Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings and American Pop.

Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia.

The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist.

Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story.

The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks.

As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting.

The film's animators were never given a screenplay, and were instead told by Bakshi, " Do a scene that's funny, whatever you want to do!

After meeting with Bakshi, Crumb loaned him one of his sketchbooks as a reference, but was unsure of the film's production and refused to sign the contract.

Crumb disliked how the film presented the sexual content and politics, denouncing Fritz's dialogue in the final sequences of the film, which includes a quote from The Beatles song " The End ", as " red-neck and fascistic " Following the film's release, The People's Comics published the story " Fritz the Cat ' Superstar '", in which Crumb satirized Bakshi and Krantz.

Bakshi had originally intended to cast Drew Barrymore and Brad Pitt in the film's leading roles.

The film's animators were never given a screenplay, and were instead told by Bakshi to " Do a scene that's funny, whatever you want to do!

Artist Alex Niño signed a contract with Bakshi to work on the film, and was granted a work visa, but was unable to gain permission from the Philippine government in order to leave for the United States until two months afterward, and later found that by the time he had arrived in the U. S., not only had the film's animation had been completed, but Niño's visa did not allow him to submit freelance work on any other projects.

" In his audio commentary for the film's DVD release, Bakshi states that " There's no question that it was an easier way to get these gigantic scenes that I wanted.

Arkoff threatened to pull the film's budget unless Krantz rehired Bakshi, who returned a week later.

During the film's production, Krantz attempted to maintain some level of control by issuing memos to Bakshi and other artists requesting various changes.

As with Fritz the Cat, Bakshi and Johnnie Vita took location photographs for the film's backgrounds.

Bakshi once again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story.

The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steven E. Gordon, Bell and Banks.

Bakshi had selected a number of songs from his own record collection for the film's soundtrack, which were not used in the film due to the high costs of licensing the songs.

During the post-production of the film, Bakshi found that the cost of the optical effect required to complete live-action scenes with animated characters was larger than the film's budget.

Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves.

As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards to avoid conflict with Star Wars ; Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars to record a voice for Wizards.

As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards in order to avoid conflict with Star Wars, and Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars in order to record a voice for Wizards.

Bakshi began to practice animating ; to give himself more time, at one point he slipped ten cels he was supposed to work on into the " to-do " pile of a fellow painter, Leo Giuliani.

After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact.

Bakshi wanted to produce an entirely faithful adaptation, and Geisel — who agreed to storyboard the special himself — was pleased with the final product.

In 2005, Bakshi announced that he would begin working on another feature film, Last Days of Coney Island, which he is financing himself and producing independently.

" Bakshi himself has stated that he considers Coonskin to be his best film.

", were written by Bakshi himself.

Anand Bakshi came to Hindi films to make a name for himself in writing and singing but ended up becoming more successful in writing lyrics.

After writing for few movies from 1956 onwards, Bakshi made a mark for himself for writing a quawalli for the 1962 film Kaala Samundar, the song was “ Meri Tasveer Lekar Kya Karoge tum ”, and the film Mehendi Lagi Mere Haath.

After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact.

However, the camera man was not around to capture these events, so Bakshi filmed them himself.

Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal.

Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere.

After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement.

Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could " coexist with neither excuse nor apology ".

Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match ; however, the video was completed on time.

" Bakshi responded, " You could pick a still out of Lady and the Tramp and get the same impression.

After the departure of Bakshi after 1966, the studio petered out and finally closed in 1968.

To avoid getting caught, Bakshi sneaks out on the roof and falls into the pool.

At the beginning of the second season, Kricfalusi and Bakshi had a falling out, prompting Kricfalusi to leave the show.

As a result, Bakshi finished his film by paying out of his own pocket and using rotoscoping for the unfinished battle sequences.

But while the reduced budget took its toll, Bakshi tried to delve further into Peter Parker's everyday life at college as a soft-spoken student, such as where he tries out for the football team, in " Criminals in the Clouds ," only to fail miserably, and actually becomes a star pitcher for the baseball team in " Diamond Dust.

The next day, Krantz locked Bakshi out of the studio, reportedly tapping Bakshi's phone because he was wary of his loyalty as an employee.

Bakshi and Vita were also experimental in their photography: Bakshi requested that the lab technicians produce several prints for every photo, each print increasingly out of focus, giving the backgrounds a fuzzy quality.

While an article about the series in Amazing Heroes # 129 made it appear like Bakshi was the director of the show, Kricfalusi clarified that Bakshi was the producer, and that Bakshi's creative involvement was the highest during the first several weeks of the production, after which he stood out of the way and let the team go about its business.

" Bakshi responded, " You could pick a still out of Lady and the Tramp and get the same impression.

When Bakshi attempted to work with Albert S. Ruddy on another film, Krantz locked Bakshi out of the studio and called several directors, including Chuck Jones, in search of a replacement.

The team of Laxmi-Pyare and lyricist Anand Bakshi churned out some of the most popular songs in Hindi Cinemas history.

Suspecting that segregated whites would riot if they learned that a white student was attending a black school, the police dragged Bakshi out of the classroom.

When Steve Krantz, the producer of both Heavy Traffic and Bakshi's debut feature, Fritz the Cat, learned that Bakshi would work with Ruddy, Krantz locked Bakshi out of the studio.

At a production meeting, the representative proposed a title change, which Bakshi was in favor of the decision because he wanted the film to be reverted back to its original title ; however, Ruddy insisted on his preferred title and told the representative to get out of his office.

According to Bakshi, while shooting live-action background footage on Times Square at 4 A. M., a group of prostitutes came out and waved towards the camera before being chased off by the police.