Update on "The Art of Jay Ward Productions" book

I thought I would provide just a little update on my next book, "The Art of Jay Ward Productions" for the few followers of this blog.  The book covers the years from 1958 through 1984, and will include pages of artwork from virtually every show the studio produced as well as lots of never-before-seen art from unsold series.  I'm even hopeful that the cereal companies will grant permission to use images from many of the commercials Ward produced for them over the years, but it's been a slow process so far.
     The book's scheduled release has been pushed back from October 2013 to February 2014 in order to coincide with the release of the Dreamworks feature, Mr. Peabody and Sherman.  While it provides me with a little more breathing room, there is still much to be done.  At this point, I anticipate the book having more pages and artwork than even the limited edition of Mr. Magoo's Christmas Carol.
     The manuscript is now complete and has gone through the editorial pass.  I'm about halfway through rough layout, which has been a time-consuming job simply because I've amassed over 4000 images over the last six months, with more pouring in each month.  I'm still on the lookout for original production art featuring Rocky and Bullwinkle, Dudley Do-right and Tom Slick to fill out a few blank spots in the book.  I'm open to any other interesting finds so if anyone out there has Jay Ward art hiding in their collections or knows anyone who collects Ward art, please contact me at your earliest convenience.  Although I have many crew photos, I'm also on the lookout for more, so if you know someone who worked for Ward or if you're a family member of someone who worked there, I'd like to hear from you.  Below is a list of people I need photos for:

Jim Hiltz

Norm Gottfredson 

Gerry Ray

Joe Montell

Frank Hursh

Ellie Bogardus

Bill Littlejohn

Herman Cohen

Art Babbitt

Bob Maxfield

Fred Madison

Frank Smith

 

The 50th Anniversary Airing of Mr. Magoo’s Christmas Carol on NBC

Having been perhaps the biggest, if not sole, cheerleader for this classic special for the last 5 years, I have to say I can’t help but feel betrayed by what NBC did to it for its 50^th anniversary airing.  Based on the interviews I gave to promote the broadcast, a new viewer would certainly look askance at what was presented and wonder if I had all my marbles.  It was perhaps the clumsiest and most heavy-handed editing job I’ve ever seen, providing no introduction to the story and no satisfying conclusion.  Songs were hacked midway through, story points edited out and considering that the current generation is unfamiliar with the character of Mr. Magoo, the lack of any introduction to the character is hard to fathom.  How is a new generation supposed to embrace this classic special?

The seemingly endless barrage of commercials clumsily placed into the special made the narrative almost incomprehensible.  Because the story was so severely hacked up, cutting back from long breaks made it hard to remember where we had left off and how the new scenes related to the previous scenes.  If this had been just one more seasonal presentation of the special, it could perhaps be dismissed but considering that it was the 50^th anniversary of the special and the first time it had aired on broadcast television in 45 years, it’s inexcusable.

I think perhaps the saddest part of the whole ‘event’ was the commercials which seemed to mock the very spirit of the story and to show just how far the culture has fallen in the last 50 years.  If Lee Orgel had been worried at the time about whether or not his special was in good taste, he would have been appalled at the taste exhibited in most of the ads interrupting the show.  In fact, the overwhelming feeling from the airing was that the special was interrupting the commercials, which were clearly the point of the broadcast.  Perhaps what the airing helped to demonstrate is the continuing decline of the relevance of broadcast television.  It was certainly no way to celebrate the special.

The Recording of Mr. Magoo's Christmas Carol, Pt. 2

The studio entrance in the 1940s

In a previous post I discussed the history of the facility where the dialogue sessions for Mr. Magoo’s Christmas Carol took place, Ryder Sound Services.  In honor of the special’s 50^th anniversary today, we will be visiting the facility where the songs were recorded, the Scoring Stage on the Samuel Goldwyn lot or Stage 7 as it was also known.

The west entrance of Stage 7 today

The Goldwyn lot has been around since 1917, and has been variously known as the Hampton Studios, the Pickford-Fairbanks Studio, the  United Artists Studio and for most of its history, the Samuel Goldwyn Studios.  For a period, Warner Bros. owned the lot, calling it Warner Bros. Hollywood but today, it’s known simply as The Lot.  Some of the features shot there include the silent version of Robin Hood, West Side Story, Some Like It Hot and Porgy and Bess.  TV shows to film there, either on the backlot or on stages include The Fugitive, Dynasty and Sid and Marty Krofft’s, Sigmund and the Sea Monsters.  The backlot no longer exists and has been taken over by an electric substation, partially seen in the upper right corner in the photo below.  

