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Friday, November 22, 2013

d From Wikipedia, the free encyclopedia Coordinates: 51.7611°N 1.2534°W University of Oxford Oxford-University-Circlet.svg University of Oxford seal

vie innovator George Pal.
Retirement[edit]
By the 1960s other movie studios had discontinued their animation departments, leaving Walter Lantz as one of two producers still making cartoons for theaters (the other studio was DePatie-Freleng Enterprises). Lantz finally closed up shop in 1972 (by then, explained, it was economically impossible to continue producing them and stay in business as rising inflation had strained his profits), and Universal serviced the remaining demand with reissues of his older cartoons.
In retirement, Lantz continued to manage his properties by licensing them to media. He continued to draw and paint, selling his paintings of Woody Woodpecker rapidly. On top of that, he worked with Little League and other youth groups in his area. In 1982, Lantz donated 17 artifacts to the Smithsonian Institution's National Museum of American History, among them a wooden model of Woody Woodpecker from the cartoon character’s debut in 1941. The Lantzes also made time to visit hospitals and other institutions where Walter would draw Woody and Grace would do the Woody laugh for patients.
In 1990 "Woody Woodpecker" was honored with a star on the Hollywood "Walk Of Fame". In 1993, Lantz established a ten thousand dollar scholarship and prize for animators in his name at California Institute of the Arts in Valencia. Walter Lantz died at St. Joseph Medical Center in Burbank, California from heart failure on March 22, 1994, aged 94.
Charactersniversity of Oxford
From Wikipedia, the free encyclopedia
Coordinates: 51.7611°N 1.2534°W
University of Oxford
Oxford-University-Circlet.svg
University of Oxford seal
Latin: Universitas Oxoniensis
Motto    Dominus Illuminatio Mea (Latin)
Motto in English    The Lord is my Light
Established    Unknown, teaching existed since 1096; 917 years ago[1]
Endowment    £3.772 billion (inc. colleges)[2][3]
Chancellor    The Rt. Hon. Lord Patten of Barnes
Vice-Chancellor    Andrew Hamilton
Students    21,535[4]
Undergraduates    11,723[4]
Postgraduates    9,327[4]
Other students    461[4]
Location    Oxford, England, U.K.
Colours         Oxford Blue[5]
Athletics    The Sporting Blue
Affiliations    IARU
Russell Group
Coimbra Group
Europaeum
EUA
G5

Universal lot. While schmoozing with Laemmle, Lantz wagered that if he could beat Laemmle in a game of poker, the character would be his. As fate would have it, Lantz won the bet, and Oswald was now his character. Lantz inherited many of his initial staff, including animator Tom Palmer and musician Bert Fiske from the Winkler studio, but importantly he chose fellow New York animator, Bill Nolan, to help develop the series. Nolan's previous credentials included inventing the panorama background and developing a new, streamlined Felix the Cat. Nolan was (and still is) probably best known for perfecting the "rubber hose" style of animation. In September 1929, Lantz released his first cartoon, Race Riot.

orked at the John R. Bray Studios on the Jerry On The Job series. In 1924, Lantz directed, animated, and even starred in his first cartoon series, Dinky Doodle, and soon replaced George "Vernon" Stallings as head of production (In the 1920s, Bray began to concentrate on competing with Hal Roach, the "king of two-reelers"). Lantz moved to Hollywood, California after Bray switched to a publicity film studio in 1927, where he worked briefly for director Frank Capra and was a gag writer for Mack Sennett comedies.[5]
The Oswald era[edit]
In 1928, Lantz was hired by Charles B. Mintz as director on the Oswald the Lucky Rabbit cartoon series for Universal Studios. Earlier that year, Mintz and his brother-in-law George Winkler had succeeded in snatching Oswald from the character's creator, Walt Disney. Universal president Carl Laemmle grew dissatisfied with the Mintz-Winkler product and fired them, deciding instead to produce the Oswalds on the Universal lot. While schmoozing with Laemmle, Lantz wagered that if he could beat Laemmle in a game of poker, the character would be his. As fate would have it, Lantz won the bet, and Oswald was now his character.
Lantz inherited many of his initial staff, including animator Tom Palmer and musician Bert Fiske from the Winkler studio, but importantly he chose fellow New York animator, Bill Nolan, to help develop the series. Nolan's previous credentials included inventing the panorama background and developing a new, streamlined Felix the Cat. Nolan was (and still is) probably best known for perfecting the "rubber hose" style of animation. In September 1929, Lantz released his first cartoon, Race Riot.
By 1935, Nolan parted company with Lantz. Lantz became an independent producer, supplying cartoons to Universal instead of merely overseeing the animation department. By 1940, he was negotiating ownership for the characters he had been working with.
The Woody Woodpecker era[edit]
When Oswald had worn out his welcome, Lantz needed a new character. Meany, Miny and Moe (three ne'er-do-well chimps), Baby-Face Mouse, Snuffy Skunk, Doxie (a comic dachshund) and Jock and Jill (monkeys that resembled Warner Brothers' Bosko) were some personalities Lantz and his staff came up with. However, one character, Andy Panda, stood out and soon became Lantz's headline star for the 1939-1940 production season.
In 1940, Lantz married actress Grace Stafford. During their honeymoon, the couple kept hearing a woodpecker incessantly pecking on their roof. Grace suggested that Walter use the bird for inspiration as a cartoon character. Taking her advice, though a bit skeptical, Lantz debuted Woody Woodpecker in an Andy Panda short, Knock Knock. The brash woodpecker character was similar to the early Daffy Duck, and Lantz liked the results enough to build a series around it.
Mel Blanc supplied Woody's voice for the first three cartoons. When Blanc accepted a full-time contract wit

