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Clampett intended Coal Black as both a parody of Snow White and a dedication to the all-black jazz musical films popular in the early 1940s ( i. e. Cabin in the Sky, Stormy Weather, etc .).
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Clampett and intended
Some sources claim Clampett intended the Goofy Gophers to be a spoof of Disney's chipmunk characters, Chip ' n ' Dale, with whom they are sometimes confused.
Clampett and Coal
Clampett in particular brought the six-minute animated cartoon to a level of wild surrealism, directing noted cartoons such as Porky in Wackyland in 1938, Tortoise Wins By a Hare in 1943 and Coal Black and de Sebben Dwarfs in 1943.
Two of the Censored Eleven directed by Bob Clampett have been defended by some film historians: Coal Black and de Sebben Dwarfs and Tin Pan Alley Cats.
Bob Clampett himself explained the evolution of " Coal Black " during his public appearances in the 70s and 80s, and during taped interviews:
Coal Black and de Sebben Dwarfs ( working title: So White and de Sebben Dwarfs ) is a Merrie Melodies animated cartoon directed by Bob Clampett, produced by Leon Schlesinger Productions, and released to theatres on January 16, 1943 by Warner Bros. Pictures and The Vitaphone Corporation.
In fact, the idea to produce Coal Black came to Clampett after he saw Duke Ellington's 1941 musical revue Jump for Joy, and Ellington and the cast suggested Clampett make a black musical cartoon.
Of the cartoons included in the Censored Eleven, animation historians and film scholars are quickest to defend the two directed by Bob Clampett: Coal Black and de Sebben Dwarfs and Tin Pan Alley Cats.
Clampett and both
Clampett attended both Glendale High School and Hoover High School in Glendale California but left Hoover a few months short of graduating in 1931.
Clampett and parody
The 1989 film UHF featured a " Weird Al " Yankovic parody music video, " Money for Nothing / Beverly Hillbillies *," combining " The Ballad of Jed Clampett " and Dire Straits ' " Money for Nothing.
Clampett would again use the Three Stooges parody when a later creation of his, Beany and Cecil, faced the " Dreaded Three-Headed Threep ".
A Corny Concerto ( 1943 ), a Warner Bros cartoon, directed by Bob Clampett with animation by Robert McKimson, features music that was composed by Johann Strauss, and is a parody of Walt Disney's 1940 Fantasia.
Clampett and Snow
Originally, Clampett wanted an all-black band to score the cartoon, the same way Max and Dave Fleischer had Cab Calloway and His Orchestra score the Betty Boop cartoons Minnie the Moocher, The Old Man of the Mountain, and their own version of Snow White.
Clampett and White
Clampett would revisit black jazz culture again in another 1943 Merrie Melodies cartoon, Tin Pan Alley Cats, which features a feline caricature of Fats Waller in a repurposing of the wacky fantasy world from Porky in Wackyland ( during the opening sequence, the " Fats " cat is distracted by what appears to be a sexy, feline version of So White ).
Clampett and jazz
Clampett liked to bring hip cultural movements into his cartoons, especially jazz ; film, magazines, comics, novels, and popular music are referenced in Clampett shorts, most visible in Book Revue ( 1946 ), where performers are drawn onto various famous books.
Bryson Alden, writing for No Depression, wrote " Their music combines the familiar sounds of bluegrass with whatever else comes along, be it jazz, classical, rap or “ The Ballad of Jed Clampett ”.
Clampett and musical
" Other Warner Bros. peers such as musical co-ordinator Carl Stalling and animator Tex Avery stood by Clampett during his talks on the cartoon industry in the 1960s and 1970s.
The DVDs also feature several special features including interviews / documentaries of the people behind the cartoons such as Friz Freleng, Bob Clampett, Tex Avery, Robert McKimson, Chuck Jones, musical conductor Carl Stalling, and voice-artist Mel Blanc, pencil tests, and audio commentaries by animation historians Jerry Beck, Michael Barrier, and Greg Ford, as well as current animators Paul Dini, Eric Goldberg, and John Kricfalusi.
Clampett and films
Under the Warner system, Clampett had complete creative control over his own films, within severe money and time limitations ( he was only given $ 3, 000 and four weeks to complete each short ).
Clampett, whose collection of drawings, films, and memorabilia from the golden days of Termite Terrace was legendary, provided nearly all of the behind-the-scenes drawings and home-movie footage for the film.
Kricfalusi's interest in Golden Age animation crystallized during his stay at Sheridan College, where an acquaintance of his held weekly screenings of old films and cartoons, among them the cartoons of Bob Clampett and Tex Avery, which left a deep impression on Kricfalusi.
Clampett and popular
After Daffy Duck was created, he would add even more success to Warner Bros cartoons and replaced Porky Pig as the studio's most popular animated character, and Bob Clampett took over Termite Terrice, while Tex Avery took over the Merry Melodies department.
