History Creator / MaxAndDaveFleischer

* WesternAnimation/{{Popeye}}: While the Fleischer brothers didn't create the character (''Popeye'' was a popular newspaper comic at the time) they helped mold and immortalize the character into what he's recognized as today. Popeye is also the most successful brand of shorts the Fleischers ever produced, even surpassing Betty Boop in popularity during his prime.
** ''WesternAnimation/PopeyeTheSailorMeetsSindbadTheSailor''.
** ''WesternAnimation/PopeyeTheSailorMeetsAliBabasFortyThieves''.
** ''Popeye the Sailor in: WesternAnimation/AladdinAndHisWonderfulLamp''.
* ''ColorClassics'': A series of ''SillySymphonies'' clones made by the Fleischers, due to pressure from Paramount themselves.

* ''The Raven'': An extremely loose two-reeler adaptation of Edgar Allen Poe's classic poem.

* {{Popeye}}: While the Fleischer brothers didn't create the character (''Popeye'' was a popular newspaper comic at the time) they helped mold and immortalize the character into what he's recognized as today. Popeye is also the most successful brand of shorts the Fleischers ever produced, even surpassing Betty Boop in popularity during his prime.

** ''WesternAnimation/PopeyeInAladdinAndHisWonderfulLamp''.

Paramount however was actually willing to return Max's shares for the studio, however Dave's moonlighting made Paramount convinced that the studio should be a subsidiary without Max's involvement and the studio was re-organized as Famous in the summer of 1942. Dan Gordon, and Izzy Sparber survived the massive layoff Paramounts have after they began to clean house following Max and Dave resigning from the studio. Seymour Kneitel was creatively put in charge to intimidate Max not to sue Paramount after being ousted from his own studio.

* ''ScreenSongs'': A series of sound cartoons centered around loose plots, serving as the music videos of their day, featuring Max's [[FollowTheBouncingBall famous bouncing ball]] sing-a-longs. This series would later be revived by FamousStudios.

* ''SupermanTheatricalCartoons'': The first nine shorts, at any rate (the other eight were handled by their "successor" outfit, Famous Studios)

* [[OutOfTheInkwell Koko the Clown]]: The original star of the Fleischers, starring in the [[RogerRabbitEffect Live Action/Animation]] blending ''OutOfTheInkwell'' series. He lasted well into the sound era, occasionally co-starring in shorts with Betty Boop.

Max And Dave Fleischer are two of the most prolific ([[NeedsMoreLove sadly, mostly unknown to today's audiences]]) men to ever work in the HistoryOfAnimation. Getting their start off in the [[TheSilentAgeOfAnimation Silent Era]], they pioneered one of the earliest attempts at blending [[RogerRabbitEffect live action and animation]] with their hit ''WesternAnimation/OutOfTheInkwell'' series, starring Koko The Clown. They were also a top of the line animation studio in the 1930s and early 40s, producing such landmark hits like ''WesternAnimation/BettyBoop'', the ''{{ComicStrip/Popeye}} The Sailor'' cartoons, and eventually the ''WesternAnimation/SupermanTheatricalCartoons''.

Max wed Essie Goldstein in 1905, and subsequently had Ruth Fleischer in 1905. Max began his commercial art career at the ''Brooklyn Daily Eagle'' following an encounter with the supervisor there. Max was offered two bucks an hour just to study the artists. Realizing talent when he spotted it, he offered to give Max that salary for running errands; eventually working his way up the career ladder and personally creating his own comic strips, such as ''E.K. Spoosher'' and ''The Kodak Fiend''. Many of the central themes of these strips were rebelling against higher levels of authority, and much of his work was topical, socially conscious and focused on the poverty conditions in areas such as [[NewYorkCity Brownsville Brooklyn]]. Much of his experience in New York cartooning circles had a profound influence as to how he approached animation decades later as a medium; that it was an outgrowth of newspaper cartoons. During his tenure at the Brooklyn Daily Eagle, he came into contact with artist [[Creator/BrayStudios J.R. Bray]], who specialized in decorating the panels for many of the artists strips.

