Avery began his stint at MGM working with lush colors and realistic backgrounds, but he slowly abandoned this style for a more frenetic, less realistic approach. The newer, more stylized look reflected the influence of the up-and-coming UPA studio, the need to cut costs as budgets grew higher, and Avery's own desire to leave reality behind and make cartoons that were not tied to the real world of live action.
During this period, he made a notable series of films which explored the technology of the future: "The House of Tomorrow", "The Car of Tomorrow", "The Farm of Tomorrow" and "The TV of Tomorrow" spoofing common live-action promotional shorts of the time. He also introduced a slow-talking wolf character, who was the prototype for MGM associates Hanna-Barbera 's Huckleberry Hound character, right down to the voice by Daws Butler.
Avery took a year sabbatical from MGM beginning in , during which time Dick Lundy , recently arrived from the Walter Lantz studio, took over his unit and made one "Droopy" cartoon, as well as a string of shorts with an old character, Barney Bear. Avery returned to MGM in October and began working again. Avery's last two original cartoons for MGM were "Deputy Droopy" and "Cellbound", completed in and released in They were co-directed by Avery unit animator Michael Lah.
Lah began directing a handful of CinemaScope Droopy shorts on his own. He turned to animated television commercial s, most notably the Raid commercials of the s in which cartoon insects, confronted by the bug killer, screamed "RAID!
Avery also produced ads for Kool-Aid fruit drinks starring the Warner Bros. During the s and s, Avery became increasingly reserved and depressed, although he continued to draw respect from his peers. His final employer was Hanna-Barbera Productions , where he wrote gags for Saturday morning cartoons such as the Droopy-esque " Kwicky Koala ". On Tuesday, August 26 , , Avery died at St. Joseph's Hospital in Burbank, California at age He had been suffering from lung cancer for a year.
Legacy Although Tex Avery did not live to experience the lates renaissance of animation, his work was rediscovered and he began to receive widespread attention and praise by the modern animation and film communities. Several of them were released on VHS, in four volumes of "Tex Avery's Screwball Classics", and two Droopy collections, with many gags edited out for television showings left in.
It should also be noted that Tex Avery, unlike most Warner Brothers directors, kept many original title frames of his cartoons, several otherwise lost due to Blue Ribbon Reissues, and were recently sold on eBay.
In France issued three stamps honoring Tex Avery for his th birthday, depicting Droopy, The girl and The wolf.
Turner and WB are both units of Time Warner. The cartoons he directed at the Lantz studio are owned by their original distributors, Universal Studios. Films directed or co-directed by Tex Avery Warner Bros. New York: De Capo Press. ISBN Oxford: Oxford University Press. Avery in particular was deeply involved; a perfectionist, Avery constantly crafted gags for the shorts, periodically provided voices for them including his trademark belly laugh , and held such control over the timing of the shorts that he would splice frames out of the final negative if he felt a gag's timing wasn't quite right.
Porky's Duck Hunt introduced the character of Daffy Duck , who possessed a new form of "lunacy" and zaniness that had not been seen before in animated cartoons. Daffy was an almost completely out-of-control "darnfool duck" who frequently bounced around the film frame in double-speed, screaming "Woo-hoo!
Avery's The Wild Hare is seen as the first cartoon to truly establish the personality of Bugs Bunny, after a series of shorts featuring a Daffy Duck-like rabbit directed by Ben Hardaway , Cal Dalton , and Chuck Jones, who was promoted to director along with Bob Clampett in the late s.
Avery's Bugs was a super-cool rabbit who is always in control of the situation and who runs rings around his opponents. A Wild Hare also marks the first pairing of him and bald, meek Elmer Fudd , a revamp of Avery's Egghead , a big nosed little fellow who, in turn, was modeled after radio comedian Joe Penner. It is in A Wild Hare that Bugs casually walks up to Elmer, who is out "hunting wabbits", and asks him, calmly as anything, "What's up, doc?
During this period, he also directed a number of one-shot shorts, including travelogue parodies The Isle of Pongo-Pongo , , fractured fairy-tales The Bear's Tale , , Hollywood caricature films Hollywood Steps Out , , and cartoons featuring Bugs Bunny clones the Crack-Pot Quail , Avery's tenure at Schlesinger ended in late , when he and the producer quarreled over the ending to The Heckling hare.
In Avery's original version, Bugs and hunting dog were to fall off of a cliff three times , milking the gag to its comic extreme. Schlesinger intervened, and edited the film so that the characters only fall of the cliff once. An enraged Avery promptly quit the studio, leaving a number of cartoons, including Crazy Cruise and The Cagey Canary , incomplete; Bob Clampett finished these cartoons for release. By , Avery was in the employ of Metro-Goldwyn-Mayer , working in their cartoon division under the supervision of Fred Quimby.
His cartoons became known for their sheer lunacy, breakneck pace, and a penchant playing with the medium of animation and film in general that few other directors dared to approach. MGM also offered larger budgets and a higher quality level than the Warners films. Avery's most famous MGM character debuted in 's Dumbhounded.
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