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Bakshi and met
Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Reardon met to brainstorm.
During the production of Heavy Traffic, filmmaker Ralph Bakshi met and developed an instant friendship with producer Albert S. Ruddy during a screening of The Godfather, and pitched Harlem Nights to Ruddy.

Bakshi and with
Bakshi returned to television with the live-action film Cool and the Crazy ( 1994 ) and the anthology series Spicy City ( 1997 ).
The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu.
Bakshi recalled, " All my friends were black, everyone we did business with was black, the school across the street was black.
The racial segregation of local schools meant that the nearest white school was several miles away ; Bakshi obtained his mother's permission to attend the nearby black school with his friends.
In June 1956, Bakshi graduated from the school with an award in cartooning.
In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized " idiots with an agenda ", and Junktown, which focused on " misfit technology and discarded ideals ".
Bakshi was dissatisfied with the traditional role of a Terrytoons director: " We didn't really ' direct ' like you'd think.
In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS.
Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated ; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing and voice acting.
Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science fiction series Rocket Robin Hood.
Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States.
Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series ' model sheets and return to the United States.
Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation.
Artist Vaughn Bodé warned Bakshi against working with Crumb, describing him as " slick ".
Bakshi later agreed with Bodé's assessment, calling Crumb " one of the slickest hustlers you'll ever see in your life ".
Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract.
Bakshi hired animators he had worked with in the past, including Vita, Tyer, Anzilotti and Nick Tafuri, and began the layouts and animation.
Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate.
Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola and Steven Spielberg.
Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions.
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 and Hampft
Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract.

Bakshi and lawyer
Because Bakshi did not have a lawyer, he sought advice from directors he had become friends with, including Martin Scorsese, Francis Ford Coppola and Steven Spielberg, asking them how much they made on their films.
During production meetings, Wells told Bakshi that he had not fulfilled his contractual obligations and had used more live-action than he said he would ; Bakshi's lawyer was able to convince the studio not to sue him.

Bakshi and for
Billy Barty was the model for Bilbo, as well as Frodo and Sam, in the live-action recordings Bakshi used for rotoscoping.
Billy Barty was the model for Sam, as well as Frodo and Bilbo, in the live-action recordings Bakshi used for rotoscoping.
In 1987, Bakshi returned to television work, producing the series Mighty Mouse: The New Adventures, which ran for two years before it was canceled due to complaints from a conservative political group over perceived drug references.
Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, 1967.
Bakshi Productions paid its employees higher salaries than other studios and expanded opportunities for female and minority animators.
In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica.
When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake.
Inspiration for the film came from penny arcades, where Bakshi often played pinball, sometimes accompanied by his 12-year-old son, Mark.
Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid.
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.
Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a " family picture " that had the same impact as his adult-oriented films.
The experiment worked, and Bakshi got the pages he needed for a penny per copy.
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.
Bakshi arranged a meeting with Mike Medavoy, United Artists ' head of production, who agreed to let Bakshi direct in exchange for the $ 3 million that had been spent on Boorman's screenplay.
Bakshi contacted Saul Zaentz, who wrote a check to cover MGM's debt and agreed to fund the $ 8 million budget for the first of what was initially planned as a series of three films, and later negotiated down to two.
During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film.
He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply.

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