While the Fleischer brothers and their star characters have long since passed, their influence in the medium of entertainment must not be underestimated. Besides the aforementioned examples of Miyazaki and DCAU, the Fleischers, along with Disney were a heavy influence on anime legend OsamuTezuka, whom would take many of the Fleischer's techniques (and their limited animation) and integrate it into his own style in his manga and anime like ''Anime/AstroBoy'' and Kimba the Lion-stuff which would go on to make the anime industry into what it is today. Animation legend Creator/BobClampett of WesternAnimation/LooneyTunes fame also seemed to take a lot of inspiration from the Fleischers, taking many a queue from them by making his cartoons as wacky and surreal as possible, as well as intergrating music in a very similar way Fleischer did into his cartoons. RenAndStimpy creator JohnKricfalusi also cites the Fleischer brothers as a major influence in his works.

While the Fleischer brothers and their star characters have long since passed, their influence in the medium of entertainment must not be underestimated. Besides the aforementioned examples of Miyazaki and DCAU, the Fleischers, along with Disney were a heavy influence on anime legend OsamuTezuka, whom would take many of the Fleischer's techniques (and their limited animation) and integrate it into his own style in his manga and anime like ''Anime/AstroBoy'' and Kimba the Lion-stuff which would go on to make the anime industry into what it is today. Animation legend BobClampett of WesternAnimation/LooneyTunes fame also seemed to take a lot of inspiration from the Fleischers, taking many a queue from them by making his cartoons as wacky and surreal as possible, as well as intergrating music in a very similar way Fleischer did into his cartoons. RenAndStimpy creator JohnKricfalusi also cites the Fleischer brothers as a major influence in his works.

* HeAlsoDid: Dave Fleischer also did [[http://www.bing.com/videos/watch/video/lets-all-go-to-the-lobby-trailer-canon-royalty-free-clips/3e1d2ddd5f9795b81ae53e1d2ddd5f9795b81ae5-699545748871?q=youtube+lets+all+go+to+the+lobby&FORM=VIRE2 this iconic Theater Snipe.]]

Production for Inkwell began in 1916, around the same time that Max had his second child, eventual film director Richard Fleischer. Production barely started when Max found himself drafted into the army, halting production for a couple of years, working at Fort Sill Oklahoma while producing training films for the Military. Once ''Out of the Inkwell'' began its monthly releases in April of 1919, the series quickly became a critical and audience hit, and ''Inkwell'' just as soon as it began found itself as Bray's biggest breadwinner.

Max began recruiting a crew of animators; names such as Art Davis, Burt Gillett, David Hand (the former becoming a top disney director in the 30's, the latter who would be the second highest authority at the Disney studio) all worked at Max's studio during the twenties. However, the studio truly prospered when they recruited former Barre animator and lead creative force on the ''Mutt and Jeff'' animated series Dick Huemer worked on in 1923. Dick Huemer's knack for surreal, unconventional brand of humor is what made Out of the Inkwell some of the most unique animated entries of the 1920's. Huemer's draftsmanship was also widely regarded in the industry, to the point that Max believed that he shouldn't wear out his best artists and allow his assistants to draw the in between frames, while Huemer only handled the key poses. Thus one of the most effective production methods, the

Unfortunately, Red Seal was not a commercially successful venture, and the studio found itself in bankruptcy in the summer of 1927. This came right around the period that Max pioneered animated lip-synch in Song Cartunes final entry ''By The Light of the Silvery Moon''. Max losing much of his finances in the venture couldn't pay back the film labs to receive his negatives for upcoming films, so Alfred Weiss paid the films labs to return the negatives and took over management making Max and Dave salaried employees instead of leaders of their own company. Alfred Weiss brought Max into contact with Paramount who would distribute Max's work until his company was acquired by them in June of 1942. The film series was re-titled ''Inkwell Imps'', and would continue to be released until 1929 when the company folded. Alfred Weiss resurrected ''Song Cartunes'' briefly in 1928 where ''My Old Kentucky Home'' was produced [[note]] it is largely mistaken as the Fleischer's cartoon when in actuality it was an entry under Weiss.[[/note]] The tension between Max Fleischer and Alfred Weiss made him absent from Out of the Inkwells final films, Inkwells last entries have a series of Weiss employees trying to emulate Max's role as the master cartoonist. Max, after leaving Weiss, managed to re-organize Out of The Inkwell films in 1929 as ''Fleischer Studios'' which is what the company is better known by, Max's friend Frank Goldstein provided studio space in Long Island City free-of-charge as Max began to rebuild the company from scratch and resurrected his Song Cartune series as ''ScreenSongs'' which were very cheap to produce. Max re-associated with Paramount and exploited the fact that him and his staff had added experience with sound animation in comparison to the rest of their competitors, which is a large reason why Paramount decided to distribute them.

