your entire starting point.

Eric Larson: In Fantasia, we got down to the point where you had note for note on the exposure sheets, just like dialogue. You were not taking phrases of music or measures of music, you were taking note by note by note, because you were trying to hit these things to give force to it. But you’re very right. In many of the things now we are writing mood music instead of letting the music dictate. […]

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