History YMMV / ShamusCulhane

* AnimationAgeGhetto: Culhane discusses this in his book "Animation From Script To Screen". Culhane had an encyclopedic knowledge about animation (as well as other subjects) and pretty eclectic tastes: he praised Creator/RalphBakshi and Creator/RichardWilliams (head animator for ''Film/WhoFramedRogerRabbit'', which was a big movie hit at the time), ridiculed the commercially-driven cartoons on Saturday morning TV, and tried to present animation as a serious art form indebted to (among others) [[Creator/MichelangeloBuonarroti Michelangelo]] and Creator/SergeiEisenstein. He even warns writers for cartoons never to target children only, because only if you write for adults will you be completely uncondescending. However, his prejudices toward his own profession still show through at times. He assumes that most animators aspire to make people laugh - which would be fine, except that it carries the [[UnfortunateImplications Unfortunate Implication]] that cartoons cannot inspire any emotion other than hilarity. He also writes that "very subtle acting may never be possible to meet in this medium."

* CreatorBacklash:
** Culhane disliked his sole ''Franchise/{{Popeye}}'' directorial effort ''Popeye Meets William Tell'', and mentions it in passing in his biography as being akin to "putting a bow on a wild boar". He was also not proud of his animation for [[Creator/MaxAndDaveFleischer Fleischer Studios]] in the early 1930's, considering it primitive compared to his later work.
** He's also stated that if he hadn't signed a contract when he was working on ''WesternAnimation/GulliversTravels'' he would've left on the spot, and that he felt awful seeing how his work had been tampered with in the final film with what he calls "half-assed inking and bad in-betweening". He was also disappointed with how ''WesternAnimation/MrBugGoesToTown'' turned out, feeling that the film didn't live up to it's full potential.
** Culhane also lambasted the Hearst ''ComicStrip/KrazyKat'' cartoons he did inking work on. In his biography, he likened the screening of their first sound cartoon ("Ratskin", 1929) with the character as being akin to a tornado in a boiler factory. "It was sheer cacophony." The staff gave no reaction to the film, save Culhane himself, who spited it with a sarcastic laugh (which got him left behind when the studio moved elsewhere). In the book "Enchanted Drawings", Culhane's once again gave his humble thoughts on the shorts;
--->"The films were atrocious, the worst crap you can imagine. They never used the characters. Offisa Pup rarely appeared, Ignatz Mouse was not in love with Krazy [[note]] This is a mistake on Culhane's part, as it was the other way around in the comics [[/note]]; they never used the desert landscapes. They just didn't care. The staff just batted the stuff out as fast as they could for something like 750$ apiece."
* WhatCouldHaveBeen: Shamus originally wanted to direct a cartoon centered around the Popeye character [[TheLoad Wimpy]], centered around his obsession with hamburgers, with no interest in making a typical Popeye short. The Fleischers didn't allow it, feeling that the proposed premise would be "too psychological".

* AnimationAgeGhetto: Culhane discusses this in his book "Animation From Script To Screen". Culhane had an encyclopedic knowledge about animation (as well as other subjects) and pretty eclectic tastes: he praised Creator/RalphBakshi and Creator/RichardWilliams (head animator for ''Film/WhoFramedRogerRabbit'', which was a big movie hit at the time), ridiculed the commercially-driven dreck on Saturday morning TV, and tried to present animation as a serious art form indebted to (among others) [[Creator/MichelangeloBuonarroti Michelangelo]] and Creator/SergeiEisenstein. He even warns writers for cartoons never to target children only, because only if you write for adults will you be completely uncondescending. However, his prejudices toward his own profession still show through at times. He assumes that most animators aspire to make people laugh - which would be fine, except that it carries the [[UnfortunateImplications Unfortunate Implication]] that cartoons cannot inspire any emotion other than hilarity. He also writes that "very subtle acting may never be possible to meet in this medium."
* CreatorBacklash: Culhane disliked his sole Franchise/{{Popeye}} directorial effort ''Popeye Meets William Tell'', and mentions it in passing in his biography as being akin to "putting a bow on a wild boar". He was also not proud of his animation for [[Creator/MaxAndDaveFleischer Fleischer Studios]] in the early 1930's, considering it primitive compared to his later work.
** He's also stated that if he hadn't signed a contract when he was working on WesternAnimation/GulliversTravels he would've left on the spot, and that he felt awful seeing how his work had been tampered with in the final film with what he calls "half-assed inking and bad in-betweening". He was also disappointed with how WesternAnimation/MrBugGoesToTown turned out, feeling that the film didn't live up to it's full potential.
** Culhane also lambasted the Hearst ComicStrip/KrazyKat cartoons he did inking work on. In his biography, he likened the screening of their first sound cartoon ("Ratskin", 1929) with the character as being akin to a tornado in a boiler factory. "It was sheer cacophony." The staff gave no reaction to the film, save Culhane himself, who spited it with a sarcastic laugh (which got him left behind when the studio moved elsewhere). In the book "Enchanted Drawings", Culhane's once again gave his humble thoughts on the shorts;
-->"The films were atrocious, the worst crap you can imagine. They never used the characters. Offisa Pup rarely appeared, Ignatz Mouse was not in love with Krazy [[note]] This is a mistake on Culhane's part, as it was the other way around in the comics [[/note]]; they never used the desert landscapes. They just didn't care. The staff just batted the stuff out as fast as they could for something like 750$ apiece."