Clampett was so popular in theaters that Schlesinger told the other directors to imitate him, emphasizing gags and action.
The Clampett unit made a couple of field trips to Club Alabam, a Los Angeles area black club, to get a feel for the music and the dancing, and Clampett cast popular radio actors as the voices of his main three characters.
The term emerged in popular culture during the 1930s and found usage in 1938-39 Warner Brothers cartoons, most notably by director Bob Clampett, including Porky in Wackyland.
He also wrote the music and lyrics for the popular theme song, " The Ballad of Jed Clampett ".
Clampett and early
In his commentary as part of the 1970s documentary film, Bugs Bunny: Superstar, Clampett discussed the fact that his early version of Tweety Bird had to be redesigned after his first picture because the producers thought he " looked naked ".
In his early appearances in Bob Clampett cartoons, Tweety is a very aggressive character who tries anything to foil his foe, even kicking his enemy when he is down.
Clampett was born and raised not far from Hollywood, and early on expressed an interest in animation and puppetry.
From his early teens Clampett showed an interest in animation and puppetry.
Clampett and 1940s
The idea of a family of comical monsters was first suggested to Universal Studios in the late 1940s by animator Bob Clampett, who wanted to do a series of cartoons.
By this time Warners ' cartoons directors of the 1940s were Friz Freleng, Chuck Jones and Bob Clampett.
Bagge's signature elastic, kinetic art style is a product of his love for 1940s Warner Brothers cartoons ( especially those directed by Bob Clampett ).
The Golden Age of American animation, like the 1940s cartoons by Bob Clampett and Tex Avery to name a few, served for inspiration for the bizarre expressions and artwork for which Spümcø became well-known.
Clampett and i
* The ending where the gambling ring shoots themselves after realizing that they've been trying to sabotage Bugs throughout the cartoon has been cut from many TV prints of this cartoon, including the ones shown on the Turner channels ( i. e. Cartoon Network its appearance on " The Bob Clampett Show ", TBS, and TNT ) and the former WB!
Clampett and .
" Clampett ; Irene Ryan as his ornery mother-in-law, Daisy May " Granny " Moses ; Donna Douglas as his curvaceous, tom-boy daughter Elly May Clampett ; and Max Baer, Jr. as Jethro, the brawny, half-witted son of his cousin Pearl Bodine.
The show's theme song, " The Ballad of Jed Clampett ", was written by producer and writer Paul Henning and originally performed by bluegrass artists Flatt and Scruggs.
He also noted that the " feud " that there may have been between Jones and colleague Robert Clampett was mainly because they were so different from each other.
When Clampett was promoted to director in 1937, Jones was assigned to his unit ; the Clampett unit was briefly assigned to work with Jones ' old employer, Ub Iwerks, when Iwerks subcontracted four cartoons to Schlesinger in 1937.
On December 11, 1975, shortly after the release of Bugs Bunny Superstar, which prominently featured Bob Clampett, Jones wrote a letter to Tex Avery, accusing Clampett of taking credit for ideas that were not his.
Their correspondence was never published in the media, nonetheless it was sent to Michael Barrier, who had conducted the interview with Clampett and was distributed by Jones to multiple people concerned with animation over the years.
Michael Barrier claims that Clampett had given himself too much credit, but also that Jones had had ill feelings towards him ever since their days at Termite Terrace, due to the fact that Bob Clampett was made an animation director before Chuck Jones.
Robert McKimson claimed in an interview that many animators but mostly Clampett contributed to the crazy personality of Bugs, while others like Chuck Jones concentrated more on the more calmed down gags.
* 1913 – Bob Clampett, American animator ( d. 1984 )
By the end of the decade, a new Schlesinger production team, including directors Friz Freleng, Tex Avery, Robert Clampett, and Chuck Jones was formed.
** Bob Clampett, American " Looney Tunes " director ( d. 1984 )
Bugs Bunny made a cameo appearance in 1942 in the Avery / Clampett cartoon Crazy Cruise and also at the end of the Frank Tashlin 1943 cartoon Porky Pig's Feat which marked Bugs ' only appearance in a black-and-white Looney Tunes short.
Daffy first appeared on April 17, 1937, in Porky's Duck Hunt, directed by Tex Avery and animated by Bob Clampett.
He was the first character created by the studio to draw audiences based on his star power, and the animators ( particularly Bob Clampett ) created many critically acclaimed shorts using the fat little pig.
The character was designed by animator Bob Clampett and introduced in the short I Haven't Got a Hat ( first released on March 9, 1935 ), directed by Friz Freleng.
Bob Clampett finally pinned Porky down, making him a permanent young adult: cuter, slimmer, smarter, and eventually less of a stutterer.
Iwerks directed the first two shorts, while former Schlesinger animator Robert Clampett was promoted to director and helmed the other two shorts before he and his unit returned to the main Schlesinger lot.
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