The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features and Sequences 1900-1999

517 Pages·2011·7.11 MB·English

by  Graham Webb

The Animated
Film Encyclopedia
SECOND EDITION
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The Animated
Film Encyclopedia
A Complete Guide to
American Shorts, Features
and Sequences, 1900–1999
SECOND EDITION
Graham Webb
McFarland & Company, Inc., Publishers
Jefferson, North Carolina, and London
LIBRARYOFCONGRESSCATALOGUING-IN-PUBLICATIONDATA
Webb, Graham.
The animated film encyclopedia : a complete guide to American
shorts, features and sequences, 1900–1999 / Graham Webb.—2nd ed.
p. cm.
Includes index.
ISBN 978-0-7864-4985-9
softcover : 50# alkaline paper
¡. Animated films—United States—Encyclopedias. I. Title.
NC1766.U5W44 2011 791.43'34097303—dc22 2011005162
BRITISHLIBRARYCATALOGUINGDATAAREAVAILABLE
© 2011Graham Webb. All rights reserved
No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, i ncluding photocopying
or recording, or by any information storage and retrieval system,
without p ermission in writing from the p ublisher.
On the cover: (left to right) Gertie the Dinosaur,1914; The Land Before Time,1988
(Lucasfilm Ltd./Universal/Photofest); CGI dinosaurs © 2011by Linda Bucklin
Background photograph by Hal Bergman
Manufactured in the United States of America
McFarland & Company, Inc., Publishers
Box 6¡¡, Je›erson, North Carolina 28640
www.mcfarlandpub.com
Contents
Acknowledgments vi
Introduction 1
Abbreviations 3
THE ENCYCLOPEDIA 5
Appendix: Series Lists 395
Index 409
v
Acknowledgments
Over the years, many have contributed their services in helping with the preparation of
this volume, and deserve recognition for their able assistance: Els Barthen, Howard
Beckerman, Lee Boyett, Bob Clampett, Pat Coward, Shamus Culhane, Gene Deitch, Jan
Emberton, Al Eugster, June Foray, Friz Freleng, Jere Guldin, Mike Hankin, Jack Hannah,
Reg Hartt, Richard Holliss, Cal Howard, Ollie Johnston, Chuck Jones, Laura Kaiser of the
USC Film & TV Archives, Jack Kinney, I. Klein, Bob Little, Norm McCabe, Bob McKimson,
Jack and Virginia Mercer, Grim Natwick, Neil Pettigrew, Sid Raymond, Virgil Ross, Brian
Rust, Markku Salmi, David R. Smith of the Disney Archives, Frank Thomas, Myron Wald-
man, Edith and Peter Webb, John Wood, David Wyatt, Cy Young and Jack Zander. Those
lost in the annals of time I hope will forgive me if I have forgotten to mention them.
In particular, a debt of eternal gratitude should go to loyal companions Mark Kausler,
Hames Ware and Keith Scott, without whose valuable assistance this tome would only be
half its size.
An overall vote of thanks also goes to David Rider, who was the initial inspiration in
getting me to collect cartoon credits.
vi
Introduction
This encyclopedia is an alphabetical listing of every American even more possible. The computer could now even replace
theatrical cartoon released from 1900 through 1999, many of human actors and, in some cases, turn the actor into “human
which are likely to be new to the reader. The first edition of cartoons.”
this encyclopedia ended at 1979, before the advent of comput- Computer graphics began their life by providing sparkling
erized animation. Much difficult-to-find inform ation has been special effects to live-action movies such as Star Warsand then
included, from who worked on the early sound cartoons to rapidly spread its wings to dominate entire feature films, such
various musicians and songwriters involved and who provided as Jurassic Park and Toy Story. Those films, and many others
many of the anonymous cartoon voices over the years. that utilized CGI, even briefly, are covered herein.
This volume is the result of many, many years of research, Another important change that affected animation came
much of the information coming from viewings of the films, about in the 1980s. Cel animation had become far too
trade magazines and discussions with the artists involved. A expensive to produce in the U.S. Those who still used cel an-
large number of animated film works have been discovered imation found it was now cheaper to farm out animation and
that this author could not find in any other published reference production to companies abroad than it was to produce them
work; they have remained essentially unknown for a long time. at home. China, Korea and Europe became popular sources
Many of the silent cartoons especially are no longer in of outsourced animation and, in particular, inking and paint-
existence, lost or decomposed, with the trade magazines ing. Many companies farmed out their products all over the
never deeming them worthy of reviewing. In such cases, as world, and even Disney opened up its own animation studios
much existing information as can be garnered has been sup- in France and Australia. Don Bluth moved his studio to Ireland
plied. and many products were made only partially in the U.S., leav-
By 1980, television cartoons had overtaken the theatrical re- ing the bulk to be completed in Japan, China, Poland or else-
lease and production had halted on most shorts and feature where.
cartoons. Animated cartoons were no longer considered a
viable property by the late 1950s, when production costs Cartoon features, series, shorts, puppet animation, Cine-
