I wish YT would get rid of the stupid autoplay option for featured videos. I really don't like running into autoplay videos when I visit other channels.
From the screenwriter of The Secret Garden and Edward Scissorhands and The Nightmare Before Christmas comes an unforgettable motion picture part of a timeless classic.
Lyrics: [There's nothing the matter with me. I'm not the problem, I'm never the problem. It's everyone else.] I live in land of nincompoops I curse them everyone So feverishly devoted to their laughter and their fun I never had fun or laughter, and, you see, I turned out fine That's why my little scheme is so divine Ooh, what a crooked man is Barnaby [Ah, yes.] There's nobody more unscrupulous than he [Oh, thank you so much.] We agree that he's a miserable gent They say his very soul is bent. Each winter I'm filled with nausea Imagining (ugh) the toys Constructed in threatening quantities For screeching girls and boys This holiday, they'll discover Only the rug beneath the tree Because I'll destroy that blasted factory! HA! Ooh, what a crooked man is Barnaby It's kind of as if he's morally askew True affection tends to make him very ill For hatred is his greatest thrill Oh, yes, I'll crush the toys to rubble Burst their silly bubble Make this jolly land a place they long to leave I'll fill the streets with quicksand Santa's sleigh with bricks, and I'll have myself a merry Christmas Eve [The clock is ticking my little factory. Your days are numbered!] I'll rid them of every play things Oh, it thrills me to my bones No Red Rubber Balls, No Dainty Dolls, No Tiny Telephones If I did without such rubbish, then why shouldn't everyone? We'll live in a toyless world at last. Hurrah! [Hit it, boys.] Ooh, what a crooked man is Barnaby [Indescribably.] There's no point of view more venomous than he [You're so quick to notice.] 'Tis no lie that he's a truly nasty guy He never had a toy, that's why Ooh, what a crooked man is Barnaby [Undeniably!] There's nothing more warped than his philosophy [Not even remotely close!] We can plainly see why he's his only fan [What a slimeball!] That Barnaby is a crooked man...!
0:35-1:25 is perhaps one of the most magical moments of the film. You can see and feel the hope and anticipation of our friends as they approach the city, getting closer and closer to the finish line after all the hardships they went through.
The film score of The Brave Little Toaster was performed by the New Japan Philharmonic. Newman's score for this movie was one of his earlier works and apparently one that he felt very close to. He did not view it as a cheerful one, and decided to give the film a dramatic score to reinforce the serious nature of many of the film's themes. Rees admired his "rich, classical style", and chose him so that the film wouldn't have "cartoon music" Rees stated that Newman would attempt to get into the headspace of the characters, and thought in the terms of the inanimate objects being real characters. Rees told that Newman's score was as "grand as anything he would ever do", rather than composing the music differently due to the medium being animation. He wove death, joy, love, loss, and struggle into the work. Newman's composing style was influenced by his philosophy that behind every "chord of joy" lies an element of sadness, whether it being the knowledge it won't last forever, that it is a facade for a deeper emotion, or that joy itself comes from sadness. He used lush strings in the opening scenes to convey a sense of longing. s the characters are introduced, the score becomes more lively, and each character has their own theme, influenced by their personality. For example, Kirby is a grumpy and old vacuum cleaner, and so Newman provides a theme consisting of low chords, whereas Radio was given a brassy fanfare to reflect his self-important personality. These musical motifs wove their way into the entire movie score. At some points, the style of music was used to provoke an emotional response, for example when the Air Conditioner breaks down, the orchestra first trembles and then bursts with energy. After this the music returns to a somber tone, as the appliances start to realize that there is truth to what he said. When they explore the outside world for the first time, the music fills with a "pastoral grandeur", and when they enter the woods, strings, flutes, bells and brass are used to convey the simultaneous magic and danger of the outdoors. The film also contains a Busby Berkeley Italian opera-esque sequence containing a fish. The score was finally given a limited release in 2004. The film contains four original songs ("City of Light", "It's a B-Movie", "Cutting Edge", and "Worthless") that were written by Van Dyke Parks. Rees "felt uncomfortable with the full Broadway book musical approach", and his philosophy was that the songs should be part of the action and plot without stopping for a big production number. Rees specifically wanted characters to be able to break out into song whenever they wanted to, similar to the films of the Hollywood Golden Age. Once they were written, Newman used the songs in his own score. For example, the first song in the film, "City of Light", displays the character's naivety and apprehension, and contains a motif that gets more complex as the film goes on. This approach made the score more cohesive. "It's a B-Movie" is filled with black humour and an ominous pipe organ as the mutant appliances scare the main characters. The synthesizer-driven "Cutting Edge" sees the Master's state-of-the-art appliances boast about how great they are. The poignant number "Worthless" is a track filled with piano, strings, guitar, and vocals which are abruptly cut off when the singing cars are crushed. The junkyard sequence's climax evokes feelings of desperation, danger, suspense and real world peril. Newman "reprises the score's subtle and varied themes over the end credits". Newman wrote and orchestrated the score over a 50-hour period, which included embarking on a 12-hour flight to Japan to record with the orchestra in Maeda Hall. The New Japan Philharmonic gave the score a "luxurious sound" that was impressive given the limited resources available. The sound effects were not from a library, and were instead, exclusively made Foley sounds, with various real world objects around Los Angeles being used in the score, such as objects in antique stores. This technique was used because Rees wanted to create new characters with new sounds. The sound mixers, including former Disney studio mixer Shawn Murphy who recorded the score, asked how they would do their job due to the film being animated, and Rees explained that they should mix it like any other film, instead of thinking of it like it were a cartoon.
Black Beauty films: ◾ Black Beauty (January 1921) ◾ Black Beauty (August 29, 1946) ◾ Black Beauty (April 1971) ◾ Black Beauty (October 28, 1978) ◾ Black Beauty (1987) ◾ Black Beauty (July 29, 1994) ◾ Black Beauty (November 27, 2020) Black Beauty TV Series: ◾ The Adventures of Black Beauty (17 September 1972 - 10 March 1974) ◾ The New Adventures of Black Beauty (1990 - 1992)
The storm scene during which Toaster and Kirby call Blanky’s name (Kirby refers to Blanky as “Blanket”), while Lampy tries to recharge the group’s dead battery. Poor Lampy!
Not sure if it was the movie or a theatrical trailer, but I've been looking off and on for a year now and haven't been able to locate it. If anyone does, please let us know.
I'm glad other people remember it, too. After years of finding no trace of it anywhere, my wife and I were starting to think maybe we made it up ourselves as a joke.
