Which studio would you want to work for?

[Cartman]

Other than Warners, what other studio(s) might you wish to work for?

My three picks:

Fleischer - I would love to work on their surreal Talkartoons of the early 30's.

Disney - I think working on those cartoons of the 30's would be fun as well as working on WWII cartoons like DER FUEHER'S FACE.

MGM - I would like to work with Tex Avery on his cartoons as well as the Tom and Jerrys.

[Billy Joel Fan]

MGM would be my next choice if I could not get a job with the TTTP

[dnestorjr]

NO question about it. MGM

Pip Pip!

[MF TOON]

Disney... $$$$

[ohmahaaha]

Are you talking about now, or are you talking about way back when?

Way back when, I would absolutely want to work for Disney, no contest - because at least there you would know that the big boss actually cares about animation.

Now, I would absolutely want to work for Pixar, no contest - because at least there you would know that the big boss actually cares about animation.

:tweety:

[Cartman]

I was referring to way back then.

[Ray Pointer]

[QUOTE=ohmahaaha]Are you talking about now, or are you talking about way back when?

Way back when, I would absolutely want to work for Disney, no contest - because at least there you would know that the big boss actually cares about animation.

WOOOPS! Watch it! What makes you think some of the others didn't care about animation? It is one thing to wish to work for Disney or any of the others back then. But would you have wanted to endure the uncertainty of layoffs from Diseny when he was struglling in the early 30s? In what capacity would you have wanted to work? That had a lot to do with your salary. Frankly, it was the conditions of the depression that made it possible to make such elaborate cartoons, especially if people were paid $8-$12 a week.

Of course animators made more, but there were other workers in the system
who contributed the the product who were not as well paid then, including Inbetweeners, inkers, and opaquers (cel painters).

So keep in mind that the surface impression may belie what the actuality of the situation really was.

[mbaker]

IN the past, i would've loved working at Disney, or Warner Bros, but in this day, and age, i'm not so sure.

[Ray Pointer]

One of the motivations of this dream is based on the sense of invention and discovery that was going on at the time. This came when there was a higher level of artistry and literacy, while technology was still developing. Now that the technology has advanced, the situation has reversed

[Frank]

I would like to start out at Disney, then eventually go to MGM working in Hanna-Barbera's unit.

[J. B. Warner]

Well, if I can't have Warner Bros., I have to go with MGM. It'd be great working with either Avery's unit or Hanna and Barbera's unit. Disney doesn't seem like it'd suit me - from what I understand, everything there had to be approved by Walt himself, and I'd rather work in a more uninhibited atmosphere, which is why if I had the chance, I'd want to work at Warner the most.

[laugh4me]

FWIW, let me recommend the following article from AWN entitled:
"So, What Was It Like?"The Other Side Of Animation's Golden Age (www.awn.com/mag/issue1.4/articles/sito1.4.html)

It has some details about how animators were treated at various studios...

[LooneyTuneLover]

WB and MGM

[ohmahaaha]

[QUOTE=ohmahaaha]Are you talking about now, or are you talking about way back when?

Way back when, I would absolutely want to work for Disney, no contest - because at least there you would know that the big boss actually cares about animation.

WOOOPS! Watch it! What makes you think some of the others didn't care about animation? It is one thing to wish to work for Disney or any of the others back then. But would you have wanted to endure the uncertainty of layoffs from Diseny when he was struglling in the early 30s? In what capacity would you have wanted to work? That had a lot to do with your salary. Frankly, it was the conditions of the depression that made it possible to make such elaborate cartoons, especially if people were paid $8-$12 a week.

Of course animators made more, but there were other workers in the system
who contributed the the product who were not as well paid then, including Inbetweeners, inkers, and opaquers (cel painters).

So keep in mind that the surface impression may belie what the actuality of the situation really was.

I was thinking of working for Walt Disney as opposed to Leon Schlesinger/Edward Selzer or Fred Quimby, for example.

[Ray Pointer]

When Iwas a kid, I wanted to work at Hanna-Barbera and from there, Disney. By the time I was old enough, H&B was doing things like Scooby-Doo, and the Disney Studio was a small operation, limping along. This was in the 1970s when they were operating with a small staff, and producing "economized" animated features in order to stay in business.

Atlhough there is a large audience that loves this Scooby-Doo, I must say that I do not. It was around this time that my interest in Hanna-Barbera had peaked, and I was going in other directions, trying to discover new plateaus for animation, and attempting to start my own career as a film maker. I knew, however taht my visions of a renewed interest in quality animation would happen. Although I was not the major instigator of those changes, I am satified in knowing that my preidictions came true. even if it took others to make it happen.

[RetroMan]

Well, MGM seems like a fun place, especially with Avery's unit. I would've loved to be a gagman or an animator over there.

Now Disney seems attractive because of the edgyness of their work, the cutting-edge technology (back then, that is) and of course, the paycheck*. But there's also one more thing - No doubt I would have been good friends of Walt, Ward Kimball and Ollie Johnston beacase of our peculiar hobby.

*The only reason I have to sustain the fact that Disney animators were well paid is that Ward Kimball managed to buy a full-size steam train in 1934.

[Larry T]

Back in the day, I'd have been the perfect inbetweener for Emery Hawkins at Universal Cartoons.

And ten years earlier, you could have set me right alongside Grim Natwick at Fleischer studios :cool: .

I'd have never lasted at Disney, though. :)

[Yosemite682]

Warner Brothers, Tex Avery's MGM unit, or Disney would all be great.

[Ray Pointer]

My associate, Ken Southworth did work under Tex Avery at MGM after seven years at Disney.