| 1 | ->''"The early days of animation in UsefulNotes/{{New York|City}} were an exciting time. The business attracted a strange breed--signpainters, salesman, cartoonists--most of them failures. The rule was: if you could hold a pencil, you could animate. But we were a dedicated lot. We were pioneering a new industry, and having a vast amount of fun doing it. And money. As a kid, I was making a hundred and fifty dollars a week. Some animators made four hundred dollars a week. Big money in those days."'' |
| 2 | -->--Fleischer and Disney veteran '''Dick Huemer''', reminescing about his early days. |
| 3 | |
| 4 | ->''"Plots? We never bothered with plots. They were just a series of gags strung together. And not very funny, I'm afraid. Usually there were three animators on a cartoon. If we were working on a Mutt and Jeff cartoon, one of us might say, 'Let's make a picture about Hawaii.' Okay, fine. So each of us would work on a third of the picture. A couple of weeks later, we'd make a hookup. 'Where have you got 'em?' I'd ask. The other animator might have Mutt and Jeff on a surfboard at the end of his sequence. So I'd begin mine on a surfboard."'' |
| 5 | -->--'''Dick Huemer''' |
| 6 | |
| 7 | ->''"Although anything was possible in the world of the cartoonist, we had to discover what we could do bit by bit. The early artist didn't think of defying gravity. It was discovered by accident."'' |
| 8 | -->--Disney veteran '''Ted Sears''', referring to Albert Hurter creating a gravity-defiance gag in a Mutt And Jeff cartoon by accident. |
| 9 | |
| 10 | ->''"There was such freedom; in fact, invention was needed. It used to bewilder me that enough invention wasn't made in the story that we could go ahead and draw. It was so hard to sit there. It was easy to invent the little business, the little stuff, but to try to analyze certain actions at times seemed very, very difficult, because we had no reference to live-action. Our only study was the Lutz book. That, plus Paul Terry's films. As Rudy has said, we used to get these at the exchange through a girl who worked there; and being that there was no sound, we could treat these things rather freely, and take scissors and clip out maybe 50 or 75 feet; they needed editing anyway. They'd just run and run and run. If they had Farmer Al [Falfa] swimming, he would swim forever, and no stops except to turn around and swim back the other way. We'd prune them pretty freely and keep these strips of film as studies. That's the way we learned to animate; we learned a lot from Terry. Of course, no one of us knew much at that time. We couldn't have, we had no instructors."'' |
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