"Out of the Inkwell" (TV Version)

[musicradio77]

I found something on Toon Tracker that I would like to see. It was a TV show entitled "Out of the Inkwell". The show aired back in 1962 and it was a tremendous comeback. Here is a synopsis from Toon Tracker website:

Koko the Clown, created by Max Fleischer in the early days of animation, returned on September 10, 1962 to star in all-new adventures for television from producer Hal Seeger, a former Fleischer employee who now headed his own company. Fleischer and Seeger formed Out of the Inkwell, Inc. in 1958 to produce the cartoons.

Koko was joined by his girlfriend Kokette, his dog Kookie, his friend Koko-Nut, his nephew Yo-Yo, his friend Irving the Indian, and his arch rival Mean Moe.

The production was financed by the Berger brothers, who owned Video House. Max Fleischer appeared in each cartoon. Hal Seeger's wife, Beverly Arnold, provided the voice of Kokette. The voices of Koko and Mean Moe were provided by Larry Storch. Other voices were done by Norma MacMillan.

When the series first arrived on TV's in 1962 it was a Video House Presentation. Later, in 1963, Video House sold the distribution rights to Seven Arts Associated. Animation directors included Myron Waldman, Al Eugster, Graham Place, Otto Feuer, Shamus Culhane, Tom Golden, James Tyer, Anie Levey, Larry Silverman, and Orestes Calpini.

http://www.toontracker.com/koko/koko02.jpg

Here is the theme song:

"Out of the Inkwell" Theme (http://www.toontracker.com/realaudio/koko.ram)

[Geezil]

Looks like a pretty formidable crew worked on that series, but legend has it that most of the energy went into the pilot film and it was a sharp downhill plunge from there.

[Ray Pointer]

Looks like a pretty formidable crew worked on that series, but legend has it that most of the energy went into the pilot film and it was a sharp downhill plunge from there.



This was true. Although some 102 color OUT OF THE INKWELL cartoons were made for television, on one note,the budgets were not very high. On another,
the animators were holdovers form the Fleischer days, with years of experience in theatrical animation. Yet with the limited TV budgets, they seemed not as effective in limited animation. The timing of these cartoons is also a bit slow, and the character design is not always well done either. This was an issue that was very apparent in the difference between the execution of limited animation produced in New York compared to what was being produced in Los Angeles, most notibly at Hanna-Barbera.

The concept for OUT OF THE INKWELL was the aftermath of Max Fleischer's desire to do BETTY BOOP for television, following his winning the lawsuit over the television sales of the cartoons in 1955. Betty was already buried within the complications of Paramount's properties, but Koko was available, and went into development for television in 1958, which is when the characters were designed. I have seen the original pencil designs of the "stylized" Koko and Kokette, with Max's comments on the side. Of course, it was four years by the time the series actually went into production.

[frizfrelengfan]

The concept for OUT OF THE INKWELL was the aftermath of Max Fleischer's desire to do BETTY BOOP for television, following his winning the lawsuit over the television sales of the cartoons in 1955. Betty was already buried within the complications of Paramount's properties, but Koko was available, and went into development for television in 1958, which is when the characters were designed.

I didn't know Max Fleischer won a lawsuit over the TV sales. Do you have more specific information about it? I did read that when Paramount seized the studio in 1941, Fleischer probably could have sued, but did not in order to protect his son-in-law, Seymour Kneitel, who was still there.

When did the Fleischer family re-gain control of the Betty Boop character?

I remember the Koko theme music. It was composed by Winston Sharples.

[detroittvguy]

Did Max Fleischer appear in every episode? I thought he only appeared in the pilot.

[Sogturtle]

Frizfrelengfan and Detroittvguy~

Control of Betty Boop was eventually partly regained by the Fleischers, they share ownership now with King Features (weird as that sounds).

Max was supposed to appear in every episode. A complicating factor arose in the fact that by then his advancing age made his voice not sound right, soooo they had to go back and redub all his lines.

[detroittvguy]

Did Max dub his own lines? If not, do you know who did?

[Ray Pointer]

When the OUT OF THE INKWELL television series was made, Max appeared in the pilot film, which was never aired. Some stock shots of his hand dipping into the inkwell were reused in the series, but he never appeared on camera.
The voice for Max was done by the late Hal Seeger, who had been one of Max's animators in Miami, and was now the producer of the series. Max was in declining health at this point in his life, much of this brought on by the loss of the studio and the lawsuit that eventually followed.