Screen Songs began in January of 1929, Max decided to expand on his experience with Lip Synch by dedicating {{Talkartoons}} exclusively to that purpose which began with ''Noah's Lark'' in October of 1929. Talkartoons had no central character, like many Flesicher productions the shorts were based on successful gag structure and the characters actions [[MickeyMousing timed to the musical track.]] After several one-shots they would eventually settle on Bimbo, a cigar wielding, sarcastic, chauvinist personality whose design was based on Mickey Mouse's. Much of what Bimbo actually was, was a [[ExPy redesign]] of Fitz from Out of the Inkwell; at least GrimNatwick's personal interpretation of the character. After Huemer accepted a job at Mintz producing the ''Scrappy'' shorts, Natwick became the driving force for Fleischer Studios. Once more Paramount was anxious to promote one its headlining stars Helen Kane and used Talkartoons as a tool to help promote her likeness. Natwick was in charge of conceiving this character as Bimbo's love interest, this character eventually evolved into Betty Boop. She first made a cameo appearance in ''Dizzy Dishes'' and eventually went through several redesigns, much of her development as a personality took place following Grim's departure to the UbIwerks studio. Betty Boop abruptly took over the series and became one of the largest box-office draws of the early 1930's. Talkartoons was converted to Betty Boop by 1932, Bimbo being [[DemotedToExtra demoted to little more than a sidekick]] and Ko-Ko the Clown occasionally being brought out of retirement.

Also despite Betty's popularity, Helen Kane felt that her career had gone downhill, and sued Max for 250,000 dollars in May of 1932, feeling that she was misrepresented in the Betty Boop cartoons. The trial went on for two years, Kane lamenting about how she owned the rights to the line "Boop Boop a Doop". The judge ruled against her, holding as primary evidence that Baby Esther, a somewhat obscure singer, had been using that line prior to Helen Kane, which made Kane's claims seem irrelevant. Regardless, the Betty Boop series would soon find itself outclassed by the Fleischers newcoming star PopeyeTheSailor. Max Fleischer was an avid fan of E.C. Segar's popular comic strip; however King Features Syndicate was skeptical about the Sailors commercial potential. Max convinced them that his grotesque features would make him a successful box-office draw because it helps maintain more comedic appeal. The contract signed in 1932 had listed that they should have all their negatives and traces of the series burned or disposed of within a ten year period, because of their constant skepticism concerning the series merits. The contracts expiration coincides with Paramount's acquisition of Fleischer in 1942 and this played a role in why Paramount bought out the studio when they were in debt with them.

''Out of the Inkwell'' became the second most lucrative series in animation during the twenties, only trailing behind Pat Sullivan's ''FelixTheCat''. Although Inkwell was initially distributed by M.J. Winkler who also handled Felix, and newcomer Walt Disney's ''AliceComedies'', Max decided to associate himself with another distribution company buying shares from this company entitled Red Seal films. Red Seal was a company that was not exclusively tied to animation but specialized in almost every genre of film. ''Essie of The Chorus'', a live action short-subject series had Ruth Flesicher as co-star, and eventual WizardOfOz castmember Ray Bolger made his motion picture debut in this series. ''Inklings'' was Dave trying to strike out on his own, sick of living in Max's shadow; much of that frustration planted the seeds for the eventual adversarial relationship the two would have later on. Unfortunately only one of the Inklings, No.12, survives but shows great promise and how inventive Dave Fleischer could be. The most crucial role Red Seal played in its brief history was that Max managed to use Red Seal to come into contact with Lee De Forrest who recognized Max's engineering background and believed it could be of use to conduct some synchronized sound experiments with his cartoons. As a result, ''Song Cartunes'' featured some of the earliest synchronized sound cartoons beginning in 1926, this is a two year advantage over Paul Terry's ''Dinnertime'', and Walt Disney's ''SteamboatWillie.''

