August 1939 at the Leon Schlesinger studio. The in-house newsletter continues to note Old Glory is getting rave reviews; and intriguing “quotes” from Friz Freleng (“And then Quimby said…”) and Tex Avery (“Oh. How about doing it this way?”). Bios of animators Rod Scribner and Fred Jones, ink and paint supervisor Mary Tebb, and painter Gladys Hallberg.
Interesting that they note Little Brother Rat as the final picture on their 1938-39 season – with Sioux Me and Porky’s Hotel as the first releases of the 1939-40 contract. I love tidbits like that.
In issue #14 – it’s noted that Bob McKimson is now in charge of all animation – quality control to make sure the character looks the the same in each scene. Avery’s Detouring America is quite a hit among the animation community (including at Disney, MGM, Mintz and other cartoon units requesting a print. So did producer Hal Roach. Ed Sullivan reviewed it in his newspaper column). Note is made of the rotoscoping of a strip-tease dancer for another Avery picture.
Bios of animators Norman McCabe and Manny Perez, painter Martha Goldman and “commercial artist” Shirley Bromberg (what does “commercial artist” mean here? Did Bromberg do promotional art? The one sheets? Merchandising?). Enjoy!
One of several cartoons released in August 1939 – the same time these newsletters were published.
Jerry Beck is a writer, animation producer, college professor and author of more than 15 books on animation history. He is a former studio exec with Nickelodeon Movies and Disney, and has written for The Hollywood Reporter and Variety. He has curated cartoons for DVD and blu-ray compilations and has lent his expertise to dozens of bonus documentaries and audio commentaries on such. Beck is currently on the faculty of Cal Arts in Valencia, UCLA in Westwood and Woodbury University in Burbank – teaching animation history. More about Jerry Beck [
I read through these Monday posts, as usual, wishing I could read the newsletters. I wonder if MGM wanted a print of “DETOURING AMERICA” as possible influence for “THE GOOSE GOES SOUTH”, one of the few classic animated short subjects that come across as Avery-esque mockumentary, before Tex would find himself at MGM…and wasn’t Friz Freleng still directing the occasional cartoon for MGM at this time? I’m never quite sure whether Friz actually directed “THE BOOK WORM”, despite the Hugh Harman director credit. In Leonard Maltin’s enjoyable tome on the history of American theatrical cartoons, OF MICE AND MAGIC, he does list “THE BOOK WORM” as being directed by Friz, unless that has been “corrected” in subsequent printings.