In 1945, Salvador Dalí and his wife Gala had escaped war-torn Europe to Los Angeles, and it’s rumoured that at a party at the home of Jack Warner, Walt Disney and Salvador Dalí met and were instantly friendly. Walt, over several conversations, invited him to the studio, and within about nine months Salvador was literally coming to work every day, punching a time clock, holed up in his office working on a short film which he and Walt had decided to make. While Dalí was at the studio, he created some 150 works of art, several different sizes and shapes of canvases and boards and collages and paintings, in addition to storyboards. Walt had given him a tremendous story artist, John Hench. John and Salvador storyboarded and painted over about nine months to a piece of music that Dalí had hand-selected. It’s a Spanish ballad, it was recorded at the Walt Disney studios in 1945, and to that piece of music, which then ran about eight minutes long, they created the beginning of this film. Late in 1946, sadly, the movie was shut down. Financial hardship had come upon the Walt Disney studios, it was just after the War, Walt couldn’t afford to make these art films, these short films, any further. They were no longer lucrative. It was tucked away, and in 2000 it was found again. If it were not for Roy Disney, who had the vision to complete the film, we wouldn’t be able to show you what we have tonight. In 2001, Roy Disney and I partnered to produce the picture. With the Studio’s blessing, we hired Dominic Montferret, a highly regarded animator in France. It was his first directing job, and he took the collection of art and the storyboards, and he spent months and months and months examining it. After these many months, trying to ascertain what the movie should be, what the movie was intended to be in the Forties, and how he would complete it, he decided he should re-story board the entire motion picture. Though you will see Dalí’s original storyboards, Dominic’s re-interpretation of these boards, of these storyboards, allowed us to move from frame to frame, from image to image, because Dalí had only given us a very loose roadmap to the motion picture. Of course Dalí’s art is noted for the many images that can be found within a single image. It’s one’s interpretation of the art. When you watch the film, look for the hidden images that are created between the negative spaces between one frame and another. You’ll find that Dominic has taken images from Dalí’s art and his storyboards and duplicated them throughout. We have remained true to the essence of Dalí’s story, we have incorporated his painting style technique, art direction, into the motion picture from beginning to end, and we’ve used the piece of music that he and Disney recorded together. The finished frames, obviously, the character designs, are new, and are evolved out of the art. The lady and the man, the heroes of our story, the lovers in this story, they are most certainly designs that sprung from Dalí’s original work, but are uniquely Disney designs. Our director, our artist, felt that to be true to the animation process, we should create characters that are both appealing and interesting, and still fit into the art direction that Dalí had set. ‘Destinée’ was really a simple love story. It’s the story of a woman and a man and their inability to connect, really. The man is in bondage, and the woman has the image of this man in her heart, and they only get to meet really in their dreams or in their wishes, which ultimately go unfulfilled.