I Don't Care What You Say

Here we have an eight-frame cycle of a camel chewing on, well, I’m not quite sure. Note the spacing of the drawings. There seems to be barely any movement at one point.



This is the cycle slowed down, which gives you an idea of how the mouth moved.



Yeah, I know. Not the post interesting of posts, unless you are into timing of poses and in-betweens. The director is Friz Freleng, and the cartoon is Hot Spot, a 1945 Snafu short. The gag is an example of how everyone borrowed from Tex Avery. In fact, the short is like an Avery travelogue in places.

In this scene, the narrator (the Devil, played by Hal Peary, complete with Gildersleeve laugh), informs us “Here, the native beast of burden, the camel, is the only one who doesn’t mind the heat.” After chewing a bit, the camel (Mel Blanc) turns to the viewing audience and says “I don’t care what you say, I’m hot,” and resumes chewing.



Say, that gag is familiar, isn’t it? Let’s think back to Avery’s Wacky Wildlife (1940), where a camel is strolling across the desert. Narrator Bob Bruce informs us the camel “plods over scorching desert sands, in terrific heat, never once desiring a cool, refreshing drink of water. The camel (Mel Blanc) turns to the viewing audience and says “I don’t care what you say, I’m thirsty,” and resumes strolling.



Say, that gag is STILL familiar. That’s because Avery used a variation of it earlier in the year in Cross Country Detours. In this one, a polar bear is shown on a chunk of ice. “Mother Nature has provided him with layer upon layer of fat, plus a thick coat of heavy fur, to keep him good and warm,” says the narrator. The camera moves in and the bear (Mel Blanc) tells us “I don’t care what you say, I’m cold.”



Is it any wonder that Avery came up with the idea of footage of real animals with superimposed cartoon mouths that made wisecracks. The idea ended up at Jerry Fairbanks Productions, which made the Speaking of Animals series for Paramount. If the “I don’t care what you say” routine was one of the gags in those shorts, I don’t know, but I wouldn’t be surprised.

What about the end gag of Hot Spot, you ask? Thanks for reminding me. The short has emphasized how hot it is in Iran, hotter 'n Hades as they used to say. The short finishes with the Devil discovering the camel is now in his office in Hell. The camel turns to him and casually remarks, “I don’t care what you say, I’m cool.” It resumes chewing to end the cartoon.



None of the artists who worked on this are given screen credit.

Shotgun Non-Wedding

“The worst thing about these nosy people is, they’re always interferin’ with somebody’s love-life,” says the voice of The Cat That Hated People (from the cartoon of the same name).

Further dialogue isn’t needed, like many fine gags in a Tex Avery cartoon. Animation tells all.



The animators in this cartoon are Walt Clinton, Grant Simmons and two ex-Disney artists soon to leave the Avery unit, Bill Shull and Louie Schmitt. The title character is played by Pat McGeehan. The short was released in 1948.

There Was a Crooked Hand

Of Fox and Hounds (1940) stars George the fox (behaving like a slick version of Bugs Bunny) and Willoughby the dog in the kind of cartoon Tex Avery never would have made a few years later.

At MGM, Tex loaded up his cartoons with gags and fired them at the audience at a brisk pace. This cartoon for Warners has a slow (but steady) pace and sets up the final, satisfying gag after two similar situations.

There are a number of scenes where George’s fingers are twisted or crooked.



Here are some examples from a creeping cycle. Whether this is Bob McKimson's work, I don't know, but even the in-betweens are solid.



“Draft No. 6102” gets the animation credit (looking at the credit rotation, my guess is it’s Rod Scribner), with the story by “Draft No. 1312” (Rich Hogan, maybe?). Johnny Johnsen provides some lovely scenery.

The short isn’t full of the crazed humour you’d expect in an Avery cartoon. It’s more of a situational involving two characters, with a third interfering only when necessary.

I Like Him. He's Silly

You can count on Screwy Squirrel for silly gags and the MGM cartoon studio’s artists for solid animation and dry-brush work to enhance the action.

In Happy-Go-Nutty (1944), Screwy lives up to his name by hacksawing bars on an open door at a mental hospital (for squirrels only), then climbing over a metal gate that’s already open to escape.



Here are three consecutive frames. The dry-brush makes the action look fast and smooth, instead of popping pose-to-pose.



“You know, those guys in there think I’m crazy,” Screwy tells us. He then gives us an indignant look.



Screwy then whips out the quintessential proof of insanity—a Napoleon hat. “And I am, too!” We get a demonstration (as if we need convincing)



These are consecutive frames. How about that in-between?



More dry-brush. This is part of a cycle of head pounding.



Finally Screwy rides off on an imaginary bicycle.



Director Tex Avery reprises the “fool the dog to jump over a fence” gag from Of Fox and Hounds (Warners, 1940). There’s an old vaudeville gag involving a phone call, an inexplicable second squirrel gag, a cave/darkness routine, a break from a chase for a Coo-Coo Cola and, as you might expect from Avery, a title card gag.

Heck Allen gets a story credit and Avery’s wartime crew of Preston Blair, Ray Abrams and Ed Love are the credited animators.

Screwy appeared in only five cartoons. I don’t know what else Avery might have done with him, but there are funny scenes in all of them.

Iron Ball, Folks

There’s a narrator (John Wald) in Batty Baseball but Tex Avery and his anonymous writer are content to let the action do a lot of the talking.

There are a number of “pitching” gags. This one involves the pitcher hurling a shot put instead of a baseball. The force of nature causes the bat to shake when the heavy ball hits it.

What to do next?

Simple. The vibration from the bat transfers to the batter, then along the ground to the pitcher. Avery’s animator tosses in reaction expressions along the way.



Being a Tex Avery cartoon, there has to be a sign and commentary to the audience on the action. In the scene below, you can feel the weight as the pitcher struggles to lift the ball, dropping it at one point. A caption appears on screen, the pitcher gets some comic relief from it, and comments to us “Good joke!” before guffawing like Goofy (He’s played by Pinto Colvig so that shouldn’t be a surprise. Maybe Pinto helped with the gags).



My guess is Ed Love is responsible for the above scene. Preston Blair and Ray Abrams supplied animation as well.