Max Fleischer was in a position to sue on several counts, the first being breach of contract in 1942. Since the loan from Paramount would not reach maturity for 10 years, there were anual renewal clauses running to 1948. However, actions on the part of both Max and Dave caused an abrogation of these contracts. Once the studio moved to Miami, Dave pushed Max into the background, relgating him to his office to sign papers, while he took over the visible control of the studio. This situation depressed and aggrevated Max, as he had no opportunity for creative input. During a production meeting, Max attempted to make a suggestion, and Dave barked at him, "Max, go to your office and sign some contracts." This insulted Max so greatly that he sent the famous telegram stating effect that date, he would no longer work with Dave Flesicher.

The timing of this incident is curious considering that Paramount was holding 60% of the films' earnings as well as both Max and Dave's stock in the studio for a period of six months to recoup financial losses. This was another of a series of bad business moves on their part, as it does not seem that the surrender of the stock necessary, yet they agreed to it. Max supposedly was holding out for the renewal of the contract in May, 1942. This renewal could have written Dave out, and Max would have regained control of the studio. But as a part of the stock surrender, Paramount had both Max and Dave sign resignation letters in the event that either party decided to quit during the term. Dave resigned on December 31, 1941. An article in the Miami Telegraph of January 2, 1942 indicates that Dave Fleischer resigned as "director general of Fleischer Studios" but will retain his stock interest. The contract was still in effect for another five months. Although Dave had resigned, he was still under contractual obligation when he took the position as producer at Screen Gems in April, 1942--one month prior to the contract renewal period. In this manner, Dave was in "breach" in the eyes of Paramount, as he was working for a competitor and Paramount stock holder while still contracted to them. And since both Max and Dave were named "the producer" on the Parmount contracts, they shared equal responsibility for the actions of the other. The moral of the stoy being, never make a 50% deal, especially with a relative.

When the contract came up for renewal in May, 1942, Fleischer Studios
was officially renamed Famous, although Paramount had already sent their people in earlier, and they had actually taken over at the time of Dave's resignition. As a result Max was completely out of the picture. This was seen as the breach of contract from Max's perspective, considering the renewal clauses that extended for another six years. Another odd point to consider is since Max had a great interest in technical advances, he was certainly aware of the emergence of television. Yet they both signed off their television rights in 1940. This is a mystery only to say they signed under duress.
But another, and more viable motivation on the part of Paramount hinged on the 1942 date. POPEYE was a major asset for Paramount, and Fleischer's licensing deal with King Features began in November, 1932 for a ten year period. Considering this it would seem that Paramount had everything to gain by eliminating Fleischer as the middle man, which essentially is what happened.

The Paramount breach would have been viable, but Max was concerned about the position of Seymour Kneitel, who had had his first heart attack in 1940 at age 32 during the production of MR. BUG GOES TO TOWN. Although it has been reported that Max's daughter, Ruth begged Max not to sue because of Seymour's heart condition, this was not the case. Seymour encouraged Max to sue, but it was Max's decision not to sue to protect Seymour. So MAx waited for another angle, which was the television sales.

Although he had signed off his television rights, he had grounds for the suit when the cartoons were sold with his name removed from some of them.
This was seen and enough grounds to launch a suit for $2,750,000.00, which he won in 1955.

The comlications regarding BETTY BOOP were associated with the assets of Fleischer Studios, which were entangled among the other Paramount characters developed by Famous Studios. This was part of the complication that prevented the production of a Betty Boop television series by Max, in in 1955. But Paramount saw BETTY BOOP as a dormant character from a bygone era, and eventually returned ownership to the Fleischer Estate in the late 1960s. In 1972, Ruth Kneitel indicated to me that they had entered into a merchandising license arrangement with King Features. This licensed the commercial exploitation of the character, but did not give ownership to KFS, as this was retained by "Fleischer Studios," which had been resurrected as a holding company for this venture. As a result, revenues earned by the sales of BETTY BOOP merchandise are paid to Fleischer Studios through this association with KFS.:betty:

[jcourt]

I see that Toon Tracker offers a DVD with most of the episodes: http://www.toontracker.com/video/dvd184.htm

I also found story boards for the series here: http://www.vegalleries.com/koko.htm

[Ray Pointer]

I see that Toon Tracker offers a DVD with most of the episodes: http://www.toontracker.com/video/dvd184.htm

I also found story boards for the series here: http://www.vegalleries.com/koko.htm

The storyboard was not for the series, it was a storyboard for a Viewmaster reel, KOKO IN OUTER SPACE done some time in the 1950s.

[jcourt]

The storyboard was not for the series, it was a storyboard for a Viewmaster reel, KOKO IN OUTER SPACE done some time in the 1950s.

OK, I stand corrected.