Tex Avery at M.G.M.'s
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Tex Avery at M.G.M.'s

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 1945.

Tex Avery at M.G.M.'s 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.

Tex Avery at M.G.M.'s 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.



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