How To Cartoon A Picture Biography
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How To Cartoon A Picture. was a pioneer of films with synchronized sound (then known as "talking pictures" or "talkies"). In 1925, at the urging of Sam, the Warners agreed to expand their operations by adding this feature to their productions.[HBTHYNA 10] Harry, however, opposed it,[HBTHYNA 11] famously wondering, "Who the heck wants to hear actors talk?" By February 1926, the studio suffered a reported net loss of Juan opens Warners' TheaterAfter a long period of denying Sam's request for sound, Harry agreed to accept Sam's demands, as long as the studio's use of synchronized sound was for background music purposes only.[HBTHYNA 10] The Warners signed a contract with the sound engineer company Western Electric and established Vitaphone.[HBTHYNA 12] In 1926, Vitaphone began making films with music and effects tracks, most notably, in the feature Don Juan starring John Barrymore. The film was silent, but it featured a large number of Vitaphone shorts at the beginning. To hype Don Juan's release, Harry acquired the large Piccadilly Theater in Manhattan, New York City, and renamed it the Warner Theater.[cph 2]Don Juan premiered at the Warner Theater in New York on August 6, 1926.[cph 2] Throughout the early history of film distribution, theater owners hired orchestras to attend film showings and provide soundtracks. Through Vitaphone, Warner Bros. produced eight Vitaphone shorts (which aired at the beginning of every showing of Don Juan across the country) in 1926, and got many film production companies to question the necessity.[cph 3] While Don Juan was a success at the box office,[HBTHYNA 13] it did not recoup its production cost[HBTHYNA 13] and Lubitsch left Warner for MGM.[HBTHYNA 6] By April 1927, the Big Five studios (First National, Paramount, MGM, Universal, and Producers Distributing) had put the Warner brothers in financial ruin,[cph 4] and Western Electric renewed Warner's Vitaphone contract with terms that allowed other film companies to test sound.[cph 4]As a result of the financial problems the studio was having, Warner Bros. took the next step and released The Jazz Singer starring Al Jolson. This movie, which has very little sound dialogue but does feature sound segments of Jolson singing, was a sensation. It signaled the beginning of the era of "talking pictures" and the twilight of the silent era. However, as Sam died, the brothers were at his funeral and could not attend the premiere. Jack became sole head of production.[10] Sam's death also had a great effect on Jack's emotional state,[11] as Sam was arguably Jack's inspiration and favorite brother.[cph 5] In the years to come, Jack ran the studio with an iron fist.[11] Firing of studio employees soon became his trademark.[cph 6] Among those whom Jack fired were Rin Tin Tin (in 1929) and Douglas Fairbanks, Jr. — who had served as First National's top star since the brothers acquired the studio in 1928 — in 1933.[cph 6]Thanks to the success of The Jazz Singer, the studio was cash-rich. Jolson's next film for the company, The Singing Fool was also a success.[HBTHYNA 14] With the success of these first talkies (The Jazz Singer, Lights of New York, The Singing Fool, and The Terror), Warner Bros. became one of the top studios in Hollywood and the brothers were now able to move out from the Poverty Row section of Hollywood and acquire a big studio in Burbank, California.[HBTHYNA 15] They were also able to expand studio operations by acquiring the Stanley Corporation, a major theater chain.[HBTHYNA 16] This gave them a share in rival First National Pictures, of which Stanley owned one-third.[cph 7] In a bidding war with William Fox, Warner Bros. bought more First National shares on September 13, 1928;[HBTHYNA 17][HBTHYNA 17] Jack Warner also appointed producer Darryl Zanuck as the studio's manager of First National Pictures.[HBTHYNA 17]In 1929, Warner Bros bought the St. Louis-based theater chain Skouras Brothers. Following this take-over, Spyros Skouras, the driving force of the chain, became general manager of the Warner Brothers Theater Circuit in America. He worked successfully in that post for two years and managed to eliminate the losses and eventually increase profits.Harry Warner was able to acquire a string of music publishers and form Warner Bros. Music. In April 1930, the Warner Bros. acquired Brunswick Records. Harry obtained a string of radio companies, foreign sound patents, and a lithograph company.[HBTHYNA 17] After establishing Warner Bros. Music, Harry appointed his son, Lewis, to serve as the company's head manager.[cph 8]In 1929, Harry produced an adaptation of a Cole Porter musical titled Fifty Million Frenchmen.[HBTHYNA 18] Through First National, the studio's profit increased substantially.[cph 9] After the success of the studio's 1929 First National film Noah's Ark, Harry agreed to make Michael Curtiz a major director at the Burbank studio.