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Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.
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Krantz and told
Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series ' model sheets and return to the United States.
Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract.
However, Krantz told Bakshi that studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.
However, Krantz told Bakshi that studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.
Krantz told the Boston Globe in 1982 that she attended Wellesley with three goals: to date, to read every novel in the library, and to graduate.
Steve Krantz told Bakshi that studio executives would be unwilling to fund Heavy Traffic because of its content and Bakshi's lack of film experience.
Bakshi told Krantz: " I can't talk about that " and hung up.
Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series ' model sheets and return to the United States.
Krantz agreed to produce Bakshi's animated film Heavy Traffic, but told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.
Krantz and Bakshi
Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972.
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.
Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit.
Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film.
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.
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.
Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through ; Bakshi, however, was determined to complete the film as a feature.
Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere.
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 received a call from Krantz, who questioned him about Harlem Nights.
After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement.
Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later.
In 1968, Ralph Bakshi, along with producer Steve Krantz, founded Bakshi Productions, establishing the studio as an alternative to mainstream animation by producing animation his own way and accelerating the advancement of female and minority animators.
Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film.
In the late 1960s, animator Ralph Bakshi and producer Steve Krantz founded Bakshi Productions, establishing the studio as an alternative to mainstream animation by producing animation his own way and accelerating the advancement of female and minority animators.
Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film.
Krantz and Hollywood
Hollywood executives changed his name from Krantz to Cortez in order to capitalize on the popularity of the era's " Latin lovers " ( namely Rudolph Valentino, Ramon Novarro and Antonio Moreno ).
Krantz and studio
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's animation studio, Bakshi Productions, took over Rocket Robin Hood and another Krantz-produced series, Spider-Man, beginning Krantz ' working relationship with Bakshi.
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.
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.
Krantz and would
A few hours after the encounter, Patterson telephoned Donald Abbott, whom Krantz described as " the only scientist of any stature to have demonstrated any serious interest in the ( Bigfoot ) subject ," hoping he would help them search for the creature.
Others ( including primatologist John Napier, who published before Dahinden and Krantz ) have expressed a different opinion, contending it was " likely that Patterson would have used 24 frame / s " because it " is best suited to TV transmission ," while conceding that " this is entirely speculative.
In 1969, New York animator Ralph Bakshi came across a copy of R. Crumb's Fritz the Cat and suggested to producer Steve Krantz that it would work as a film.
Halfway through the production of Heavy Traffic, Bakshi asked Krantz outright when he would be paid, and Krantz responded that " The picture didn't make any money, Ralph.
( Krantz was an EarthForce Marine, not intended to be part of the station's permanent crew ; he was assigned to supervise the final stages of construction, then to turn it over to an EarthForce Naval officer who would be the permanent CO ).
Towards the end of the year, Krantz began coproducing Heavy Traffic with Samuel Z. Arkoff, but 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.
On June 8, 2012, WBT announced that The Brad and Britt Show, hosted by Brad Krantz and Britt Whitmire of WPTK in Raleigh, would be taking over the afternoon slot from Vince Coakley effective July 2.
Krantz and be
Bigfoot proponents Grover Krantz and Geoffrey Bourne believe that Bigfoot could be a relict population of Gigantopithecus.
Krantz argues, on the basis of an analysis by Igor Bourtsev, that since Patterson's height is known, a reasonable calculation can be made of his pace.
On the basis of this analysis, Krantz argues that a speed of 24 frames per second can be quickly dismissed and that " may safely rule out 16 frames per second and accept the speed of 18.
Sartono, Tyler, and Krantz agreed that Meganthropus A and D were very likely to be representations of the same species, whatever it turns out to be.
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