Animation Anecdotes #376
“You know, I often ask myself if I were in a burning house and I could carry out either the original negative to Bambi or the Mona Lisa, what would it be?”
“You know, I often ask myself if I were in a burning house and I could carry out either the original negative to Bambi or the Mona Lisa, what would it be?”
The studio is transitioning away from its regular schedule of theatrical shorts – and towards a new direction with commercials and The Incredible Mr. Limpet
“Doing both the strip (Life in Hell) and the series, I’m having a blast,” says Matt Groening. “I’m doing what the teachers used to rap me on the knuckles for.”
Well, it’s 1962 – and we know that its the beginning of the end. Milt Franklyn dies – and Jones and Freleng would depart before the year’s end.
In 1990, it was announced that Chuck Jones was actively involved in new projects where Jones would have both creative control and equity in the characters he would create.
Continuing on in the last few years of the original Warner Bros. Cartoon studio… as seen via these in-house columns in the studio employees magazine, Warner Club News.
Among the tidbits this week: Maurice Noble returns to the studio, and free subscriptions to the Looney Tunes and Merrie Melodies comic book are offered to the employees.
A final word from Eddie Selzer… Lou Scheimer, Owen Fitzgerald and Sam Armstrong join the studio as layout men… and the new Warner Bros. Commercial and Industrial Films Division opens.
Our weekly look at a slice of life at the Warner Bros. Cartoon studio – this week circa 1957 – where note is made of “exceptional” cartoons like What’s Opera Doc? and Three Little Bops.
A splice of cartoon life! This week, the first half of 1955, with these chatty columns from the Warner Bros. Cartoon Department