signed a new deal with the Harman-Ising studio, which had just broken ties with producer Leon Schlesinger and the Warner Bros. studio over budget concerns, to work on a new series of high-budget color cartoons.[2] The director team brought with them much of their staff from their time with Schlesinger, including animators and storymen such as Carmen "Max" Maxwell, William Hanna, and brothers Robert and Tom McKimson.[9] (The McKimsons would later return to Schlesinger.) Also followin

ldwyn-Mayer among them, took note of Disney's success and began to look for ways to get Disney or compete.
MGM's first foray into animation was the Flip the Frog cartoon series, starring an anthropomorphic talking and singing frog. The series was produced independently for Celebrity Pictures by Ub Iwerks, formerly the head animator at the Disney studio. Celebrity Pictures' Pat Powers had hired Iwerks away from Disney with the promise of giving Iwerks his own studio, and was able to secure a distribution deal with MGM for the Flip the Frog cartoons. The first Flip the Frog cartoon, Fiddlesticks, was released in August 1930,[7] and over two-dozen other Flip cartoons followed during the next three years. In 1933, the Flip character was dropped in favor of Willie Whopper, a new series featuring a lie-telling little boy. Willie Whopper failed to catch on, and MGM terminated its distribution deal with Iwerks and Powers, who had already began distributing their Comi-Color cartoons on their own.[8]
In February 1934 MGM signed a new deal with the Harman-Ising studio, which had just broken ties with producer Leon Schlesinger and the Warner Bros. studio over budget concerns, to work on a new series of high-budget color cartoons.[2] The director team brought with them much of their staff from their time with Schlesinger, including animators and storymen such as Carmen "Max" Maxwell, William Hanna, and brothers Robert and Tom McKimson.[9] (The McKimsons would later return to Schlesinger.) Also following Harman and Ising from Schlesinger was Bosko, a successful character the duo had created for the Warner cartoons.
The first entry in MGM's new Happy Harmonies cartoon series, The Discontented Canary, was completed in June 1934 and released in September. The series continued for three years, moving from two-strip to three-strip Technicolor in 1935. The Happy Harmonies canon included a handful of entries starring Bosko, who by 1935 had been redesigned from an ambiguous "inkspot" character into a discernible little African-American boy.[10] The directors worked separately on their own films, although both strived to create intricate films that would compete with Disney's award-winning Silly Symphonies.[11]
However, budget problems threatened to plague Harman and Ising a second time: Happy Harmonies cartoons regularly ran over budget, and Hugh Harman paid no heed to MGM's demands that he reduce the costs of the shorts.[12] MGM retaliated in February 1937 by deciding to open their own cartoon studio, and hired away most of the Harman-Ising staff to do so.[3][13] The final Happy Harmonies short, The Little Bantamweight, was released in March 1938, and Harman and Ising went on to establish a new studio to do freelance animation work for Walt Disney, only to come back.
For the 1934 MGM musical film Hollywood Party, Walt Disney animation studio created an animated sequence in Technicolor called The Hot Choc-Late Soldiers, and is one of a few examples where Disney produced animation for other studios. The movie also contained a sequence with Jimmy Durante interacting with an animated Mickey Mouse. In 1936, Disney's animators were overworked with Snow White and the Seven Dwarfs and the Harman-Ising studio provided artists to work on the feature and the Silly Symphonies short Merbabies in exchange to artist training.
Metro-Goldwyn-Mayer char

