As noticed by Patrick Brion in his book Tex Avery (Ed du Chêne),
M.G.M. was then at the summit of its glory and, certainly, the first
of the Hollywood's cinematographic
companies. After fruitless beginnings (relative
failure of the series Happy Harmony), its animation department
wined the jack-pot with the series Tom and Jerry, created in 1940 by Hanna and Barbera.
Fred Quimby was the producer in charge of the
animation department. As brought it back by Tex
Avery: " He did not know anything with the scenarios or the
gags, or anything, and it was appropriate about it ". But,
contrary to Schlesinger, Quimby leaves an enormous freedom to his
teams, which will make it possible the M.G.M. to produce best this
golden age of the cartoon and the genius of Tex Avery to explode.
In this context of freedom and comfortable funds,
Avery profits from an essential contribution: an extremely
stable team made up of real talents in their respective field. Scott
Bradley signs all the musics of Avery with the M.G.M., Rich Hogan
and Heck Allen write the totality of the subjects. But is
towards animation that it is necessary to look at.
Veteran animators, trained in the best studios of the time,
constitute the hard core of the team until 1947-48: Preston Blair,
Ray Abrams, Ed Love, to which come to be added Walter Clinton in
This last point is really important, because the most
significant thing in the Avery's work remains the acceleration of
the cartoons rhythm, the multiplication of events and
gags in time. This intention is already visible in The
Early Bird Dood It (first film in production), it is
astonishing in splendid Dumb-Hounded and What' S Buzzin' Buzzard
and becomes paroxystic in the episodes of Squirrel.
This rise in the rhythm is made possible by the quality and
the extraordinary fluidity of animation. The qualitative reference of the
time remained Disney, technically irreproachable.
M.G.M.'s studio wished to outdo in this domain too.
The productions, not only the Avery's one (because
there was a true emulation with the Hanna-Barbera's team, even a
synergy by the passage of animators from one team to another) often
surpass their model.
When the financial difficulties start to reduce the studios style of
living, obliging at the leaving of the best, animation
become much more frustrates, leading to the stereotypy of the
situations. But, until the end of Forties, the
genius of Tex Avery leans on the essential qualities
of his team, allowing him the setting in work of his true project: to
make laugh, while dynamiting conventions, those of the American
cartoon as those of the american way of life.