When bibliographer Michael Barrier asked Barks about why he drew it, Barks ' vague recollection was no one was available and he was asked to do it as a favor by editor Chase Craig.

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.

* Barrier, Michael ( 1999 ).

* Barrier, Michael ( 1999 ).

* Barrier, J. Michael.

Historian Michael Barrier has lamented the apparent loss of Western's business records for the use of future researchers.

By 1952 the popularity of the character convinced Dell to give Scrooge a try-out as a lead character in the seminal " Only a Poor Old Man ", a story Barks expert Michael Barrier has termed a masterpiece.

Animation historian Michael Barrier called the film " an offensively bad picture, the kind that makes people who love animation get up and leave the theater in disgust ".

* Barrier, Michael ( 1999 ): Hollywood Cartoons.

* Barrier, Michael ( 1999 ): Hollywood Cartoons.

Among them are Michael Barrier, Jerry Beck, Colin and Timothy Cowles, Donald Crafton, David Gerstein, Milt Gray, Mark Kausler, Leonard Maltin, and Charles Solomon.

* Barrier, Michael ( 1999 ): Hollywood Cartoons.

* Barrier, Michael.

Animation historian Michael Barrier speculates that one of Cohl's unnamed visitors may have been Bray instead of Barré.

Michael Barrier, an animation historian, described Heavy Traffic and Fritz the Cat as " not merely provocative, but highly ambitious.

* Barrier, Michael ( 1999 ).

Comic book historian Michael Barrier notes that by the early 1950s, Dell seemed to be giving more emphasis to subscription sales ( promoted via premium giveaways as part of the Dell Comics Club ), which necessitated stable series instead of one-shots.

* Is He a Bridge or a Barrier: Christian College Hires New President After a Faculty Revolt – Michael Alison Chandler, The Washington Post.

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.

Disney and animation historian Michael Barrier has cited it as " an extremely valuable record, one that can no longer be duplicated, given the deaths of most of the interview subjects.

Responding to pressure from the African-American community, the character Lil ' Eightball ( who appeared in a handful of Walter Lantz cartoons in the late 1930s and in those initial appearances constituted what animation and comics historian Michael Barrier described as being a " grotesquely stereotypical black boy ") was discontinued as one of the featured characters in the Lantz anthology comic book New Funnies ; the last appearance of the character was in the August 1947 issue.

Animation historian Michael Barrier reports that Miller, in August 2007, sent a fax to a number of executives at the Walt Disney Company, denouncing Neal Gabler's biography of Walt Disney published in 2006, titled Walt Disney: The Triumph of the American Imagination, as " a monstrous piece of libelous junk.

Michael Barrier, an animation historian, described American Pop as one of two films that demonstrated " that Bakshi was utterly lacking in the artistic self-discipline that might have permitted him to outgrow his limitations.

Some of the earliest animation done using a digital computer was done at Bell Telephone Laboratories in the first half of the 1960s by Edward E. Zajac, Frank W. Sinden, Kenneth C. Knowlton, and A. Michael Noll.

With business partner Les Goldman, Jones started an independent animation studio Sib Tower 12 Productions, bringing on most of his unit from Warner Bros., including Maurice Noble and Michael Maltese.

He has also been voiced in animation by Jackson Beck in the 1960s series The New Adventures of Superman, Stan Jones in the 1970s / 1980s Super Friends franchise, Michael Bell in the 1988 Superman animated series, and by Clancy Brown in the 1990s / 2000s DC animated universe, as well as a 2007 episode of The Batman and the 2009 direct-to-DVD animated feature Superman / Batman: Public Enemies, among others.

In 1996, Space Jam, a feature film mixing animation and live-action, was released to theaters starring Bugs Bunny and basketball player Michael Jordan.

Perkins has also collaborated with Michael Moore, according to a 2005 interview with Santa Cruz Metro, in which he stated, "( T ) his never got to actual animation, but I did work on a script with Michael Moore for a year.

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 ".

Public rifts grew between the animation staff and management, as well as between Michael Eisner and Roy E. Disney.

After 30 years of resisting offers to produce television animation, Disney finally relented once Michael Eisner, who had a background in TV, took over.

Inspired by the success of Disney's Who Framed Roger Rabbit and a series of Nike commercials teaming the characters with basketball superstar Michael Jordan, the studio produced the live-action / animation combo Space Jam in 1996.

During Michael D. Eisner's 1990 restructuring of The Walt Disney Company, the studio's animation division was spun off to officially create Walt Disney Feature Animation as a subsidiary of the company.

As Sheridan's animation department continued to grow, it produced hundreds of animators into Canadian and international studios, at one point in 1996 being called " the Harvard of animation schools " on " a worldwide basis " by animator Michael Hirsh.

According to a Los Angeles Times article, part of this effort was to allow directors more creative control as collaborators on their projects and to give them the creative freedom to use traditional animation techniques — a reversal of former CEO Michael Eisner's decision that Disney would do only digital animation, which Catmull thought was the wrong idea of how Pixar's films did well.

The animation was produced by Toonz Animation, and featured the voices of Lucy Lawless, Kiefer Sutherland, Michael Rosenbaum, and Michelle Trachtenberg.

Past guests include representatives from world-renowned studios Pixar, Aardman, Weta Workshops and Sony Interactive plus animation legends Ray Harryhausen, Richard Williams, Bob Godfrey, Caroline Leaf, Michael Dudok de Wit and Bill Plympton.

One of the first Looney Tunes shorts directed by Freleng during his second tenure at the studio was You Ought to Be in Pictures, a short which blended animation with live-action footage of the Warner Bros. studio ( and of Schlesinger veterans such as story man Michael Maltese and even " Leon " himself ).

In 2005, after disagreements between Disney's Michael Eisner and Pixar's Steve Jobs over the distribution of Pixar's films, Disney announced that they would be creating a new animation studio, Circle 7 Animation, to make sequels to the seven Disney-owned Pixar films ( which consisted of the films released between 1995 and 2006 ).

Many people were involved in the production, most notably: Nicholas Negroponte, founder and director of the Architecture Machine Group, who found support for the project from the Cybernetics Technology Office of DARPA ; Andrew Lippman, principal investigator ; Bob Mohl, who designed the map overlay system and ran user studies of the efficacy of the system for his PhD thesis ; Richard Leacock ( Ricky ), who headed the MIT Film / Video section and shot along with MS student Marek Zalewski the Cinéma vérité interviews placed behind the facades of key buildings ; John Borden, of Peace River Films in Cambridge, MA, who designed the stabilization rig ; Kristina Hooper of UCSC ; Rebecca Allen ; Scott Fisher, who matched the photos of Aspen in the silver-mining days from the historical society to the same scenes in Aspen in 1978 and who experiment with anamorphic imaging of the city ( using a Volpe lens ); Walter Bender, who designed and built the interface, the client / server model, and the animation system ; Steve Gregory ; Stan Sasaki, who built much of the electronics ; Steve Yelick, who worked on the laserdisc interface and anamorphic rendering ; Eric " Smokehouse " Brown, who built the metadata encoder / decoder ; Paul Heckbert worked on the animation system ; Mark Shirley and Paul Trevithick, who also worked on the animation ; Ken Carson ; Howard Eglowstein ; and Michael Naimark, who was at the Center for Advanced Visual Studies and was responsible for the cinematography design and production.