Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
6/1/95
Written by Bill Burnett
CONTENTS
BEYOND GAGS
HIDDEN TALENTS
Here’s the true story: When theatrical cartoons were on death’s door,
William Hanna and Joseph Barbera single-handedly (or, rather, double-
handily) rescued cartoons from oblivion. As a cartoon blues man might say,
“If it wasn’t for limited animation, we wouldn’t have no animation at all.”
But in the mid fifties none of that mattered anymore. Television had
arrived. The theatrical market for cartoons had dried up. And MGM, where
Hanna and Barbera had risen to the rank of executive producers, suddenly
closed up shop without warning. Overnight, Bill and Joe found themselves
out of work, along with virtually all of their cartoon colleagues in
Hollywood.
Shooting stars.
And to keep the entertainment value of their TV cartoons high, Hanna and
Barbera turned up the burners on their imaginations. With Tom & Jerry they
had worked with the same characters over and over, dreaming up different
cat and mouse gags each time. Now these men in their late forties responded
to the challenge of their careers by bringing out an avalanche of vivid,
hilarious, new cartoon stars and stories.
Ruff & Reddy, Pixie & Dixie, Huckleberry Hound, Yogi Bear, Quick
Draw McGraw (and his alter ego El Kabong), Topcat, Magilla Gorilla,
Snagglepuss, Scooby Doo, The Jetsons, Jonny Quest, Space Ghost ...the list
goes on and on. (Oh, and let’s not forget the most successful television
cartoon team of all time, The Flintstones.)
In the list above I’ve barely scratched the surface of what sprang from the
imaginations of Bill Hanna, Joe Barbera, and the other great cartoon talents
they assembled at their studio in the fifties and sixties.
Bill Burnett
Creative Director
Hanna-Barbera Cartoons, Inc.
IS THERE A STYLE IN THE HOUSE?
What’s more, when Bill and Joe opened their studio doors in the late
fifties, the Hanna-Barbera style emerged pretty much full-blown. It bore no
resemblance to the work these two cartoonists had done in the past. And yet,
there was next to no transition time, no period of trial and error. Certainly
the style improved over the years. But a Huckleberry Hound from the fifties
could wander into a frame next to Magilla Gorilla in the sixties and not feel
out of place.
Bill Burnett
Creative Director
Hanna-Barbera Cartoons, Inc.
ENTERING THE CULTURE
It's always amusing to hear someone brag that they are "smarter than
the av-er-age bear." While it works well for Yogi, it is kind of self-
deprecating for humans to say. But that's the nature of the beast. A catch
phrase becomes a catch phrase, even if it means admitting you're not too
bright!
Bill Burnett
Creative Director
Hanna-Barbera Cartoons Inc.
BEYOND GAGS
Take for instance, Charlotte's Web, E.B. White's classic story about
death and re-birth -- themes not usually associated with the creators of
Scooby-Doo! Yet Hanna-Barbera's film version was so sensitively realized
that even the hard-boiled hipsters at the Village Voice joined the chorus of
critics' praise.
Then there's The Last of the Curlews. This Emmy-winner broke fresh
ground in 1972 as one of the first animated films to highlight environmental
issues. And to make sure that their social message hit home, Hanna and
Barbera dared to break the biggest rule in the (mythical) Book of Children's
Programming -- they ended the story tragically.
And let's not leave out "The Greatest Adventure: Stories From The
Bible"-- over one million videos sold so far.
Bill Burnett
Creative Director
Hanna-Barbera Cartoons, Inc.
WHAT MAKES A TEAM?
Bill Burnett
Creative Director
Hanna-Barbera Cartoons, Inc.
ACTORS WITH A PENCIL
Method actors throw themselves into a role. They think like the
character, believe in the character, and if they're good actors, they become
the character. But actors have it easy compared to our cartoonists. Imagine
how tough it is to think like Dino, to believe in Elroy Jetson, or to become
Baba Louie. Hanna-Barbera animators need great imaginations to go with
their great acting and drawing talents.
