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Animators and on
Animators would post their work daily on the message board system and fans could see the directors ' and producers ' input as well as subsequent changes to the scenes.
* Chapter on PES in Animators Unearthed, Continuum, 2010
Animators at PDI work on projects based at the PDI studio, but also assist in DWA projects based in the Glendale DWA studio.

Animators and all
Animators included Frank Moser, Gregory La Cava, George Stallings, Tom Norton and Pat Sullivan, all of whom got their starts here.
* Animators: all of the directors, plus Raoul Barré ( 1915 ), Johnny B. Gruelle ( 1917 ), Jack King ( 1920 – 1921 ), Isadore Klein ( 1920 – 1921 ), Leon A. Searl ( 1920 – 1921 ), Bert Green ( 1920 – 1921 ), Edward Grinham ( 1920 – 1921 ), Ben Sharpsteen ( 1920 – 1921 ), Will Powers ( 1920 – 1921 ), Walter Lantz ( 1920 – 1921 ), David Hand ( 1925 – 1927 ), Ving Fuller ( 1925 – 26 ), Frank Paiker ( c. 1924 )

Animators and who
Animators who worked with Schlesinger also found him conceited and somewhat foppish, wearing too much cologne and dressing like a dandy.
Animators who would resurface at Leon Schlesinger Productions ( then under contract to produce cartoons for Warner Brothers ) included Bill Meléndez, Frank Tashlin ( who had worked at Schlesinger before moving to Disney ), Emery Hawkins, Basil Davidovich, Maurice Noble, Cornett Wood, Ted Bonnicksen, and Jack Bradbury ( Davidovich and Bradbury would return many years later ).
Animators are artists who produce animation.

Animators and were
Animators studied comets and nebulae at the Mount Wilson Observatory, and observed a herd of iguanas and a baby alligator that were brought into the studio.

Animators and .
* Assistant Animators: Bill Stout, Matt Bookbinder, D. A.
Animators can work in a variety of fields including film, television, video games, and the internet.
Animators would frequently pull pranks such as gluing paper streamers to the wings of flies.
Animators from Warner Bros., including Chuck Jones, volunteered their cars to form a motorcade around the Disney studio.
Animators had to remember that they had to move their characters across a background instead of the background passing behind them.
Animators such as Kenzō Masaoka and Mitsuyo Seo, however, did attempt to bring Japanese animation up to the level of foreign work by introducing cel animation, sound, and technology such as the multiplane camera.
After graduation Anita was recruited by Bert Vaughn to join Animators, Inc. as a professional zombie animator, where she was trained by Manny Rodriguez and became a licenced vampire executioner.
Animators Tony Bancroft and Michael Surrey are in the character design ending credits.
Animators Ollie Johnston and Frank Thomas, in their book The Disney Villain, describe animating Audley's voice as " a difficult assignment but a thrilling one, working to that voice track with so much innuendo mixed in with the fierce power.
The Animator's Survival Kit: A Manual of Methods, Principles, and Formulas for Classical, Computer, Games, Stop Motion, and Internet Animators.
Animators included C. T. Anderson, Clarence Rigby, George Stallings, Ted Sears, Mannie Davis, Burt Gillett, Dick Huemer, Ben Sharpsteen, Bill Tytla, Albert Hurter, Carl Lederer, F. M. Follett, Isadore Klein, Milt Gross, Walter Lantz and George Ruffle.
* Animators: Raoul Barré, Frank Moser, Leon A. Searl, Bert Green ( 1916-18 ), Bill Nolan ( 1916-18 ), Edward Grinham, Ben Sharpsteen, Jack King ( 1920-21 ), Will Powers, Walter Lantz, John Foster, George ( Vernon ) Stallings ( 1916-18 ), F. M. Follett, Leighton Budd, Hal Coffman, Grim Natwick ( 1916-18 ), Burton Gillett, Isadore Klein ( 1916-18 ), Earl Klein ( 1917-17 ), Sid Marcus ( 1916-17 ), Tom Norton ( 1916-18 ), Al Rose ( 1916-17 ), George Rufle ( c. 1916 )

