Why Ray Patterson???

[Mr. Jinks]

Of all the animators that worked with Hanna-Barbera during (and after) the MGM years, how did Ray Patterson become a supervising director of H-B cartoons in the 1980's and 1990's?

[Fibber Fox]

Of all the animators that worked with Hanna-Barbera during (and after) the MGM years, how did Ray Patterson become a supervising director of H-B cartoons in the 1980's and 1990's?

My guess it's because he had directed before.

F. Fox

[zavkram]

Ray Patterson and Grant Simmons had during the early 1950's formed their own independent animation studio called "Grant-Ray". There were two one-shot cartoons that Walter Lantz had contracted them to do in 1954 (while retaining ownership of the films), Dig That Dog and Broadway Bow-Wows. If memory serves me, Patterson and Simmons received joint director credit on both of those cartoons. The former title can be found on Volume 2 of The Woody Woodpecker and Friends Classic Cartoon Collection from Universal Home Entertainment.

I don't know if there are any theatrical cartoons that they did for any other Hollywood studio. I get the impression, however, that the comapny eventually folded (or maybe was taken over by someone else), since Patterson's name was present again, as an animator, on the MGM "Tom and Jerry cartoons" of the mid-to-late 1950's. I recently did an online search to see if I could find out more about "Grant-Ray", but could find very little.

What's interesting is that the latter cartoon contains some decidedly Avery-esque gags that are reminiscent of the ones from Avery's own Symphony in Slang.

As you say, it probably was because of Patterson's previous directing experience that Hanna-Barbera placed him in charge of some their projects during the 1980's.

I also remember seeing Patterson's name, as Director, in the production credits for some of the episodes of UPA's "Dick Tracy" Series

[Daws Butler Jr.]

This is just an educated guess on my part, but:

Joe Barbera was very loyal to a handful of his employees, among them Alex Lovy and Harry Love. My guess is when most of the animation was being shipped overseas and no longer being done in house, that Joe promoted Ray to director to keep him employed.

[Matt the Y]

Joe Barbera was very loyal to a handful of his employees, among them Alex Lovy and Harry Love.

Do you mean Ed Love? I don't recall Harry Love ever working at Hanna-Barbera (although H-B did hire so many people in animation in and out of their studio, it's admittedly easy for me to overlook or lose track of one or two of them).

[frizfrelengfan]

I don't know if there are any theatrical cartoons that they did for any other Hollywood studio. I get the impression, however, that the comapny eventually folded (or maybe was taken over by someone else), since Patterson's name was present again, as an animator, on the MGM "Tom and Jerry cartoons" of the mid-to-late 1950's. I recently did an online search to see if I could find out more about "Grant-Ray", but could find very little.I'm guessing that it became Grantray-Lawrence, who made the Spider-Man cartoons for TV.

[Sogturtle]

I'm guessing that it became Grantray-Lawrence, who made the Spider-Man cartoons for TV.

Smiling... I explained at some length here once before about Grant-Ray [+/-Lawrence], so I'll keep this brief.;)

Ray Patterson was abruptly transferred INTO Tex Avery's unit alongside his one-time Disney partner Grant Simmons. Shortly thereafter Avery and his entire unit were let go, whereupon the out of work animator duo formed their own tiny studio and rented space in the building with Walter Lantz. The two ersatz Lantz cartoons were the only theatricals that the two ever got to direct.

Later they did indeed merge their studio with the operation of Bob Lawrence (who would bring them lots of work). BUT their former relationship with Bill and Joe brought them virtually-uncredited work on the Flintstones (falsely credited as just animators). This was mirrored by the directorial work they did for UPA's "Mr. Magoo" and "Dick Tracy" TV cartoons and then their was their section of "Gay Purr-ee". (All this work was of course made at their own studio).

Later of course came their major contribution to "Spiderman". Reportedly some crooked business dealing did them in. The two men went their own ways with Simmons dying shortly after and Patterson ended up directing alongside vintage MGM-er George Gordon at HB.

[Mr. Jinks]

Ray Patterson was abruptly transferred INTO Tex Avery's unit.

Why was he transferred from the H-B unit at MGM?

[Sogturtle]

Why was he transferred from the H-B unit at MGM?

Mr. Jinks~

When asked about it by possibly his last interviewer, Patterson basically couldn't remember anymore WHY he was transferred. :eek:

[Mr. Jinks]

Mr. Jinks~

When asked about it by possibly his last interviewer, Patterson basically couldn't remember anymore WHY he was transferred. :eek:

wow.....I wish there was some sort of document somewhere noting the change and the reason behind it. However, finding it would be difficult at this point.

Thanks Sog

[Dave Mackey]

Do you mean Ed Love? I don't recall Harry Love ever working at Hanna-Barbera (although H-B did hire so many people in animation in and out of their studio, it's admittedly easy for me to overlook or lose track of one or two of them).
Harry Love definitely did work at Hanna-Barbera as some sort of training or artistic supervisor, not a job meriting screen credit, but a very important part of the studio. He may have even taken the odd director credit.

In the 80's, HB directors included Oscar Dufau, George Gordon, Art Davis, Ray Patterson, and Carl Urbano, all veterans. Nick Nichols had taken the director credit through most of the 70's, and in the 60's, it was Hanna and Barbera themselves.