View of Stage 7 from the adjacent parking structure

For 45 years, the Goldwyn scoring stage was considered the premiere orchestral recording facility in the motion picture industry.  Lee Orgel had aimed high when he went looking for songwriters for the first animated Christmas special, snagging two of the premiere Broadway songwriters of the time, Jule Styne and Bob Merrill.  He continued in that same vein with his choice of recording venues, using first Ryder Sound for the dialogue sessions and then the scoring stage on the Goldwyn lot for the day-long song recording session.  Walter Scharf later returned to the stage to record the bridging score with a 27 piece orchestra.  (More photos from the song recording session can be seen in my book.)

Jim Backus, Joan Gardner, Jule Styne, Laura Olsher, Royal Dano, Paul Frees and Walter Scharf

The stage had a hardwood floor which was highly prized for the recording of music and, at over 8000 square feet, was large enough to handle a 60+ member orchestra as well as the addition of choral groups if needed.  It was sought after by many composers, and the songs and score for the Christmas special joined an illustrious list of movie scores recorded at the facility—The Magnificent Seven and The Great Escape by Elmer Bernstein, Marnie and Torn Curtain by Bernard Herrmann and both The Wizard of Oz and portions of Gone with The Wind.  Frank Sinatra, who shot The Manchurian Candidate and Guys and Dolls on the lot, recorded The Concert Sinatra album on the stage in 1963.  (Sinatra had his own private bungalow on the lot for 35 years, which still stands today.)  Pictured below are 7of the Oscars awarded to the facility for Best Sound.

By 1972, the scoring stage had fallen into disuse and served as studio storage.   In 1974, a fire on the Sigmund sound stage destroyed that stage as well as several others.  While some of the stages were rebuilt, others were not and the decision was made to convert the former scoring stage into a shooting stage, ripping out the hardwood flooring.  Today, the stage is home to one of the largest cycloramas in Hollywood.  A ‘cyc’, as it’s known in industry jargon, is used primarily for special effects shots in order to avoid the joint where the walls meet the floor and provides a sense of infinity with a concave curve joining the horizontal and vertical planes.

I asked the singer for Young Scrooge, Marie Matthews (pictured above), to reminisce at the facility where she recorded her songs 50 years ago.  We were granted permission to visit the lot and sound stage by studio manager, Dusty Barbee and were guided by Security head, Dave Del Prete, who is also the lot’s unofficial historian.  Much has changed on that stage in 50 years and the presence of the huge white cyclorama which spans the entire length and almost the entire width of the room is overwhelming.  In the shot above, Marie is standing just a few feet in front of where Sinatra is pictured below.  

With the aid of photos taken during Sinatra’s recording session for The Concert Sinatra album, Marie was able to remember that the songs were recorded in the center rear corner of the above photo, where most of the musicians are sitting.  However, due to the position of the cyclorama, we were unable to visit that portion of the stage.  She also recalled that Jim Backus, suffering from a bad back, would close the lid of the grand piano between takes and lie down on it for relief.   As photos from the song session attest, the space didn’t seem nearly as large as it does in the photo above but the stage was neither as brightly nor as fully lit as in this shot, making it seem less imposing.  Recording configurations that no longer exist and the use of sound dampening isolation booths around each of the singers would have also further constricted the space.

Jack Cassidy, Marie Matthews and Joan Gardner rehearsing Lord's Bright Blessing

Marie had not been on the lot since she recorded the songs in 1962 and was delighted to revisit the stage and the facilities.  For me, standing in the room where two of Elmer Bernstein’s most iconic scores were recorded was inspiring but being there with Marie Matthews and knowing that the songs and score for Mr. Magoo’s  Christmas Carol made the moment truly special.   Those songs and score made their debut fifty years ago tonight.  Be sure to catch NBC’s airing of the special on Saturday, December 22^nd at 8 PM.  

Darrell Van Citters and Marie Matthews outside Stage 7

Special thanks to Dave Del Prete for taking time out of his busy day to show Marie, her daughter Melinda and me around the stage and lot, Dusty Barbee for allowing us access to the facility and to Heidi Ewart for making the arrangements.

Mr. Magoo’s Christmas Carol soundtrack

As part of the 50^th anniversary edition of the book, I had proposed including a soundtrack which was to have featured the film’s song score, Styne & Merrill’s demo recordings of their tunes and Walter Scharf’s underscore.  The idea was well received and Classic Media was on board so I  built the book around this proposal.  The songs had been released on iTunes back in 2010 and the long lost Overture had been discovered, too, so it seemed like the project would fall into place and finally, the long awaited original film soundtrack would be released, 50 years after the film had made its debut.  

