A story writer, Larry Riley, gave me these drawings back in 1972, but he never told me the film’s title.
___________(Click images to enlarge.)
Larry Riley was a wild guy. On my first commercial job at Phil Kimmelman & Ass. he and I were the inbetweeners working side-by-side on some of the Multiplication Rock series. Larry had had a long and busy career in animation.
He had been an asst. animator at Fleischer‘s, a story writer at Paramount, an animator at many studios. Like many other older animators, he ended up doing anything – including inbetweening at Kimmelman’s for the salary and the union benefits.
The stories Larry told me kept me laughing from start to finish. There was no doubt he had been a writer for years. In a not very exciting job, it made it a pure pleasure for me to go to work every day to hear those hilarious stories. I can’t see Lucky 7 without thinking of laughing. It wasn’t the stories per se that were funny, it was his take on it.
Larry told me of his years at Fleischer’s in Florida where he was an assistant. He and Ellsworth Barthen shared a room, and, according to Larry, had lined one of the walls of their room with empty vodka bottles. Now, I’ve heard of frats doing this with beer cans, but doing it with vodka bottles requires some serious drinking. One of the many times I got to work with Ellsworth, I asked him about the story, and he reluctantly backed it up telling me what a wild guy Larry was.
Larry also told of a 3D process he’d developed for Paramount in the 50′s when the movies were all going 3D. I believe there were two Paramount shorts done in this process: Popeye: The Ace of Space and Casper: Boo Man. Larry offered to give me the camera on which he shot these films – he had it stored in his basement. He was afraid it would get thrown out when he died. I didn’t have room for it.
My regret; I still hear the sadness in Larry’s voice.
(When I originally posted this in 2006, Larry’s grandson, John, wrote to tell me that another collector took possession of the camera and kept it from destruction.)
The animator who drew these is Tom Johnson (he signs the second one), and they were approved by the director Isadore (Izzy) Sparber per the first one.
The drawings are deteriorating, obviously. The pan above uses a lot of glue to hold it together, and that’s eating away at the paper.)
– This is the final model I have from Heap Hep Injuns a 1950 Paramount cartoon. Tom Johnson drew this image, prior to animating it, and Izzy Sparber directed the film. I’d heard some stories about I. Klein regarding this film, though he’s not credited, so I suspect he may have had something to do with model approvals, as well. Actually, he may have been the “Izzy” referred to on the pan posted yesterday.
(click on image to enlarge.)
I was never a big fan of the Paramount cartoons. Growing up in New York, we’d always get Paramount or Terrytoons shorts playing with features in the theaters. Only rarely did a Warners cartoon or a Disney short show up. (I don’t think I saw a Tom & Jerry cartoon until I was 17 when they started jamming the local TV kidshows with them.)
Saturdays there was always the placard outside the theater advertising “Ten Color Cartoons”. A haughty child, I naturally wanted to know why they didn’t show B&W cartoons – that’s what we saw on television, and I usually liked them more. I must have been insufferable for my siblings to put up with me.
The starburst at the beginning of the Mighty Mouse cartoons always got an enormous cheer in the local theaters. I don’t remember ever hearing that for Popeye or Harveytoons.