[cph 10] Mort Blumenstock, a First National screenwriter, became a top writer at the brothers' New York headquarters.[cph 11]In the third quarter of 1929, Warner Bros. gained complete control of First National, when Harry purchased the company's remaining one-third share from Fox.[HBTHYNA 17] The Justice Department agreed to allow the purchase if First National was maintained as a separate company.[cph 12] When the Great Depression hit, Warner asked for and got permission to merge the two studios. Soon afterward Warner Bros. moved to the First National lot in Burbank. Though the companies merged, the Justice Department required Warner to produce and release a few films each year under the First National name until 1938. For thirty years, certain Warner productions were identified (mainly for tax purposes) as 'A Warner Bros. – First National Picture.'In the latter part of 1929, Jack Warner hired George Arliss to star in Disraeli,[cph 13] which was a success.[cph 13] Arliss won an Academy Award for Best Actor and went on to star in nine more movies with the studio.[cph 13] In 1930, Harry acquired more theaters in Atlantic City, despite the beginning of the Great Depression.[12] In July 1930, the studio's banker, Motley Flint, was murdered by a disgruntled investor in another company.[cph 14]1931, the studio began to feel the effects of the Depression as the public became unable to afford the price of a movie ticket. In 1931, the studio reportedly suffered a net loss of $8 million, and an additional $14 million the following year.[HBTHYNA 19] In 1931, Warner Bros. Music head Lewis Warner died from an infected wisdom tooth.[cph 14]Around that time, Warner Bros. head producer Darryl Zanuck hired screenwriter Wilson Mizner.[cph 15] While at the studio, Mizner had hardly any respect for authority and found it difficult to work with studio boss Jack Warner,[cph 15] but became a valuable asset.[cph 15] As time went by, Warner became more tolerant of Mizner and helped invest in Mizner's Brown Derby restaurant.[cph 15] On April 3, 1933, Mizner died from a heart attack.[cph 16]In 1928, Warner Bros. released Lights of New York, the first all-talking feature. Due to its success, the movie industry converted entirely to sound almost overnight. By the end of 1929, all the major studios were exclusively making sound films. In 1929, National Pictures released their first film with Warner Bros., Noah's Ark.[HBTHYNA 20] Despite its expensive budget, Noah's Ark was profitable.[HBTHYNA 21] In 1929, Warner Bros. released On with the Show, the first all-color all-talking feature. This was followed by Gold Diggers of Broadway which was so popular it played in theatres until 1939. The success of these two color pictures caused a color revolution (just as the first all-talkie had created one for talkies). Warner Bros. released a large number of color films from 1929 to 1931, including The Show of Shows (1929), Sally (1929), Bright Lights (1930), Golden Dawn (1930), Hold Everything (1930), Song of the Flame (1930), Song of the West (1930), The Life of the Party (1930), Sweet Kitty Bellairs (1930), Under A Texas Moon (1930), Bride of the Regiment (1930), Viennese Nights (1931), Woman Hungry (1931), Kiss Me Again (1931), Fifty Million Frenchmen (1931), and Manhattan Parade (1932). In addition to these, scores of features were released with Technicolor sequences, as well as numerous short subjects. The majority of these color films were musicals.Three years later, audiences had grown tired of musicals, and the studio was forced to cut the musical numbers of many of the productions and advertise them as straight comedies. The public had begun to associate musicals with color, and thus the studios began to abandon its use. Warner Bros. had a contract with Technicolor to produce two more pictures in that process. As a result, the first horror films in color were produced and released by the studio: Doctor X (1932) and Mystery of the Wax Museum (1933). In the latter part of 1931, Harry Warner rented the Teddington Studios in London, England.[cph 17] The studio focused on making 'quota quickies' for the domestic British market[13] and Irving Asher was appointed as the studio's head producer.[13] In 1934, Harry Warner officially purchased the Teddington Studios.[cph 17]In February 1933, Warner Bros. produced 42nd Street, a very successful musical[HBTHYNA 22] that saved the company from bankruptcy.[cph 18] In the wake of 42nd Street's success, the studio produced profitable musicals.[HBTHYNA 23] These starred Ruby Keeler and Dick Powell and were mostly directed by Busby Berkeley.[HBTHYNA 24] In 1935, the revival suffered a major blow when Berkeley was arrested after killing three people while driving drunk.[cph 19] By the end of the year, people again tired of Warner Bros. musicals,[HBTHYNA 23] and the studio – after the huge profits made by the 1935 film Captain Blood – shifted its focus on producing Errol Flynn swashbucklers.