Also despite Betty's popularity, Helen Kane felt that her career had gone downhill, and sued Max for 250,000 dollars in May of 1932, feeling that she was misrepresented in the Betty Boop cartoons. The trial went on for two years, Kane lamenting about how she owned the rights to the line "Boop Boop a Doop". The judge ruled against her, holding as primary evidence that Baby Esther, a somewhat obscure singer, had been using that line prior to Helen Kane, which made Kane's claims seem irrelevant. Regardless, the Betty Boop series would soon find itself outclassed by the Fleischers newcoming star PopeyeTheSailor. Max Fleischer was an avid fan of E.C. Segar's popular comic strip; however King Features Syndicate was skeptical about the Sailors commercial potential. Max convinced them that his grotesque features would make him a successful box-office draw because it helps maintain more comedic appeal. The contract signed in 1932 had listed that they should have all their negatives and traces of the series burned or disposed of within a ten year period, because of their constant skepticism concerning the series merits. The contracts expiration coincides with Paramount's acquisition of Fleischer in 1942 and this played a role in why Paramount bought out the studio when they were in debt with them.

Out of the Inkwell became the second most lucrative series in animation during the twenties only trailing behind Pat Sullivan's ''FelixTheCat''. Although Inkwell was initially distributed by M.J. Winkler who also handled Felix, and newcomer Walt Disney's ''AliceComedies'', Max decided to associate himself with another distribution company buying shares from this company entitled Red Seal films. Red Seal was a company that was not exclusively tied to animation but specialized in almost every genre of film. ''Essie of The Chorus'', a live action short-subject series had Ruth Flesicher as co-star, and eventual WizardOfOz castmember Ray Bolger made his motion picture debut in this series. ''Inklings'' was Dave trying to strike out on his own, sick of living in Max's shadow; much of that frustration planted the seeds for the eventual adversarial relationship the two would have later on. Unfortunately only one of the Inklings, No.12, survives but shows great promise and how inventive Dave Fleischer could be. The most crucial role Red Seal played in its brief history was that Max managed to use Red Seal to come into contact with Lee De Forrest who recognized Max's engineering background and believed it could be of use to conduct some synchronized sound experiments with his cartoons. As a result, ''Song Cartunes'' featured some of the earliest synchronized sound cartoons beginning in 1926, this is a two year advantage over Paul Terry's ''Dinnertime'', and Walt Disney's ''SteamboatWillie.''

Also despite Betty's popularity, Helen Kane felt that her career had gone downhill, and sued Max for 250,000 dollars in May of 1932, feeling that she was misrepresented in the Betty Boop cartoons. The trial went on for two years, Kane lamenting about how she owned the rights to the line "Boop Boop a Doop". The judge ruled against her, holding as primary evidence that Baby Esther, a somewhat obscure singer, had been using that line prior to Helen Kane, which made Kane's claims seem irrelevant. Regardless, the Betty Boop series would soon find itself outclassed by the Fleischers newcoming star PopeyeTheSailor. Max Fleischer was an avid fan of E.C. Segar's popular comic strip; however King Features Syndicate was skeptical about the Sailors commercial potential. Max convinced them that his grotesque features would make him a successful box-office draw because it helps maintain more comedic appeal. The contract signed in 1932 had listed that they should have all their negatives and traces of the series burned or disposed of within a ten year period, because of their constant skepticism concerning the series merits. The contracts expiration coincides with Paramount's acquisition of Fleischer in 1942 and this played a role in why Paramount bought out the studio when they were in debt with them.

Also despite Betty's popularity, Helen Kane feeling that her career had gone downhill, sued Max for 250,000 dollars in May of 1932, feeling as if she was misrepresented in the Betty Boop cartoons. The trial went on for two years, Kane lamenting about how she owned the rights to the line "Boop Boop a Doop". The primary evidence that had the judge rule against her was that Baby Esther, a somewhat obscure singer, had been using that line prior to Helen Kane, which made Kane's claims seem irrelevant. Regardless, the Betty Boop series would soon find itself outclassed by the Fleischers newcoming star PopeyeTheSailor. Max Fleischer was an avid fan of E.C. Segar's popular comic strip; however King Features Syndicate was skeptical about the Sailors commercial potential. Max convinced them that his grotesque features would make him a successful box-office draw because it helps maintain more comedic appeal. The contract signed in 1932 had listed that they should have all their negatives and traces of the series burned or disposed of within a ten year period, because of their constant skepticism concerning the series merits. The contracts expiration coincides with Paramount's acquisition of Fleischer in 1942 and this played a role in why Paramount bought out the studio when they were in debt with them.