* CreatorBacklash: Culhane disliked his sole {{Popeye}} directorial effort ''Popeye Meets William Tell'', and mentions it in passing in his biography as being akin to "putting a bow on a wild boar". He was also not proud of his animation for [[Creator/MaxAndDaveFleischer Fleischer Studios]] in the early 1930's, considering it primitive compared to his later work.

* WhatCouldHaveBeen: Shamus originally wanted to direct a cartoon centered around the Popeye character [[TheLoad Wimpy]], centered around his obsession with hamburgers, with no interest in making a typical Popeye short. The Fleischers didn't allow it, feeling that the proposed premise would be "too psychological".

-->"The films were atrocious, the worst crap you can imagine. They never used the characters. Offisa Pup rarely appeared, Ignatz Mouse was not in love with Krazy [[note]] This is a mistake on Culhane's part, as it was the other way around in the comics [[/note]]; they never used the desert landscapes. TheyJustDidntCare The staff just batted the stuff out as fast as they could for something like 750$ apiece."

-->"The films were atrocious, the worst crap you can imagine. They never used the characters. Offisa Pup rarely appeared, Ignatz Mouse was not in love with Krazy [[note]] This is a mistake on Culhane's part, as it was the other way around in the comics [[/note]]; they never used the desert landscapes. [[TheyJustDidntCare The staff just batted the stuff out as fast as they could for something like 750$ apiece."]]

* CreatorBacklash: Culhane disliked his sole {{Popeye}} directorial effort ''Popeye Meets William Tell'', and mentions it in passing in his biography as being akin to "putting a bow on a wild boar". He was also not proud of his animation for FleischerStudios in the early 1930's, considering it primitive compared to his later work.
** He's also stated that if he hadn't signed a contract when he was working on WesternAnimation/GulliversTravels he would've left on the spot, and that he felt awful seeing how his work had been tampered with in the final film with what he calls "half-assed inking and bad in-betweening". He was also disappointed with how MrBugGoesToTown turned out, feeling that the film didn't live up to it's full potential.
** Culhane also lambasted the Hearst KrazyKat cartoons he did inking work on. In his biography, he likened the screening of their first sound cartoon ("Ratskin", 1929) with the character as being akin to a tornado in a boiler factory. "It was sheer cacophony." The staff gave no reaction to the film, save Culhane himself, who spited it with a sarcastic laugh (which got him left behind when the studio moved elsewhere). In the book "Enchanted Drawings", Culhane's once again gave his humble thoughts on the shorts;

* AnimationAgeGhetto: Culhane discusses this in his book "Animation From Script To Screen". Culhane had an encyclopedic knowledge about animation (as well as other subjects) and pretty eclectic tastes: he praised Creator/RalphBakshi and Creator/RichardWilliams (head animator for ''Film/WhoFramedRogerRabbit'', which was a big movie hit at the time), ridiculed the commercially-driven dreck on Saturday morning TV, and tried to present animation as a serious art form indebted to (among others) [[Creator/MichelangeloBuonarroti Michelangelo]] and Creator/SergeiEisenstein. He even warns writers for cartoons never to target children only, because only if you write for adults will you be completely uncondescending. However, his prejudices toward his own profession still show through at times. He assumes that most animators aspire to make people laugh - which would be fine, except that it carries the UnfortunateImplication that cartoons cannot inspire any emotion other than hilarity. He also writes that "very subtle acting may never be possible to meet in this medium."

* AnimationAgeGhetto: Culhane discusses this in his book "Animation From Script To Screen". Culhane had an encyclopedic knowledge about animation (as well as other subjects) and pretty eclectic tastes: he praised RalphBakshi and Creator/RichardWilliams (head animator for WhoFramedRogerRabbit, which was a big movie hit at the time), ridiculed the commercially-driven dreck on Saturday morning TV, and tried to present animation as a serious art form indebted to (among others) [[Creator/MichelangeloBuonarroti Michelangelo]] and Creator/SergeiEisenstein. He even warns writers for cartoons never to target children only, because only if you write for adults will you be completely uncondescending. However, his prejudices toward his own profession still show through at times. He assumes that most animators aspire to make people laugh - which would be fine, except that it carries the UnfortunateImplication that cartoons cannot inspire any emotion other than hilarity. He also writes that "very subtle acting may never be possible to meet in this medium."