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How To Cartoon A Picture. was a pioneer of films with synchronized sound (then known as "talking pictures" or "talkies"). In 1925, at the urging of Sam, the Warners agreed to expand their operations by adding this feature to their productions.[HBTHYNA 10] Harry, however, opposed it,[HBTHYNA 11] famously wondering, "Who the heck wants to hear actors talk?" By February 1926, the studio suffered a reported net loss of Juan opens Warners' TheaterAfter a long period of denying Sam's request for sound, Harry agreed to accept Sam's demands, as long as the studio's use of synchronized sound was for background music purposes only.[HBTHYNA 10] The Warners signed a contract with the sound engineer company Western Electric and established Vitaphone.[HBTHYNA 12] In 1926, Vitaphone began making films with music and effects tracks, most notably, in the feature Don Juan starring John Barrymore. The film was silent, but it featured a large number of Vitaphone shorts at the beginning. To hype Don Juan's release, Harry acquired the large Piccadilly Theater in Manhattan, New York City, and renamed it the Warner Theater.[cph 2]Don Juan premiered at the Warner Theater in New York on August 6, 1926.[cph 2] Throughout the early history of film distribution, theater owners hired orchestras to attend film showings and provide soundtracks. Through Vitaphone, Warner Bros. produced eight Vitaphone shorts (which aired at the beginning of every showing of Don Juan across the country) in 1926, and got many film production companies to question the necessity.[cph 3] While Don Juan was a success at the box office,[HBTHYNA 13] it did not recoup its production cost[HBTHYNA 13] and Lubitsch left Warner for MGM.[HBTHYNA 6] By April 1927, the Big Five studios (First National, Paramount, MGM, Universal, and Producers Distributing) had put the Warner brothers in financial ruin,[cph 4] and Western Electric renewed Warner's Vitaphone contract with terms that allowed other film companies to test sound.[cph 4]As a result of the financial problems the studio was having, Warner Bros. took the next step and released The Jazz Singer starring Al Jolson. This movie, which has very little sound dialogue but does feature sound segments of Jolson singing, was a sensation. It signaled the beginning of the era of "talking pictures" and the twilight of the silent era. However, as Sam died, the brothers were at his funeral and could not attend the premiere. Jack became sole head of production.[10] Sam's death also had a great effect on Jack's emotional state,[11] as Sam was arguably Jack's inspiration and favorite brother.[cph 5] In the years to come, Jack ran the studio with an iron fist.[11] Firing of studio employees soon became his trademark.[cph 6] Among those whom Jack fired were Rin Tin Tin (in 1929) and Douglas Fairbanks, Jr. — who had served as First National's top star since the brothers acquired the studio in 1928 — in 1933.[cph 6]Thanks to the success of The Jazz Singer, the studio was cash-rich. Jolson's next film for the company, The Singing Fool was also a success.[HBTHYNA 14] With the success of these first talkies (The Jazz Singer, Lights of New York, The Singing Fool, and The Terror), Warner Bros. became one of the top studios in Hollywood and the brothers were now able to move out from the Poverty Row section of Hollywood and acquire a big studio in Burbank, California.[HBTHYNA 15] They were also able to expand studio operations by acquiring the Stanley Corporation, a major theater chain.[HBTHYNA 16] This gave them a share in rival First National Pictures, of which Stanley owned one-third.[cph 7] In a bidding war with William Fox, Warner Bros. bought more First National shares on September 13, 1928;[HBTHYNA 17][HBTHYNA 17] Jack Warner also appointed producer Darryl Zanuck as the studio's manager of First National Pictures.[HBTHYNA 17]In 1929, Warner Bros bought the St. Louis-based theater chain Skouras Brothers. Following this take-over, Spyros Skouras, the driving force of the chain, became general manager of the Warner Brothers Theater Circuit in America. He worked successfully in that post for two years and managed to eliminate the losses and eventually increase profits.Harry Warner was able to acquire a string of music publishers and form Warner Bros. Music. In April 1930, the Warner Bros. acquired Brunswick Records. Harry obtained a string of radio companies, foreign sound patents, and a lithograph company.[HBTHYNA 17] After establishing Warner Bros. Music, Harry appointed his son, Lewis, to serve as the company's head manager.[cph 8]In 1929, Harry produced an adaptation of a Cole Porter musical titled Fifty Million Frenchmen.[HBTHYNA 18] Through First National, the studio's profit increased substantially.[cph 9] After the success of the studio's 1929 First National film Noah's Ark, Harry agreed to make Michael Curtiz a major director at the Burbank studio.