Also despite Betty's popularity, Helen Kane feeling that her career had gone downhill, sued Max for 250,000 dollars in May of 1932, feeling as if she was misrepresented in the Betty Boop cartoons. The trail went on for two years, Kane lamenting about how she owned the rights to the line "Boop Boop a Doop". The primary evidence that had the judge rule against her was that Baby Esther, a somewhat obscure singer, had been using that line prior to Helen Kane, which made Kane's claims seem irrelevant. Regardless, the Betty Boop series would soon find itself outclassed by the Fleischers newcoming star PopeyeTheSailor. Max Fleischer was an avid fan of E.C. Segar's popular comic strip; however King Features Syndicate was skeptical about the Sailors commercial potential. Max convinced them that his grotesque features would make him a successful box-office draw because it helps maintain more comedic appeal. The contract signed in 1932 had listed that they should have all their negatives and traces of the series burned or disposed of within a ten year period, because of their constant skepticism concerning the series merits. The contracts expiration coincides with Paramount's acquisition of Fleischer in 1942 and this played a role in why Paramount bought out the studio when they were in debt with them.

'''''Max And Dave Fleischer''''' are two of the most prolific ([[NeedsMoreLove sadly, mostly unknown to today's audiences]]) men to ever work in the HistoryOfAnimation. Getting their start off in the [[TheSilentAgeOfAnimation Silent Era]], they pioneered one of the earliest attempts at blending [[RogerRabbitEffect live action and animation]] with their hit ''WesternAnimation/OutOfTheInkwell'' series, starring Koko The Clown. They were also a top of the line animation studio in the 1930's and early 40's, producing such landmark hits like ''WesternAnimation/BettyBoop'', the ''{{ComicStrip/Popeye}} The Sailor'' cartoons, and eventually the ''WesternAnimation/SupermanTheatricalCartoons''.

Superman was also being bought into production around the time of Paramount's takeover, Paramount had successfully bid for the rights of the character and convinced Dave Fleischer to produce it. Reluctant and skeptical because they had little experience in the science fiction genre Dave tried to pressure Paramount out of it by demanding 100,000 per cartoon budget. Paramount responded by offering half the amount and at 50,000 still was considerably higher than the average Fleischer short subject. The series relied heavily on the rotoscope however had effective narratives, proficient use of F/X, and more sophisticated designs in comparison to previous series. The series was one of the most pervasive in the renaissance of animation fifty years later, in the early nineties especially providing influence for Bruce Timm and all the animated science fiction adventure programs that subsequently followed.

* SceneryPorn: Especially in the double-reel ''Popeye'' cartoons.

----

Unfortunately, Red Seal was not a commercially successful venture, and the studio found itself in bankruptcy in the summer of 1927. This came right around the period that Max pioneered animated lip-synch in Song Cartunes final entry ''By The Light of the Silvery Moon''. Max losing much of his finances in the venture couldn't pay back the film labs to receive his negatives for upcoming films, so Alfred Weiss paid the films labs to return the negatives and took over management making Max and Dave salaried employees instead of leaders of their own company. Alfred Weiss brought Max into contact with Paramount who would distribute Max's work until his company was acquired by them in June of 1942. The film series was re-titled ''Inkwell Imps'', and would continue to be released until 1929 when the company folded. Alfred Weiss resurrected ''Song Cartunes'' briefly in 1928 where ''My Old Kentucky Home'' was produced [[hottip:*: it is largely mistaken as the Fleischer's cartoon when in actuality it was an entry under Weiss.]] The tension between Max Fleischer and Alfred Weiss made him absent from Out of the Inkwells final films, Inkwells last entries have a series of Weiss employees trying to emulate Max's role as the master cartoonist. Max, after leaving Weiss, managed to re-organize Out of The Inkwell films in 1929 as ''Fleischer Studios'' which is what the company is better known by, Max's friend Frank Goldstein provided studio space in Long Island City free-of-charge as Max began to rebuild the company from scratch and resurrected his Song Cartune series as ''ScreenSongs'' which were very cheap to produce. Max re-associated with Paramount and exploited the fact that him and his staff had added experience with sound animation in comparison to the rest of their competitors, which is a large reason why Paramount decided to distribute them.

