immigrant parents, Francesco Paolo Lantz (formerly Lanza) and Maria Gervasi from Calitri.[4] According to Joe Adamson's biography, The Walter Lantz Story, Lantz's father was given his new surname by an immigration official who Anglicized it. Walter Lantz was always interested in art, completing a mail order drawing class at age twelve. He was inspired when he saw Winsor McCay's animated short, Gertie the Dinosaur.
While working as an auto mechanic Lantz got his first break. A wealthy customer named Fred Kafka liked his drawings on the garage's bulletin board and financed Lantz's studies at the Art Students League of New York. Kafka also helped him land a job as a copy boy at the New York American, owned by William Randolph Hearst. Lantz worked at the newspaper and attended art school at night.
By the age of 16, Lantz was working in the animation department under director Gregory La Cava. Lantz then worked at the John R. Bray Studios on the Jerry On The Job series. In 1924, Lantz directed, animated, and even starred in his first cartoon series, Dinky Doodle, and soon replaced George "Vernon" Stallings as head of production (In the 1920s, Bray began to concentrate on competing with Hal Roach, the "king of two-reelers"). Lantz moved to Hollywood, California after Bray switched to a publicity film studio in 1927, where he worked briefly for director Frank Capra and was a gag writer for Mack Sennett comedies.[5]
The Oswald era[edit]
In 1928, Lantz was hired by Charles B. Mintz as director on the Oswald the Lucky Rabbit cartoon series for Universal Studios. Earlier that year, Mintz and his brother-in-law George Winkler had succeeded in snatching Oswald from the character's creator, Walt Disney. Universal president Carl Laemmle grew dissatisfied with the Mintz-Winkler product and fired them, deciding instead to produce the Oswalds on the Universal lot. While schmoozing with Laemmle, Lantz wagered that if he could beat Laemmle in a game of poker, the character would be his. As fate would have it, Lantz won the bet, and Oswald was now his character.
Lantz inherited many of his initial staff, including animator Tom Palmer and musician Bert Fiske from the Winkler studio, but importantly he chose fellow New York animator, Bill Nolan, to help develop the series. Nolan's previous credentials included inventing the panorama background and developing a new, streamlined Felix the Cat. Nolan was (and still is) probably best known for perfecting the "rubber hose" style of animation. In September 1929, Lantz released his first cartoon, Race Riot.
By 1935, Nolan parted company with Lantz. Lantz became an independent producer, supplying cartoons to Universal instead of merely overseeing the animation department. By 1940, he was negotiating ownership for the characters he had been working with.
The Woody Woodpecker era[edit]
When Oswald had worn out his welcome, Lantz needed a new character. Meany, Miny and Moe (three ne'er-do-well chimps), Baby-Face Mouse, Snuffy Skunk, Doxie (a comic dachshund) and Jock and Jill (monkeys that resembled Warner Brothers' Bosko) were some personalities Lantz and his staff came up with. However, one character, Andy Panda, stood out and soon became Lantz's headline star for the 1939-1940 production season.
In 1940, Lantz married actress Grace Stafford. During their honeymoon, the couple kept hearing a woodpecker incessantly pecking on their roof. Grace suggested that Walter use the bird for inspiration as a cartoon character. Taking her advice, though a bit skeptical, Lantz debuted Woody Woodpecker in an Andy Panda short, Knock Knock. The brash woodpecker character was similar to the early Daffy Duck, and Lantz liked the results enough to build a series around it.
Mel Blanc supplied Woody's voice for the first three cartoons. When Blanc accepted a full-time contract with Leon Schlesinger Productions/Warner Bros. and left the Lantz studio, gagman Ben Hardaway, the man who was the main force behind Knock Knock, became the bird's voice. Despite this, Blanc's distinctive laugh was used throughout the cartoons.
During 1948, the Lantz studio created a hit Academy Award-nominated tune in "The Woody Woodpecker Song", featuring Blanc's laugh. Mel Blanc sued Lantz for half a million dollars, claiming that Lantz had used his voice in later cartoons without permission. The judge, however, ruled for Lantz, saying that Blanc had failed to copyright his voice or his contributions. Though Lantz won the case, he paid Blanc in an out-of-court settlement when Blanc filed an appeal, and Lantz went in search for a new voice for Woody Woodpecker.
In 1950, Lantz held anonymous auditions. Grace, Lantz's wife, offered to do Woody's voice; however, Lantz turned her down because Woody was a male character. Not discouraged in the least, Grace made her own anonymous audition tape, and submitted for the studio to listen to. Not knowing who was behind voice he heard, Lantz picked Grace's voice for Woody Woodpecker. Grace supplied Woody's voice until the end of production in 1972, and also performed in non-Woody cartoons. At first, Grace voiced Woody without screen credit, thinking that it would disappoint child viewers to that know Woody Woodpecker was voiced by a woman. However, she soon came to enjoy being kno
[read more..]