Unlike Shakespeare's "poor player that struts and frets his upon the
stage," an animator never gets to strut, walk, run or sweat bullets on opening
night. They never get the applause that on-screen actors do, nor do they get
even the small recognition that voice actors receive. But here at Hanna-
Barbera we know that inside each cartoonist beats the heart of a great actor.
The smell of the cel paint, the roar of the crowd!
Bill Burnett
Creative Director
Hanna-Barbera Cartoons, Inc.
GREAT CHARACTERS FROM GREAT CHARACTERS
It isn't hard to figure out that The Honeymooners was the inspiration
for The Flintstones. Fred is almost a cartoon Ralph Kramden and Wilma is a
Stone Age Alice. But wait, why doesn't Barney bear more of a resemblance
to Art Carney's Ed Norton? (You didn't know there would be a quiz, did
you?) The answer is, Hanna-Barbera had already tapped Carney's brilliant
characterization a few years earlier. Take a look at Yogi Bear, with his flat
hat and occasional vest. Listen to Yogi's voice in your head, "He-ey Boo-
Boo!" Now play back your memory of Ed Norton, "He-ey Ralphie Boy!"
Audiences were primed to love Yogi Bear because they already loved
Norton!
Here's an even tougher one, one you'll really have to travel back to the
late fifties to appreciate. Listen to Huckleberry Hound's voice in your head.
(Or better yet, watch the cartoons!) Picture his laid-back demeanor and
easy-going southern disposition. Nothing ruffles the feathers of this hound
of hounds. Who's Huck modeled after? Although today's audiences know
him as Matlock, and older ones among us will forever think of him as
Sheriff Andy Taylor, Andy Griffith had made quite a name for himself as a
Carolina comedian by 1958. His slow-talking style and southern charm
made Andy's comedy records very popular and a good choice as a blueprint
for the true blue cartoon pooch.
Baba Louie, the Mexican bull, was inspired by the comical twists of
the English language by a Cuban star of the period. Yes, Baba Louie is a
caricature of Desi Arnaz (bet you figured that one out.) Of course, before I
Love Lucy, Desi's big hit was a song called "Babaloo." And none other than
the inimitable (but often imitated) Jimmy Durante served as the prototype
for Doggie Daddy. You almost can't see one without thinking of the other.
There are many more that I'll let you ponder on your own. (Maybe
tracing the roots of Hanna-Barbera characters could become a popular party
game?)
Bill Burnett
Creative Director
Hanna-Barbera Cartoons Inc.
THE HOUSE THAT HUCK BUILT
Before The Simpsons , before Ren and Stimpy, before Beavis and
Butt-Head, there was Huckleberry Hound. A true blue canine with a flair for
fantasy, Huck was the star of the first show to smash the barriers against
television animation and emerge as a giant hit. And who smashed those
barriers for the sake of all future cartoonists? Bill Hanna and Joe
Barbera.
Without their inspired efforts, a genuine American art form -- cartoons
– might have died a pathetic death. Theatrical cartoons were over, the victim
of economic forces. Television was deemed too expensive to animate. But
then, a giant light bulb went off above Hanna and Barbera's collective head.
Limited animation, it said! (Luckily, it was a
talking light bulb.) Use fewer drawings!
And so The Huckleberry Hound Show was born. And Huck begat
Pixie and Dixie who begat Yogi Bear who begat Boo Boo who begat
Snagglepuss. A classic cavalcade of characters all born from one show.
And then the lodestone: The Flintstones, the world's first prime-time
cartoon sitcom, followed by The Jetsons, Top Cat, and the first cartoon show
to feature realistic humans, The Adventures of Jonny Quest.
Bill Burnett
Creative Director
Hanna-Barbera Cartoons Inc.
LAUGHING AT THE FUTURE
This year, as The Jetsons turns 33 year old, some of the show's
predictions about the future life bear reexamination. We are living in the
future right now (from a 1962 standpoint) and it does look a little familiar.