Feeling comfortable enough to test Popeye elsewhere Paramount granted Max to produce two-reelers starring the one-eyed sailor. PopeyeTheSailorMeetsSindbadTheSailor and PopeyeMeetsAliBaba, produced in 1936 and 1937 respectively, were the first time an American animated film had extended beyond one-reel. Although animated features were already pioneered in Argentina, and Germany this was a first for America. The two-reeler's however were downplayed following Walt's triumph with ''Snow White'', after Max had badgered Paramount to produce an animated feature for over three years, they finally caved in.

** ''PopeyeTheSailorMeetsSindbadTheSailor''.
** ''PopeyeTheSailorMeetsAliBabasFortyThieves''.

** ''ComicBook/PopeyeInAladdinAndHisWonderfulLamp''.

** ''PopeyeInAladdinAndHisWonderfulLamp''.

'''''Max And Dave Fleischer''''' are two of the most prolific ([[NeedsMoreLove sadly, mostly unknown to today's audiences]]) men to ever work in the HistoryOfAnimation. Getting their start off in the [[TheSilentAgeOfAnimation Silent Era]], they pioneered one of the earliest attempts at blending [[RogerRabbitEffect live action and animation]] with their hit ''OutOfTheInkwell'' series, starring Koko The Clown. They were also a top of the line animation studio in the 1930's and early 40's, producing such landmark hits like ''WesternAnimation/BettyBoop'', the ''{{ComicStrip/Popeye}} The Sailor'' cartoons, and eventually the ''WesternAnimation/SupermanTheatricalCartoons''.

Later in 1919, Bray switched distribution from Paramount to Goldwyn. Goldwyn had Bray commit to 156 films annually, realizing this kind of output was not only commercially impractical but impossible, Bray as anyone would came up short on his promise and the studio began to lose its dominance within the industry. Max, realizing that his property was the only thing keeping the company afloat, was compelled to leave following this. Dave Fleischer recently won big at the horse races and used the money to provide start up funds for the ''Inkwell'' films initiated in June, 1921. Bray, desperate to duplicate his success with Out of the Inkwell, enlisted former Hearst employee WalterLantz to produce ''DinkyDoodle''.

After Dave Flesicher's tenure at Screen Gem's he gravitated over to Universal where WalterLantz was largely responsible for his employment. Dave directed commercials and helped solve technical errors throughout many of the studios features. His life long ambition was to produce a third feature entitled Pandora's Odyssey which failed to come to fruition however the concept did appear in Variety Magazine.

Max wed Essie Goldstein in 1905, and subsequently had Ruth Fleischer in 1905. Max began his commercial art career at the ''Brooklyn Daily Eagle'' following an encounter with the supervisor there. Max was offered two bucks an hour just to study the artists. Realizing talent when he spotted it, he offered to give Max that salary for running errands; eventually working his way up the career ladder and personally creating his own comic strips, such as ''E.K. Spoosher'' and ''The Kodak Fiend''. Many of the central themes of these strips were rebelling against higher levels of authority, and much of his work was topical, socially conscious and focused on the poverty conditions in areas such as [[NewYorkCity Brownsville Brooklyn]]. Much of his experience in New York cartooning circles had a profound influence as to how he approached animation decades later as a medium; that it was an outgrowth of newspaper cartoons. During his tenure at the Brooklyn Daily Eagle, he came into contact with artist [[BrayStudios J.R. Bray]], who specialized in decorating the panels for many of the artists strips.

-->''Both Fleischer and {{Creator/Disney}} had a great deal of respect for each other. The older man had pioneered many of the early innovations in the medium. The younger man, {{Disney}}, had wanted to be another Fleischer.''

However as the HaysCode came to provide strict guidelines about what was and wasn't prohibited throughout Hollywood, Betty found herself reinvented. Much of this was not just motivated by the code itself, much of the option to clean up her public image somewhat had to do with the Hays Code but also Paramount's management under the leadership of Barney Balbian decided it was time to reinvent themselves and their image. Paramount went through several bankruptcies and financial re-organizations between 1931 - 1936, they became more budget conscious and with this change of heart they began to play it economically safe by emulating those that had a guaranteed audience such as Disney and MGM but with a fraction of the budget, these attitudes were applied to the direction Fleischer found themselves going from 1934 onward. With less flexible deadlines to meet, and being committed to producing a film a week made it difficult for them to dedicate time to improving their product and their quality began to stagnate from 1934 up until the end of the decade. So many of the advancements that the west coasts found themselves making were not taking place within Fleischer's company, because their picture commitments made it difficult to dedicate time to improving their product.