He attempts to fight his rival suitor, and when that fails, unleashes an army of spritely-embodied flames. The handsome gentleman tree swoons the elegant lady tree by crafting a harp out of vines as she sways to the music, all within the established tone and style of the earlier Silly Symphonies.Ĭonflict ensues when the jealous stump attempts to carry off the arboreal maiden. The pastoral scene begins with the rising sun as awakening trees stretch and yawn and groups of daisies conduct morning exercises. The cartoon presented the story of a romance between two anthropomorphized trees set against the drama of their woodland home coming under attack by a grotesque, decaying stump. Directed by Burt Gillett, the chosen short was a tale of plants and animals, Flowers and Trees (1932). Disney would not make its first color picture for the popular Mickey Mouse series, but rather the distinctive and often experimental series of stand-alone short subjects, the Silly Symphonies. Although UA had more than doubled Disney’s budget, color was a risk that concerned them. The financial resources to adapt three-strip Technicolor arrived courtesy of Disney’s new distribution partner, United Artists (UA). Walt Disney Productions found their process and Technicolor found their means to promote it. It hadn’t met with too much success in the theaters because there was a certain blurry quality to it.” The moment came when Technicolor®-long a developer in the field-introduced an intricate process by which three separate rolls of film (for red, green, and blue) were combined into one saturated and vibrant image. Walt recalled to journalist Pete Martin that “I had always been interested in color, but the color of the film at the time was not too good. We would go from theater to theater… He was just absorbing what everyone made-searching for new ideas and for new techniques to adapt.” Over the years, Walt would’ve seen a number of experiments in color projection, from hand-painted images to dyeing and stenciling, but none caught his attention like the emerging process of three-strip Technicolor®. Years later, Lillian Disney would tell historian Richard Hubler that her husband wanted to try color because “it was new,” as she said.
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