By Mark Whitehead
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Extra info for Animation (Pocket Essential series)
Through equally good fortune, the Lantz Studio didn’t mind what Avery did, so long as the shorts brought in revenue. Consequently, Avery was allowed to tear up the rule-book and do whatever he felt like. At Warners, he would habitually carry papers around with him so he would look like he was working, so great was his fear of being sacked. This was despite the fact that no one was more highly valued at the studio. Avery moved to Warners in 1935, after Lantz refused him a pay-rise. He persuaded Leon Schlesinger to hire him as an animation director.
Much play has been made that Avery never created a long-running animated character and that the one char59 Animation master 20/4/04 3:23 pm Page 60 MARK WHITEHEAD acter that he did create (Screwy Squirrel) he disliked so much that he actually killed him off onscreen. But Avery did create characters: Droopy the depressive dog (Poodle? Bloodhound? In The Chump Champ he’s one, In NorthWest Hounded Police he’s the other). He also produced more iconic creations such as the eyeball-ejaculating Wolf forever banging his head against the table in a frenzy of sexual excitement, and the object of his affections, be she Swing-Shift Cinderella or Red-Hot Riding Hood, the curvaceous babe with a hard edge.
When Walt refused, Mintz pointed out the contract’s terms; Universal owned the rights to Oswald. Further, Mintz was going to hire Walt’s staff to continue the series, with or without him. He carried out his threat and produced six Oswald cartoons before, satisfyingly, he was put out of business when Laemmle stepped in and handed the series to Walter Lantz (who would later find fame as the creator of the amusing but irritating Woody Woodpecker). Taking the Mickey Now comes a sizeable chunk of Disney mythology.