Technology has created jobs undreamed of in 1962 -- except by Hanna-
Barbera, of course. (George's job at Spacely's Space Age Sprockets is
"digital index operator." Don't tell me that doesn't sound like a 90's job
title!) Today, computers are in every business and in many homes. And
while they don't make our lives quite as easy as they do for the Jetsons, they
do cause some problems. Carpal Tunnel Syndrome has become a major
malady among 9-to-5 keyboardists. (George was ahead of his time even
with his health problems!) Robots like Rosie don't yet act like our maids,
but robots build our cars and make increasing inroads in our daily lives. The
Jetsons magical food preparation device, the Food-a-Rac-a-Cycle, has
almost come true in this age of microwavable instant meals. And picture
phones do exist today, even though they are not quite ready for the mass
market yet. Will we be walking the family dog on treadmills in the future?
Maybe not, but how many people work out on treadmills in the gym or in
their own homes? Sadly those jet-powered flying machines that people in
the 21st century use to get around town in have not yet materialized. (We're
still waiting. Make mine a red convertible.) And we don't yet live in mile-
high bubble domes like in Orbit City. (Not a bad idea though, considering
the flood problems we've been having in L.A.)
But much of the Jetsons world is with us already. Which is not to say
that the original Jetsons cartoon don't still make for entertaining viewing. In
their future world, there is no depleted ozone layer, no disappearing rain
forests, and no radioactive waste disposal problems. You know, escaping
into the world of The Jetsons seems like a better idea than ever.
Bill Burnett
Creative Director
Hanna-Barbera Cartoons Inc.
THE REVISIONIST HISTORY OF SCREEN COMEDY
We have our own theory about the absence of cartoons from the
comedy history books: they're the secret guilty pleasures of cinema and
television historians. Where Chaplin is considered "high-brow" art, cartoons
with cats chasing mice are too common, too "low-brow." But we'll bet that
when no one is looking, those people who write the history books don't sit in
plush screening rooms to enjoy the sophisticated wit of classic
movie comedy half as much as they curl up on the couch with a bag of chips
and watch Tom and Jerry, Bugs, Daffy, Huckleberry Hound or The Jetsons.
Just like the rest of us!
Bill Burnett
Creative Director
Hanna-Barbera Cartoons Inc.
HIDDEN TALENTS
The whole world knows the names of Hanna-Barbera. But what about
the names Takamoto, Hazelton, Singer and Benedict?
Bill Burnett
Creative Director
Hanna-Barbera Cartoons, Inc.
A trick question:
Ask any reasonably well-informed movie buff who the major film
composers are and you’re likely to get a pretty long list of names. You’ll
hear Mancini, Williams, Barry, Goldsmith, Bernstein, Steiner, Hermann...
Bill Burnett
Creative Director
Hanna-Barbera Cartoons Inc.
THE BRILLIANT INVENTION OF THE FIVE-O'CLOCK SHADOW
It's been a well documented how Bill Hanna and Joe Barbera saved
the dying art of animation by finding ways to make it possible on a
television budget. But here's one aspect you probably never noticed or at
least never understood. The real genius behind limited animation is the need
for a shave. Yep. Ever noticed how Fred Flintstone, Barney Rubble, George
Jetson and Officer Dibble always seem to have a five-o'clock shadow? Now
look at the animal cartoon characters. Yogi, Boo Boo, Quick Draw, Huck,
Dino, and on and on, all have muzzles or snouts of a different color.
Genius! Why? Think about this. How much of a TV cartoon is actual action
and how much is characters talking? And like they say, talk is cheap!
By giving the human and animals a distinct "mouth zone" Hanna and
Barbera were able to have the characters' head on a separate cel level and not
have to re-draw it over and over. The top cel level would contain just the
mouth movements. This enables countless dollars to be saved when
characters are in dialogue scenes. But once the action starts, all bets are off!
So next time you see a cartoon character who needs a shave, think
about a world without TV cartoons. Yikes! Thank goodness for Hanna,
Barbera and stubble!
Bill Burnett
Creative Director
Hanna-Barbera Cartoons, Inc.
WHO'S THE RAREST OF 'EM ALL?
