Cartoon Network takes a lot of heat around here, but when they do something right we’ll report it and celebrate it. Starting today, classic Warner Bros. cartoons return to the channel in a six-hour marathon (1pm-7pm EST), and the network has scheduled a regular daily hour of Looney Tunes at 11am Eastern (8am Pacific) each weekday. You can check the schedule here. Let’s support this move. Watch some Looney Tunes today, and tell your friends. Let’s show them that cartoons belong on a Cartoon Network.

Film editor Stan Warnow has made a documentary about his father, the musician/composer/inventor Raymond Scott. Deconstructing Dad: the Music, Machines and Mystery of Raymond Scott is now playing film festivals around the world. The six minute preview above explains it all, with commentary from musicians Mark Mothersbaugh, John Williams, historians Irwin Chusid, Will Friedwald, producer Hal Willner and many more. I can’t wait to see the whole thing.

(Thanks, Craig Clark)

Whenever I appear on Shokus Internet Radio, I get to plow through Stu Shostack’s incredible library of TV Guide back issues - and I always seem to find something of interest for Cartoon Brew. This time I grabbed the July 1st 1961 issue, with the Flintstones cover (click thumbnail at left to see at full size), which contains a good article on the then-current trend towards prime time animation. It’s a pretty nice piece. The writer includes an intriguing list of forthcoming shows that were apparently never made: Sir Loin and the Dragon, Waco Wolf, Muddled Masterpieces and The Late Late War.

(Click thumbnails below to read pages at full size)

As a historian, I get a real kick whenever I discover that somebody I had no idea was still alive is, in fact, alive and well. Such is the case with this article in the Monterey County Herald which reveals that Maxine Patin is still around at 95, and is even having a show of her paintings this weekend. She was married to Ray Patin, who was an animator before launching Ray Patin Productions, one of the most successful TV commercial studios in LA during the 1950s. (A lot of the studio’s art can be found online including here and here.) It doesn’t appear that Maxine ever worked in animation, but it’s clear that she’s lived quite a full life herself. I particularly liked this quote from her daughter: “She has a beauty, intelligence and a nobility that she’s completely unaware of — and that, in itself, is part of her beauty. She doesn’t know how not to be kind. She doesn’t know how to put on airs because she came from a generation of people who never learned how to manipulate. What you see is what you get.”

The 1971 X-rated feature The Telephone Book screens Thursday evening, November 5, at the Egyptian Theatre. The film, described as a “biting satire on sexual morality about a girl who falls in love with the world’s greatest obscene phone caller,” probably isn’t for everybody. But it has developed a cult reputation over the years and was considered a source of inspiration for Bernardo Bertolucci’s Last Tango In Paris while Steve Martin labeled it one of his favorite films of the Seventies.

The reason it’s on the Brew is because the climax of the film is an outlandish and humorously erotic piece of animation directed by my pal, animation legend Len Glasser. Len has an illustrious history in the field. A student of Franz Kline and S. Neil Fujita, he worked at Terrytoons on Tom Terrific and designed films and commercials for Ernie Pintoff before starting his own commercial studio Stars and Stripes Productions Forever, which produced some of the craziest and most creative TV spots of the 1960s. Here’s one of his well-known spots:

The Egyptian screening will be followed by a Q&A with Len, along with the film’s director/writer Nelson Lyon and producer Merv Bloch. The film was also recently released on dvd in Europe. Ordering details can be found on the film’s official website.

Animation historian and cartoon archeologist Steve Stanchfield is back with another double header of rare 1930s cartoons from the long-forgotten Fleischer-rival, Van Beuren Studios. His latest Thunderbean DVDs are The Complete Animated Adventures of Van Beuren’s Tom and Jerry and Aesop’s Fables Vol. 2 - and again, I recommend these highly to anyone - especially those who love 1930s-style rubber-hose animation.

The Tom & Jerry set (with gorgeous Milton Knight cover art) is particularly amazing. These hilarious cartoons are obscure to begin with, so a real treat is the fabulous film prints Stanchfield digs up and lovingly restores. Many of the cartoons look really great, especially A Swiss Trick (1931) from a 35mm nitrate sepia-tinted, spliceless print, with its original titles intact. This is as close as we’ll ever get to experiencing one of these cartoons the way audiences saw them in the early 30s. It really makes a difference.

Also on the T&J set, galleries of original trade ads, posters, home movie boxes, picture books, and four additional cartoons starring Tom & Jerry precursors, Waffles and Don. Stanchfield goes an extra five miles here, with the inclusion of a comparison reel of Tom & Jerry animation against a rare Egyptian knock-off by the Frenkel Brothers. Priceless stuff.

For more information on Thunderbean’s complete line of animation rarities, click here.

More John Canemaker news! John will present his do-not-miss lecture/screening on the art and life of animation pioneer Winsor McCay (1867–1934) at the Wexner Center for the Arts at Ohio State University, Columbus, Ohio, next Tuesday November 3rd.

As part of the lecture, Canemaker presents Gertie the Dinosaur (1914) the way it was meant to be shown – as a vaudeville act with live musical accompaniment (photo above is from Canemaker’s recent screening in Annecy). The program starts at 7:00 pm at the Wexner Center Film/Video Theater, 1871 North High Street in Columbus, Ohio. The event is part of the current Winsor McCay: Legendary Cartoonist exhibit at the OSU Cartoon Library and Museum. For tickets and information, please visit the Cartoon Museum website.

I’ve praised this blog before, but the Chuck Jones blog, run by Chuck’s grandson Craig, continues to be a treasure trove of artwork and new information about the director.

My favorite recent post is this letter that Chuck wrote to his daughter Linda following his brief stint working at the Disney studio in 1953. In it, Jones gives his perspective of working at the studio, and it sounds not so different from a lot of contemporary feature animation studios:

At Disney’s it was always necessary to be certain places at certain times. God knows why, nothing ever happened, so it was nearly impossible to work there without a timepiece. You could get along without talent, but not a watch…. Ah..I think this was a good mood—I mean move to return here [to Warner Bros.], I had not realized how much I missed the sweetness of my own solitude. At Disney’s aloneness or desire to be alone generates suspicion, you are always surrounded by people, drifting in and out, exchanging hackneyed pleasantries or just sitting, staring with baleful intensity at one’s own navel. What a waste! What a waste of wonderful talent!

Jones also offered an unflattering opinion of Disney director Ham Luske:

I went to Disney’s with respect for H… L…., I could not fathom him but I felt that there must be some pretty strong talent there, not evident on the surface perhaps but still waters run deep etc. etc. If I still think this then I am the only one who has recently worked there who does. Walt adjudges him a work horse, stolid, unimaginative, but able to get things done if someone else has injected the life and the spark into the material. Many others think of him as simply and purely a dolt and a dull dolt at that. I saw too little of him to make any judgment, but I can no longer assume that he has talent. Isn’t that a pity?

It’s particularly interesting to read this letter in context of Chuck’s later opinions of working at Disney, which can be found in this terrific article by Wade Sampson.