[cph 10] Mort Blumenstock, a First National screenwriter, became a top writer at the brothers' New York headquarters.[cph 11]In the third quarter of 1929, Warner Bros. gained complete control of First National, when Harry purchased the company's remaining one-third share from Fox.[HBTHYNA 17] The Justice Department agreed to allow the purchase if First National was maintained as a separate company.[cph 12] When the Great Depression hit, Warner asked for and got permission to merge the two studios. Soon afterward Warner Bros. moved to the First National lot in Burbank. Though the companies merged, the Justice Department required Warner to produce and release a few films each year under the First National name until 1938. For thirty years, certain Warner productions were identified (mainly for tax purposes) as 'A Warner Bros. – First National Picture.'In the latter part of 1929, Jack Warner hired George Arliss to star in Disraeli,[cph 13] which was a success.[cph 13] Arliss won an Academy Award for Best Actor and went on to star in nine more movies with the studio.[cph 13] In 1930, Harry acquired more theaters in Atlantic City, despite the beginning of the Great Depression.[12] In July 1930, the studio's banker, Motley Flint, was murdered by a disgruntled investor in another company.[cph 14]1931, the studio began to feel the effects of the Depression as the public became unable to afford the price of a movie ticket. In 1931, the studio reportedly suffered a net loss of $8 million, and an additional $14 million the following year.[HBTHYNA 19] In 1931, Warner Bros. Music head Lewis Warner died from an infected wisdom tooth.[cph 14]Around that time, Warner Bros. head producer Darryl Zanuck hired screenwriter Wilson Mizner.[cph 15] While at the studio, Mizner had hardly any respect for authority and found it difficult to work with studio boss Jack Warner,[cph 15] but became a valuable asset.[cph 15] As time went by, Warner became more tolerant of Mizner and helped invest in Mizner's Brown Derby restaurant.[cph 15] On April 3, 1933, Mizner died from a heart attack.[cph 16]In 1928, Warner Bros. released Lights of New York, the first all-talking feature. Due to its success, the movie industry converted entirely to sound almost overnight. By the end of 1929, all the major studios were exclusively making sound films. In 1929, National Pictures released their first film with Warner Bros., Noah's Ark.[HBTHYNA 20] Despite its expensive budget, Noah's Ark was profitable.[HBTHYNA 21] In 1929, Warner Bros. released On with the Show, the first all-color all-talking feature. This was followed by Gold Diggers of Broadway which was so popular it played in theatres until 1939. The success of these two color pictures caused a color revolution (just as the first all-talkie had created one for talkies). Warner Bros. released a large number of color films from 1929 to 1931, including The Show of Shows (1929), Sally (1929), Bright Lights (1930), Golden Dawn (1930), Hold Everything (1930), Song of the Flame (1930), Song of the West (1930), The Life of the Party (1930), Sweet Kitty Bellairs (1930), Under A Texas Moon (1930), Bride of the Regiment (1930), Viennese Nights (1931), Woman Hungry (1931), Kiss Me Again (1931), Fifty Million Frenchmen (1931), and Manhattan Parade (1932). In addition to these, scores of features were released with Technicolor sequences, as well as numerous short subjects. The majority of these color films were musicals.Three years later, audiences had grown tired of musicals, and the studio was forced to cut the musical numbers of many of the productions and advertise them as straight comedies. The public had begun to associate musicals with color, and thus the studios began to abandon its use. Warner Bros. had a contract with Technicolor to produce two more pictures in that process. As a result, the first horror films in color were produced and released by the studio: Doctor X (1932) and Mystery of the Wax Museum (1933). In the latter part of 1931, Harry Warner rented the Teddington Studios in London, England.[cph 17] The studio focused on making 'quota quickies' for the domestic British market[13] and Irving Asher was appointed as the studio's head producer.[13] In 1934, Harry Warner officially purchased the Teddington Studios.[cph 17]In February 1933, Warner Bros. produced 42nd Street, a very successful musical[HBTHYNA 22] that saved the company from bankruptcy.[cph 18] In the wake of 42nd Street's success, the studio produced profitable musicals.[HBTHYNA 23] These starred Ruby Keeler and Dick Powell and were mostly directed by Busby Berkeley.[HBTHYNA 24] In 1935, the revival suffered a major blow when Berkeley was arrested after killing three people while driving drunk.[cph 19] By the end of the year, people again tired of Warner Bros. musicals,[HBTHYNA 23] and the studio – after the huge profits made by the 1935 film Captain Blood – shifted its focus on producing Errol Flynn swashbucklers.
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