Bill Hanna and Joe Barbera have been creating classic cartoons for
over fifty years now. Together, they've invented some of the best-known
characters in history and the largest cartoon library in the world. Tom and
Jerry , The Flintstones, Yogi Bear, The Jetsons , Huckleberry Hound, Jonny
Quest, Scooby-Doo, Quick Draw McGraw... These are only a fraction of the
classic characters who continue to cavort in Hanna-Barbera's 3,500 half-
hours of cartoon programming and more 350 series, specials and films.
Bill Burnett
Creative Director
Hanna-Barbera Cartoons, Inc.
SEVEN OSCARS AND COUNTING
They say that greatness is its own reward, but it doesn't hurt to have
seven Oscars, too. On my desk are five pages (count 'em, five) listing all the
awards that Bill Hanna and Joe Barbera have won over the years, from their
first Oscar in 1943 right through their two Emmies in 1994. Fifty-one years
of top honors, including more Oscars than any cartoon directing team in
history.
Is your mind boggled? Mine is. Who else out there has been called
up to podiums for more than half a century? On top of Oscars, there are
Emmies, including the first ever given to a cartoon show. (That was way
back in 1960 for "Huckleberry Hound.") Not to mention the Governors
Award from the National Academy of Television Arts and Science, the
Humanitas, Christopher, Golden Globe, Iris. And on and on.
Bill Burnett
Creative Director
Hanna-Barbera Cartoons, Inc.
CALLING DOCTOR FREUD
All the great art comes from deep within the soul. Keep this handy
theorem in mind, as I shine my Flintstone flashlight deep into the souls of
Bill Hanna and Joe Barbera for clues to the source of their finest work.
Uh huh... I see... Well, what do you know? What we have here are
two very different souls. Who'd ever think that soft-spoken, mathematical
Midwesterner (Hanna) would team up with a hard-driving Italian artist from
Brooklyn (Barbera)? And manage to keep this unlikely partnership going
through the storms of fifty years?
Aha! I got it! Think of all those legendary teams of cartoon characters
that Hanna-Barbera created -- teams of natural adversaries who somehow,
despite all their differences, were buddies, too. Tom and Jerry, Ruff and
Reddy, Pixie and Dixie and Mr. Jinx... Could these teams of battling buddies
have been -- dare I say it? -- autobiographical?
Well, maybe not. I have it on good authority that Joe never hit Bill on
the head with a frying pan. But still, it's on intriguing theory, n'est pas?
Bill Burnett
Creative Director
Hanna-Barbera Cartoons, Inc.
***DRAFT***
But please be warned: this is only our First List of Firsts. Because
now that Hanna-Barbera is turning out the biggest commitment to original
animation in over thirty years, with 48 new short cartoons debuting on the
Cartoon Network, we intend to
be adding many more Firsts to our List.
1. Bill Hanna and Joe Barbera are the first (and only)
cartoonists in history to receive seven Oscars.
2. Ruff and Reddy was the first animated television show to ever appear
on television.
Bill Burnett
Creative Director
Hanna-Barbera Cartoons Inc.
UNLIMITED IMAGINATION
by Fred Seibert
President, Hanna-Barbera Cartoons, Inc.
&
Bill Burnett
Creative Director, Hanna-Barbera Cartoons, Inc.
But in the mid fifties none of that mattered anymore. Television had
arrived. The theatrical market for cartoons had dried up. And MGM, where
Hanna and Barbera had risen to the rank of executive producers, suddenly
closed up shop without warning. Overnight, Bill and Joe found themselves
out of work, along with virtually all of their cartoon colleagues in
Hollywood.
Shooting stars
And to keep the entertainment value of their TV cartoons high, Hanna and
Barbera turned up the burners on their imaginations.. With Tom & Jerry
they had worked with the same characters over and over, dreaming up
different cat and mouse gags each time. Now these men in their late forties
responded to the challenge of their careers by bringing out an avalanche of
vivid, hilarious, new cartoon stars and stories. Limited animation coupled
with unlimited imagination completely changed the rules of the game.
Ruff & Reddy, Huckleberry Hound, Pixie & Dixie, Yogi Bear, Quick
Draw McGraw (and his alter ego El Kabong), Top Cat, Magilla Gorilla,
Snagglepuss, Scooby Doo, The Jetsons, Jonny Quest, Space Ghost ...the list
goes on and on. (Oh, and let’s not forget the most successful television
cartoon team of all time, The Flintstones.)
