#carl stalling

[skullislandproductions]

Happy Birthday to the Road Runner and Wile E. Coyote, who began their great chase 75 years ago, when “Fast and Furry-ous” was released into theaters September 17th, 1949. This short was directed by Chuck Jones and written by Mike Maltese, who would go on to create many more adventures for the pair.

[stone-cold-groove]

Canned Feud. Warner Bros. Pictures - 1951.

[checkitout-checkitout]

Raymond Scott: the original jazz composer of some of your favorite Looney Tunes quotes

[animatejournal]

Daffy Duck’s Quackbusters Directors: Greg Ford & Terry Lennon Studio: Warner Bros. | USA, 1988

[nelson-riddle-me-this]

Okay but who besides perhaps Leonard Bernstein has done more for classical music in the 20th century and beyond than Bugs Bunny?

[glfc2112]

Random Fact of the Day: Rush and Looney Tunes have a connection. You might be wonder thinking, what's the connection between Rush and Looney Tunes?  It has something to do with "La Villa Strangiato" which is off their 1978 Hemispheres. When pdbass connected the two, it blew my mind.  Around the six minute mark of "La Villa Strangiato," that's when the piece starts.  That section is taken from, pianist, Raymond Scott's "Powerhouse, written in 1937.  It was adapted and arranged by Carl Stalling.  "Powerhouse" has two parts.  The second section has been used in various Warner Bros. cartoons, "Ren & Stimpy," and others. Rush was sued for using it, but that statute of limitations had run out and nothing could be done.  They didn't owe him anything.  Upon Rush realizing what they did, they did what they thought was right and wrote him a penance cheque for using his melody. pdbass goes on to breakdown musical aspect of what Rush played.  Fascinating.  This is something I didn't know.  Goes to show that you're always learning something new. Wow.  Just wow.

[thinkbolt]

The Skeleton Dance - (1929, Restored) : Walt Disney : Free Download, Borrow, and Streaming : Internet Archive

*Restored Disney Plus print

Skeleton Dance (Disney, 1929) dir. Walt Disney

The first in Disney's Silly Symphony series, inspired by a pitch from Carl Stalling, who soon became Disney's in-house composer. Animated almost entirely by Ub Iwerks, it was well-received by audiences, and has become one of the most well-respected cartoons in animation history. At the time, however, some cinemas refused to show the film. It was banned in Denmark for being "too macabre."

Buy me a coffee!

[dailylooneys]

Carl Stalling was great. You'd never believed if you met him, he looked and dressed very much like a trolley cart conductor or a bus conductor. He always dressed in blue clothes with a vest, and when he first came out here he surprised everybody because he wore spats [...] He didn't look like he had a sense of humor. You know, and he did. And he was wonderful. And before you started a picture, at least with me, I knew very little about music, I would go in and go through the entire picture with him and get tempos. And within that tempos if it was, say two-twelves or forward, three-quarter time. Well, all I knew then was, if a big accent came in, I learn to put it on a downbeat or whatever it was, and so on. All of our pictures were laid out to musical terms. So when they came in they put the sound effects. "Now, Carl Stalling and Treg Brown who was also a musician [...] so he and Stalling would work together, and they did something that was very important for any director to remember: if you're going to hit it with music, don't hit it with sound effects, don't let'em muddy each other up. In the same way like in your backgrounds: if your color defines the difference with the house and the sky, don't bother to put a line through it, I mean, the line or the color can take care of it, but not both. You're hitting a double thing in the background. "Treg Brown prided himself as we furthered along and no sound effect would be appropriate [...] One time, I was something [in a cartoon] that had a bunch of boulders coming towards the camera and he said "I think this calls for a sound effect, I can't quite figure out what to put in there", then he said "Wait a minute. What is the sound the scares you most?". He said that "clang", "clang", "clang" crossing guard. And he said if you start that real low with a "CLANG! CLANG! CLANG! CLANG! CLANG!", off into the distance, it'll really startle you. And then he added, "why don't we do that and then I got a Tarzan yell we could run backwards." And he put that in, and it really worked, you know.

Chuck Jones on Carl Stalling and Treg Brown