<P> Clair de Lune was soon removed from the Fantasia program, but Disney and his writers encountered problems of setting a concrete story to Cydalise . Its opening march, "The Entry of the Little Fauns", attracted Disney to the piece which at first provided suitable depictions of fauns he wanted . On January 5, 1939, following a search for a stronger piece to fit the mythological theme, the piece was replaced with sections of Beethoven's sixth symphony . Stokowski disagreed with the switch, believing that Disney's "idea of mythology...is not quite what this symphony is about". He was also concerned about the reception from classical music enthusiasts who would criticize Disney for venturing too far from the composer's intent . Taylor on the other hand welcomed the change, describing it as "a stunning one", and saw "no possible objection to it". </P> <P> The new feature continued to be known as The Concert Feature or Musical Feature as late as November 1938 . Hal Horne, a publicist for Disney's film distributor RKO Radio Pictures, wished for a different title, and gave the suggestion Filmharmonic Concert . Stuart Buchanan then held a contest at the studio for a title that produced almost 1,800 suggestions including Bach to Stravinsky and Bach and Highbrowski by Stokowski . Still, the favorite among the film's supervisors was Fantasia, an early working title that had even grown on Horne, "It isn't the word alone but the meaning we read into it ." From the beginning of its development, Disney expressed the greater importance of music in Fantasia compared to his past work: "In our ordinary stuff, our music is always under action, but on this...we're supposed to be picturing this music--not the music fitting our story ." Disney had hoped that the film would bring classical music to people who, like himself, had previously "walked out on this kind of stuff". </P> <P> Over 1,000 artists and technicians were used in the making of Fantasia, which features more than 500 animated characters . Segments were color - keyed scene by scene so the colors in a single shot would harmonize between proceeding and following ones . Before a segment's narrative pattern was complete, an overall color scheme was designed to the general mood of the music, and patterned to correspond with the development of the subject matter . The studio's character model department would also sculpt three - dimensional clay models so the animators could view their subject from all angles . </P> <P> Disney had been interested in producing abstract animation since he saw A Color Box by Len Lye from 1935 . He explained the work done in the Toccata and Fugue was "no sudden idea...they were something we had nursed along several years but we never had a chance to try". Preliminary designs included those from effects animator Cy Young, who produced drawings influenced by the patterns on the edge of a piece of sound film . In late 1938 Disney hired Oskar Fischinger, a German artist who had produced numerous abstract animated films, including some with classical music, to work with Young . Upon review of three leica reels produced by the two, Disney rejected all three . According to Huemer all Fishinger "did was little triangles and designs...it didn't come off at all . Too dinky, Walt said ." Fischinger, like Disney, was used to having full control over his work and was not used to working in a group . Feeling his designs were too abstract for a mass audience, Fishinger left the studio in apparent despair, before the segment was completed, in October 1939 . Disney had plans to make the Toccata and Fugue an experimental three - dimensional film, with audiences being given cardboard stereoscopic frames with their souvenir programs, but this idea was abandoned . </P>

Who was originally meant to play the sorcerer's apprentice in fantasia