Fleischer and Studios
Also in 1928, Paramount began releasing Inkwell Imps animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City.
Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful.
However, a huge blow to Fleischer Studios occurred in 1934, after the Production Code was enforced and Betty Boop's popularity declined as she was forced to have a more tame personality and wear a longer skirt.
After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios.
Turner kept MGM's pre-May 1986 and pre-merger film and TV library, which included nearly all of MGM's material made before the merger, and a small portion of United Artists ' film and TV properties which included few UA pictures, the TV series Gilligan's Island, the U. S and Canadian distribution rights to RKO Radio Pictures library, and the pre-1950 Warner Bros. library and the Fleischer and Famous Studios Popeye cartoons that both were once the property of Associated Artists Productions, which merged with UA Television in 1958 ).
In 1992, the MGM library, which included Warner Brothers properties including the early Looney Tunes and Merrie Melodies libraries and also the Fleischer Studios and Famous Studios Popeye cartoons, became the core of Cartoon Network.
also got the Fleischer Studios and Famous Studios Popeye cartoons originally from Paramount.
Despite a contract with MGM to distribute his cartoons, and the introduction of a new character named “ Flip the Frog ”, and later “ Willie Whopper ”, the Iwerks Studio was never a major commercial success and failed to rival either Disney or Fleischer Studios.
** Popeye the Sailor Meets Sindbad the Sailor-Fleischer Studios, Paramount-Max Fleischer
** Educated Fish-Fleischer Studios, Paramount-Max Fleischer
** Hunky and Spunky-Fleischer Studios, Paramount-Max Fleischer
** Superman – Fleischer Studios, Paramount-Max Fleischer
The trailer was animated by Dave Fleischer ( producer of Popeye cartoons ) and produced by Filmack Studios of Chicago, a company that specialized in snipes.
Snow White is a 1933 animated short film in the Betty Boop series from Max Fleischer's Fleischer Studios.
Critics have cited the film as having some of the most imaginative animation and background drawings from the Fleischer Studios artists.
The animation was strongly influenced by the house styles of Fleischer Studios and Terrytoons.
This casting practice goes back to the early 1930s with actresses such as Mae Questel providing the voices of various male babies and children in Fleischer Studios cartoons, and continues with Elizabeth " E. G ." Daily as Tommy Pickles on Rugrats and All Grown Up!
One of Disney's main competitors was Max Fleischer, the head of Fleischer Studios, which produced cartoons for Paramount Pictures.

Fleischer and went
After the theatrical Popeye cartoon series went out of production in 1957, Bluto's name was changed to Brutus because it was ( wrongly ) believed that Paramount Pictures, distributors of the Fleischer Studios ( later Famous Studios ) cartoons, owned the rights to the name Bluto.
The new Fleischer studio opened in October 1938, and production on the first feature, Gulliver's Travels, went from the development stage into active production.
Max Fleischer went on to become Head of the Animation Division of the Jam Handy Organization, and Sam Buchwald, Isadore Sparber, Dan Gordon, and Max Fleischer's son-in-law Seymour Kneitel became the new heads of Famous Studios, which was moved back to New York by 1943.
In 1986, MGM's pre-May 1986 library ( also including the pre-1950 Warner Bros. library, Bugs Bunny: Superstar, the Fleischer Studios / Famous Studios Popeye cartoons, most US rights to the RKO Pictures library, and Gilligan's Island and it's animated spin-offs ), was acquired by Ted Turner and his company Turner Entertainment Co .. After the library was acquired, MGM / UA signed a deal with Turner to continue distributing the pre-May 1986 MGM and to begin distributing the pre-1950 Warner Bros. libraries for video release ( the rest of the library went to Turner Home Entertainment ).

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