After 1936, another approach to using BWV 565 in film was under consideration. Oskar Fischinger had previously used Bach's Third Brandenburg Concerto to accompany abstract animations and suggested to Stokowski that his orchestral version of BWV 565 could be used in the same way. Later in 1937, while in California, Stokowski and Disney discussed the idea of making a short animated film of "The Sorcerer's Apprentice" by Dukas for Disney Studios, the intention being to introduce classical music to a younger and broader audience. Similar in spirit to the popular series of "Silly Symphonies," the short film proved costly to produce. However, starting with the Toccata and Fugue and the Sorcerer's Apprentice, Stokowski, Disney and the music critic Deems Taylor chose other compositions to incorporate into their film project, known as "The Concert Piece." By the time Disney's "Fantasia" was released in 1940, the animations accompanying BWV 565 had been made semi-abstract, although Fischinger's original idea that the performance of the music start with showing Stokowski directing his orchestra was preserved. Taylor begins his narrative with, "What you’re going to see is the designs and pictures and stories of what music inspired in the minds and imaginations of a group of artists." The opening number, the "Toccata and Fugue," will be absolute music—music that exists for its own sake—and will try to depict what might go on in the mind of the person listening to it. "At first you are more or less conscious of the orchestra," Taylor explains, "so our picture opens with a series of impressions of the conductor and the players. Then the music begins to suggest other things to your imagination—oh, just masses of color, or cloud forms, or vague shadows, or geometrical objects floating in space." In the 1942 cinema release of the film by RKO, the Toccata and Fugue was cut entirely, only to return in a 1946 re-release. "Fantasia" contributed significantly to the popularity of the Toccata and Fugue.