[Ray Pointer]

Ray Patterson, like so many other experienced animators of his era were considered qualified as directors, which many were. My late associate, Ken Southworth was also at MGM in their last years and worked in both the H-B and Avery units. For him, it was not a matter of being "transferred," it was a matter of assignment according to availability. This may be more likely the reason why Ray Patterson worked for both units.
But the question is why do you question his appointment as "director"? Is there some reason to question his professionalism?

[Mr. Jinks]

Ray Patterson, like so many other experienced animators of his era were considered qualified as directors, which many were. My late associate, Ken Southworth was also at MGM in their last years and worked in both the H-B and Avery units. For him, it was not a matter of being "transferred," it was a matter of assignment according to availability. This may be more likely the reason why Ray Patterson worked for both units.
But the question is why do you question his appointment as "director"? Is there some reason to question his professionalism?

Until now, I didn't know Ray's history post-MGM, so I figured why Ray and not Kenneth Muse or Irven Spence since they worked at H-B for years?

[oceansoul]

As far as I know he directed mostly the Smurfs and Paw Paws episodes, which were pretty decent shows considering H-B level.

[Ray Pointer]

Until now, I didn't know Ray's history post-MGM, so I figured why Ray and not Kenneth Muse or Irven Spence since they worked at H-B for years?

Such things are matters of choice and politics. Some animators chose to continue in their established area becuase of the political ramafications at particular studios. At the same time, not all animators have the overall vision required to "run" the production of a cartoon. Their talents may be in a certain area, but they may or may not have the total understanding of what it takes to carry the production through to completion. While many classic animators may have been considered "qualified" according to latter day standards as I stated earlier, not all went for the brass ring.

[zavkram]

While I was re-reading the above posts, I was suddenly reminded of an episode of The Simpsons, "Trash of the Titans", in which Homer runs for Sanitation Commissioner of Springfield. His opponent, the current Sanitation Commissioner, was named "Ray Patterson" (voiced by Steve Martin). When I first saw the episode I wondered if the writers were paying homage to animator-director Ray Patterson or if it was just a coincidence. Patterson was still alive when that episode first ran in April of 1998... so, who knows? He died on December 30, 2001, just five weeks following his 90th birthday.

[Ray Pointer]

I would doubt that there was any intention to pay an homage to Ray Patterson since most of the writers on the SIMPSONS do not know who the animation people are, or care about them. For that matter, I wonder how many people are aware that there is a character, Homer Simpson in the book, THE DAY OF THE LOCUST, which was made into a movie, with Donald Sutherland in the role?

[Studio Toledo]

I would doubt that there was any intention to pay an homage to Ray Patterson since most of the writers on the SIMPSONS do not know who the animation people are, or care about them.
That's very true (having to think of an episode where Comic Boy Guy shows off a cel of Snagglepuss he said was drawn by Hick Heisler or whatever the writer threw in for a name).

For that matter, I wonder how many people are aware that there is a character, Homer Simpson in the book, THE DAY OF THE LOCUST, which was made into a movie, with Donald Sutherland in the role?
I did not know that, but thanks for the heads up!

[jonmayo15]

I would doubt that there was any intention to pay an homage to Ray Patterson since most of the writers on the SIMPSONS do not know who the animation people are, or care about them. For that matter, I wonder how many people are aware that there is a character, Homer Simpson in the book, THE DAY OF THE LOCUST, which was made into a movie, with Donald Sutherland in the role?I'm aware of that, and the Simpsons writers have mentioned it once in a commentary.

[Sogturtle]

Ray Patterson, like so many other experienced animators of his era were considered qualified as directors, which many were. My late associate, Ken Southworth was also at MGM in their last years and worked in both the H-B and Avery units. For him, it was not a matter of being "transferred," it was a matter of assignment according to availability. This may be more likely the reason why Ray Patterson worked for both units.
But the question is why do you question his appointment as "director"? Is there some reason to question his professionalism?

Ray and all~

Good points! And there were evidently instances where either Avery or H-B hit a story snag and the other unit agreed to temporarily "carry" their animators (thus creating a few weird situations of uncredited MGM animators working alongside the regular credited unit).

But the two units WERE strategically different in that Tex's after the first year or two was permanently cast as a "B" unit:eek: , since not only were Bill and Joe's TJ's budgeted markedly higher BUT they won a shelf full of Oscars, whereas Avery didn't win any (unfair yes, but still a fact). Thus crazy as it sounds:rolleyes: , changing from H-B to Avery was actually something that was perceived as a marked demotion.
There was only one animator that I can think of who actually switched units for any length of time (that is, before the end of the Avery group)... And that was Irv Spence,which was likely because of his earlier history with Tex at Schlesinger's, and both occasions were TEMPORARY and MUCH earlier at MGM than Patterson's switch over from H-B to Avery. The fact of the matter is that for MOST of Bill and Joe's time alongside Avery, they held onto four animators very tightly, and they were Ken Muse, Ray Patterson, Irv Spence, and Ed Barge.

Whereas Patterson's switch from H-B to Avery was a permanent change...