In the list above I’ve barely scratched the surface of what sprang from the
imaginations of Bill Hanna, Joe Barbera, and the other great cartoon talents
they assembled at their studio in the fifties and sixties.
This year, as The Jetsons are about to turn 34 years old, some of the
show's predictions about life in the future bear reexamination. We are living
in the future right now (from a 1962 standpoint) and it does look a little
familiar. Technology has created jobs undreamed of in 1962. (George's job
at Spacely's Space Age Sprockets is "digital index operator." Don't tell me
that doesn't sound like a 90's job title!)
Music was our inspiration, our jumping off point, you might say. I
used to time out cartoon gags using musical bars and staves, because the
timing in cartoons is so crucial to getting the laugh. “Timing” is a musical
concept, really. A seven minute cartoon can be seen as a short piece of
music, with pacing and dynamics that can almost be charted, like a musical
score. My love and understanding of music has served me well throughout
my cartoon career, because it helped me nudge the laughter out of an
audience.
When it came time to write a theme song for one of our new shows,
Hoyt and I would get to work. The lyrics almost always came first. I would
compose the lyrics in my head, jot them down on a sheet of note paper, give
Hoyt a call at his home, and recite them over the telephone. Invariably, Hoyt
would call me back within a day or so with a musical composition and sing
the thing to me, complete with my lyrics. Hoyt’s ability to create a bright,
lilting melody to match my lyrics time after time was to me nothing short of
astonishing.
Even today, music plays an integral part in the creation of cartoons for
me. I recently wrote one more title for a short I created for the Cartoon
Network. It’s about a little duck called Hard Luck Duck who is always
getting into trouble, and his best friend Harley, an alligator who rescues him.
If you get a chance to see it, listen for the music. And see if it doesn’t play a
part in nudging a laugh out of you.
TEX AVERY INTRODUCTION by Bill Hanna
Ride sharing to work during World War II was an earnest civilian attempt to
conserve gas rations and assist with the national war effort. There were
several people working at MGM living in the San Fernando Valley at the
time, and a few of us decided to make the daily trip across the Santa Monica
Mountains to work together.
Of the handful of folks who joined our little carpool unit every day, only Tex
Avery and I owned cars. Every morning, one of us set out and picked up the
other and then made the rounds collecting passengers.
Any ride with Tex Avery, of course, was a cinch to be one of sidesplitting
hysteria. Tex's backseat humor was as spontaneously zany as any of his
wildest cartoons and often a lot racier. Tex exerted a tremendous
professional influence over my career in animation. He was looked up to by
just about everyone in the industry and was held in high regard as an
exceptionally gifted animator and director. Although he was only a few
years older than myself, he had already established himself as a kind of
prodigy in our business with his distinctive style of exaggerated timing and
direction of frenetic madcap Merrie Melodies cartoons at Warners. Like a
lot of other pioneers in the cartoon business, Tex Avery remained a kind of
unsung hero in our business for many years to just about everyone except his
colleagues. But to me, he is one of the biggest personalities in cartoon
folklore that ever lived.
I admired Avery for his phenomenal sense of timing along with his
imaginative flair for wild gags which combined to make his cartoons among
the funniest ever produced in the business. Whenever time permitted, I
would take the opportunity to run one of Avery's latest cartoons and study it
on the movieola, frame by frame, in order to hone my own skills in timing.
One of the best assets that Hanna-Barbera Studio ever produced for Joe and
me was the opportunity to reunite with many of the veteran producers and
animators with whom we worked back at MGM. Both Tex Avery and Friz
Freleng joined us at H-B as directors of Saturday Morning cartoon shows,
and the reunions with these guys, I'll tell you, really helped keep the creative
excitement of this business as vivid for me as it was when I was a kid back
at Harman-Ising.
When the end finally came for my old friend and past mentor on August 26,
1980, it marked not only the passing of a great pioneer in animation, but for
me, signaled an epoch symbolic of the passing of an era.
The End.
HannaBarbera Positioning Essays.