Unfortunately, when the digging really began in earnest, it was discovered that the only musical material that existed in the vaults were the previously released songs and Overture.  For those with an attuned ear, it’s clear that the iTunes-released songs are from the original recording session; the final standalone versions of the songs cannot be located.  Equally disappointing, the score didn’t exist in any form whatsoever; not the original scoring session takes, not as a standalone score, not even as a mixed music and sound effects track commonly used for foreign language dubbing.

It was, and is, a major disappointment.  What seems likely is that the elements are mislabeled or filed incorrectly in the vault.  According to a former executive at UPA, the elements were delivered when the assets were purchased.  At some point in the future, when the missing elements are located, the intent is to still release an original soundtrack.  Until that day, we’ll have to content ourselves with the track that currently exists on the DVD releases.

Bob Singer, background painter

In a post from several years ago, I profiled Bob Singer, one of the production designers on Mr. Magoo’s Christmas Carol, who laid out several key areas of the film including the prologue on Broadway and the opening sequence in Scrooge’s office.  In his capacity as a layout artist, he was responsible for drawing the characters and their environments but had nothing to do with how they were interpreted in color.  However, prior to joining UPA, Bob was employed at Warner Bros. Cartoons as a background painter.  He did most of his painting in Bob McKimson’s unit but would occasionally swing into action doing both paintings and layouts for other directors, like Chuck Jones and Abe Levitow.  He was about to become Friz Freleng’s layout man when UPA offered him more money.

During my consultation for I Say, I Say... Son!, the book on Looney Tunes director Bob McKimson, I reviewed a number of Foghorn cartoons and came across one featuring Singer’s work as a background painter.  Below are some frames from the cartoon, Crockett Doodle Doo, highlighting Singer’s sense of color, with layouts by animation legend, Bob Givens.  Click on each image to enlarge it:

You can see the complete cartoon here but if you want to see a nice print where you can fully appreciate the color and design work, order it here.

New book on Bob McKimson!

I wanted to let all my readers know that there's a new tome out on Robert McKimson, probably the most overlooked of the main Looney Tunes directors.  The book, I Say, I Say...Son!, written by his son, Robert Jr., tells the story of not only his father’s life and career but also covers the stories of his uncles, Tom and Charles, both of whom were also deeply involved in Warner Bros. Cartoons.  Tom was a layout man and character designer in Bob Clampett’s unit, the first person to draw Tweety Bird and Beaky Buzzard and Chuck animated on many of his brother’s cartoons through the late 40s and into the early 50s.

Under Bob’s direction, the world was introduced to Foghorn Leghorn and the Tasmanian Devil, both integral parts of the Looney Tunes pantheon.  Bob was an amazing draftsman but, by all accounts, was also a quiet and unassuming man and consequently lost many of the political battles waged by other directors.  He often ended up with castoff talent, artists that other directors maneuvered out of their units, yet many of his cartoons are viewed as classics to this day.  Hillbilly Hare with its violent square dance routine (inspired by the cartoon studio’s embrace of square dancing by a large portion of its staff), Rabbit’s Kin (the introduction of Pete Puma with Stan Freberg’s unforgettable vocal characterization) and Little Boy Boo (with the silent but methodical Egghead Jr., the perfect foil for Foghorn Leghorn’s incessant jabbering) as well as many others. 

While the book has the requisite limited edition images, created from images drawn by Bob before his untimely death in 1977, it’s also chock full of great vintage art, most of which has never been seen before-animation drawings from some of Bob Clampett’s films, character layouts for a number of Bob McKimson’s own cartoons and even his lobby card drawings, done to help publicize his films in theaters.  There’s even a section on Tom McKimson featuring art from his Western Publishing days.  Even if you’re familiar with the history of Warner Bros. cartoon studio, there is still much to be gleaned from the text (like how Bob became such a prolific animator, doing 2-3 times as much footage as any other animator in house).  I think it’s worth picking up just for both the art and the history of the brothers.  However, in the interests of full disclosure, I was asked to consult on the book as well as write an introduction for it. You can buy it here.

Mr. Magoo's Christmas Carol back on NBC!

Classic Media informs me that NBC, the original broadcaster for Mr. Magoo's Christmas Carol, will be showing the special during prime time on Dec. 22 at 8 PM in honor of its 50th anniversary.  Much has changed on television since 1962 and one thing is length.  A broadcast hour then was 52 minutes with the balance being taken up by commercials.  A broadcast hour today is 44 minutes so expect to see some cuts made in the story, perhaps the absence of a song as well.  However, it's nice to see a national broadcaster revive the special after so many years of its absence from the air.  Thank you Classic Media and NBC!