* AnimationAgeGhetto: Culhane discusses this in his book "Animation From Script To Screen". Culhane had an encyclopedic knowledge about animation (as well as other subjects) and pretty eclectic tastes: he praised RalphBakshi and Creator/RichardWilliams (head animator for WhoFramedRogerRabbit, which was a big movie hit at the time), ridiculed the commercially-driven dreck on Saturday morning TV, and tried to present animation as a serious art form indebted to (among others) [[Creator/Michelangelo Buonarroti Michelangelo]] and Creator/SergeiEisenstein. He even warns writers for cartoons never to target children only, because only if you write for adults will you be completely uncondescending. However, his prejudices toward his own profession still show through at times. He assumes that most animators aspire to make people laugh - which would be fine, except that it carries the UnfortunateImplication that cartoons cannot inspire any emotion other than hilarity. He also writes that "very subtle acting may never be possible to meet in this medium."

* AnimationAgeGhetto: Culhane discusses this in his book "Animation From Script To Screen". Culhane had an encyclopedic knowledge about animation (as well as other subjects) and pretty eclectic tastes: he praised RalphBakshi and Creator/RichardWilliams (head animator for WhoFramedRogerRabbit, which was a big movie hit at the time), ridiculed the commercially-driven dreck on Saturday morning TV, and tried to present animation as a serious art form indebted to (among others) {{Michelangelo}} and Creator/SergeiEisenstein. He even warns writers for cartoons never to target children only, because only if you write for adults will you be completely uncondescending. However, his prejudices toward his own profession still show through at times. He assumes that most animators aspire to make people laugh - which would be fine, except that it carries the UnfortunateImplication that cartoons cannot inspire any emotion other than hilarity. He also writes that "very subtle acting may never be possible to meet in this medium."

* AnimationAgeGhetto: Culhane discusses this in his book "Animation From Script To Screen". Culhane had an encyclopedic knowledge about animation (as well as other subjects) and pretty eclectic tastes: he praised RalphBakshi and RichardWilliams (head animator for WhoFramedRogerRabbit, which was a big movie hit at the time), ridiculed the commercially-driven dreck on Saturday morning TV, and tried to present animation as a serious art form indebted to (among others) {{Michelangelo}} and Creator/SergeiEisenstein. He even warns writers for cartoons never to target children only, because only if you write for adults will you be completely uncondescending. However, his prejudices toward his own profession still show through at times. He assumes that most animators aspire to make people laugh - which would be fine, except that it carries the UnfortunateImplication that cartoons cannot inspire any emotion other than hilarity. He also writes that "very subtle acting may never be possible to meet in this medium."

* AnimationAgeGhetto: Culhane discusses this in his book "Animation From Script To Screen". Culhane had an encyclopedic knowledge about animation (as well as other subjects) and pretty eclectic tastes: he praised RalphBakshi and RichardWilliams (head animator for WhoFramedRogerRabbit, which was a big movie hit at the time), ridiculed the commercially-driven dreck on Saturday morning TV, and tried to present animation as a serious art form indebted to (among others) {{Michelangelo}} and SergeiEisenstein. He even warns writers for cartoons never to target children only, because only if you write for adults will you be completely uncondescending. However, his prejudices toward his own profession still show through at times. He assumes that most animators aspire to make people laugh - which would be fine, except that it carries the UnfortunateImplication that cartoons cannot inspire any emotion other than hilarity. He also writes that "very subtle acting may never be possible to meet in this medium."

** Culhane also lambasted the Hearst KrazyKat cartoons he did inking work on. In his biography, he likened the screening of their first sound cartoon with the character as being akin to a tornado in a boiler factory. "It was sheer cacophony." The staff gave no reaction to the film, save Culhane himself, who spited it with a sarcastic laugh (which got him left behind when the studio moved elsewhere).

** Culhane also lambasted the Hearst KrazyKat cartoons he did inking work on.

* CreatorBacklash: Culhane disliked his sole {{Popeye}} directorial effort ''Popeye Meets William Tell'', citing it as "an interesting failure" in his book. He was also not proud of his early Fleischer work, considering it primitive compared to his later work.
** He's also stated that if he hadn't signed a contract when he was working on WesternAnimation/GulliversTravels he would've left on the spot, and that he felt awful seeing how his work had been tampered with in the final film with what he calls "half-assed inking and bad in-betweening".

** He's also stated that of he hadn't signed a contract when he was working on WesternAnimation/GulliversTravels he would've left on the spot, and that he felt awful seeing how his work had been tampered with in the final film.

** He's also stated that of he hadn't signed a contract when hewas working on WesternAnimation/GulliversTravels he would've left on the spot, and that he felt awful seeing how his work had been tampered with in the final film.

** He's also stated that of he hand't signed a contract when hewas working on WesternAnimation/GulliversTravels he would've left on the spot, and that he felt awful seeing how his work had been tampered with in the final film.