|
|
|
Where did the decision that Fritz was going to be your first feature come from and how did you pull your crew together?
|
I loved what was happening in the underground – comic underground – I had written Heavy Traffic- but Hollywood loves pre-sold titles – and crumb came the closest to my own work – and knowing Hollywood would have no idea that the crumb comic had only sold about 30,000 copies and the animals were al little last chancy then humans (sillier pornography to these people) I Very happily went with Fritz. Directors are always picking up other peoples material to work with. I think Crumb is a great artist. But I would never let him play on my baseball team.
I had been directing at Terrytoons and Para – my first crew came with the guys I used to hang with at Terry and Para – and had a lot of friends that wanted to work ; Johnny Gent, Marty Tarris, Jim Tyre, J Vita, Nick Defury, Ira Turek, Cosmo Anzilotti, Al Sheridan, Larry Silverman, Dave Tendler, .- NYC people. Just Vita and Turek came to LA – the rest did not want to leave – But I did keep these animators freelancing from NY to the end of picture – because I was so familiar with them it was no problem to me. The California animators were unbelievably great – and I WAS startled by their abilities. But the reason I went to the coast – the real reason – the union came down on me – all the animation commercial houses that ran the business in NYC – thought that I would tie up every NY animator. And assistant animators, with steady work – so they would have no freelance pool to pull from when the jobs came in. They were right – I kept animators busy year round for the next 25 years.
I had no choice but to move out to LA -
NY lost a hell of a lot of animation.
|
|
| Rate this file (current rating : 3.4 / 5 with 10 votes) |
|
|
|
|
|
|