pearance changed somewhat over the years, with a complexion that ranged from dark to light flesh-tone and tusks that got variously smaller, larger, disappeared entirely, and reappeared. A frequent animation goof in The New Woody Woodpecker Show was to draw the mouth separate from the tusks, so it appeared theMetro-Goldwyn-Mayer cartoon studio From Wikipedia, the free encyclopedia

ly continued to be featured in Lantz cartoons through 1948's Wacky-Bye Baby, at which time he was more or less replaced by Buzz Buzzard as Woody Woodpecker's primary foil. He would then make a few brief appearances in some 1950s cartoons like Puny Express, Sleep Happy, The Woody Woodpecker Polka, What's Sweepin' and Buccaneer Woodpecker. Wally also appeared, opposite Chilly Willy, in a pair of 1961 shorts (voiced by Paul Frees); as well as in a Woody TV special, Spook-a-Nanny (voiced by Daws Butler). Wally would years later reappear as a regular character on The New Woody Woodpecker Show in 1999 voiced by Billy West (who also played Woody). However, his classic period was 1944-1948.
Wally continued to make appearances in Lantz comic books and on other licensed merchandise. Wally also made a cameo appearance amongst the crowd of Toons in a brief headshot during the final scene of Who Framed Roger Rabbit.
The character's appearance changed somewhat over the years, with a complexion that ranged from dark to light flesh-tone and tusks that got variously smaller, larger, disappeared entirely, and reappeared. A frequent animation goof in The New Woody Woodpecker Show was to draw the mouth separate from the tusks, so it appeared theMetro-Goldwyn-Mayer cartoon studio
From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2013)
Metro-Goldwyn-Mayer Cartoon Studio
Title Card for the shorts produced by the studio
Industry    Animation
Motion pictures
Successor(s)    MGM Animation/Visual Arts
Metro-Goldwyn-Mayer Animation
Founded    1937
Founder(s)    Fred Quimby
Defunct    1957
Headquarters   
Culver City, California, U.S.
Overland and Montana Avenue
[1]
Key people    William Hanna
Joseph Barbera
Hugh Harman
Rudolf Ising
Tex Avery

ts and dramatically fewer movies made. This also caused studios to raise the rates they charged theaters, since the volume of movies fell. The court orders forcing the separation of motion picture production and exhibition companies are commonly referred to as the Paramount Decrees. Paramount Pictures Inc. was forced to split into two companies: the film company now called Paramount Pictures Corp. and the theater chain (United Paramount Theaters)

ct of such a painstaking process of adjudication as to a decree appropriate for such a complicated situation as this record discloses was an abuse of discretion", he said.[12] He would have modified the District Court decision only to permit the use of arbitration to resolve disputes.[13]
Consequences[edit]

Movie studios previously charged low rents to exhibitors because they were owned by the studio. When the studios were forced to sell their theaters, the result was higher rental rates charged to exhibitors (rising from an average of approximately 35% to its current level of approximately 50%), so the studios could recoup their expenses.[citation needed] The inability to block-book an entire year's worth of movies caused studios to be more selective in the movies they made, resulting in higher production costs and dramatically fewer movies made. This also caused studios to raise the rates they charged theaters, since the volume of movies fell.
The court orders forcing the separation of motion picture production and exhibition companies are commonly referred to as the Paramount Decrees. Paramount Pictures Inc. was forced to split into two companies: the film company now called Paramount Pictures Corp. and the theater chain (United Paramount Theaters) which merged in 1953 with the American Broadcasting Company (which would be led, with great success, by the now-former United Paramount Theaters boss Leonard Goldenson for decades). Consequences of the decision include:
More independent producers and studios to produce their film product free of major studio interference.
The beginning of the end of the old Hollywood studio system and its golden age.
The weakening of the (Hays) Production Code, since it saw the rise of independent "art house" theaters which showed foreign or independent films made outside of its jurisdiction.
It would also eventually have an adverse effect on the major studios themselves and their film libraries, especially with the rise of television—that would result in some of these libraries being sold to other entities. Paramount itself sold off a majority of its films to MCA, which created EMKA, Ltd. to manage this library. Universal Television, an MCA successor, currently holds this library.
See alsoBuzz Buzzard
From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011)
Buzz Buzzard
Woody Woodpecker character
Woody-wet-blanket-policy.jpg
Buzz Buzzard with Woody Wood
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