soared, standards plummeted and the idea of releasing a fresh mascope, 3-D, stop-motion, sequences in live-action films,
cartoon short with the studio’s main features had long since computer generated imagery, animated titles, and commercials
fallen by the wayside. are all included in this volume—in fact, every form of the an-
Hand-drawn cel animation was the norm for many years; imated medium that has been made for the American theatrical
the 1980s heralded the advent of a completely new concept in market from the early days of the motion picture right up to
the animated arts. Computer generated imagery (CGI) had the end of the twentieth century.
arrived! An entry consists of a series name if applicable, date of re-
This process would eventually not only replace the old lease, screen credits, running time and other specific data, and
school cel animation but also seep into countless live-action a short synopsis.
epics by not only enhancing special effects but also managing In cases where direct screen credits are not available, a com-
to create dinosaurs, monsters, aliens and making the impossible posite list of studio personnel is provided under a company
1
Introduction 2
heading. Some of the larger companies, however, such as Dis- supervisor or overseer. The reverse is true of Terry-Toons,
ney, the Fleischer Studio or Terry-Toons have had so many where the director credited was normally the head animator
employees over so long a period that it is impossible to specify involved.
them all. Studios were often owned by either individuals or motion
Other companies, such as Warner or George Pal, often used picture companies. The individuals such as Walt Disney,
a rotation system for their credits in the early days. That is to Walter Lantz, Stephen Bosustow (UPA) and Paul Terry (Terry-
say, of a team of animators who worked with a particular di- Toons) were known to be actively involved with their products
rector’s unit, only onewould get screen recognition at a time. whereas studio heads such as Leon Schlesinger, Fred Quimby
This meant that sometimes a person who was not even directly and Charles Mintz were not creative enough to contribute any
involved with that particular film would get recognition. How- advice other than “Keep it within the budget!”
ever, by the 1940s, this system had been ironed out and most An appendix gives a full series list of shorts. The series listed
of the correct people received their deserved accolades. It is here account for the bulk of the contents, but of course features,
safe to say that the earlier system is around 80 percent accu- one-offs, commercials, and the like could not be itemized in
rate. such a fashion. An index of artists, directors, producers and
It is also safe to assume that in the case of the Fleischer Stu- others provides reference to those films in which that person
dio, the main credited animator was, in actuality, the served a function.
“director.” Dave Fleischer, the credited director, was chiefly a
Abbreviations
Note: The date following the film title in each entry is the official release date of the film.
adapt . . . . . . . . adaptation min . . . . . . . . . minutes
addit . . . . . . . . . additional mus . . . . . . . . . music
ADR . . . . . . . . . Automated Dialogue Replacement orch . . . . . . . . . orchestrations
aka . . . . . . . . . . . also known as prod . . . . . . . . . production
anim . . . . . . . . . animation ph . . . . . . . . . . photography
arr . . . . . . . . . . . arrangement p.c. . . . . . . . . . production company
asso . . . . . . . . . . associate rec . . . . . . . . . . recording
asst . . . . . . . . . . . assistant scr . . . . . . . . . . screenplay
b&w . . . . . . . . . black and white sd . . . . . . . . . . . sound
back . . . . . . . . . . backgrounds s/r . . . . . . . . . . split-reel
break . . . . . . . . . breakdown sec . . . . . . . . . . secretary
cg/cgi . . . . . . . . . computer graphics imagery sep . . . . . . . . . . sepia
CAPS . . . . . . . . . Computer Animation Production seq . . . . . . . . . . sequences
System
sets . . . . . . . . . . layouts and backgrounds
Co . . . . . . . . . . . company
sil . . . . . . . . . . silent
col . . . . . . . . . . . color
snr . . . . . . . . . . senior
co-ord . . . . . . . . co-ordinator
sup . . . . . . . . . . supervision
© . . . . . . . . . . . . copyright
Corp . . . . . . . . . Corporation
Color and Sound Systems
des . . . . . . . . . . . design
dial . . . . . . . . . . dialogue Ciné . . . . . . . . Cinécolor
dir . . . . . . . . . . . direction CS . . . . . . . . . . Cinemascope
ed . . . . . . . . . . . . film editor DDS . . . . . . . . Dolby Dynamic Sound
ex prod . . . . . . . . executive producer DPC . . . . . . . . DeForest Phonofilm Co
fx . . . . . . . . . . . . special effects East . . . . . . . . . Eastman Color
i&p . . . . . . . . . . ink and paint Pola . . . . . . . . . Polacolor
inbet . . . . . . . . . inbetweens PCP . . . . . . . . Powers Cinephone Process
l/a . . . . . . . . . . . live-action SDDS . . . . . . . Sony Dynamic Digital Sound
lay . . . . . . . . . . . layout sep . . . . . . . . . . sepia
mgr . . . . . . . . . . manager Tech . . . . . . . . Technicolor
3