Production
In fact, at the beginning the project was to use the protagonists of Who Framed Roger Rabbit, but the project was shelved for legal problems even though the film is still served as an inspiration both for the characters and for the environment.
Together with predecessors DuckTales, Chip 'n Dale Rescue Rangers, TaleSpin, Darkwing Duck, Goof Troop and the successor Quack Pack, Bonkers is the last cartoon series dedicated to the popularity of Disney characters that mated with the new.
The series played 65 episodes, as part of The Disney Afternoon. They were not created in chronological order: The "Miranda" episodes were actually produced first, excluding the two-part series premiere, which featured Piquel and Bonkers meeting for the first time. This discrepancy becomes evident when observing the look of the main character in both sets of episodes. In the Raw Toonage shorts, Bonkers was orange with one brown spot, golf-club-like ears, and an undone tail. When the Lucky Piquel episodes (produced by Robert Taylor) were made, the character had a major overhaul: skinnier ears, two black spots on each his tufts, black Tigger-like stripes on his tail, and a different uniform. The Miranda Wright-era episodes (produced by Duane Capizzi & Robert Hathcock) use Bonkers's original look from Raw Toonage. The series also occasionally featured episodes of "cartoons" from Bonkers's pre-police actor days, all lifted from the Raw Toonage series.
The Raw Toonage shorts were an after-thought of production. While the Bonkers series was in pre-production, the Raw Toonage team, headed by Larry Latham produced 12 "He's Bonkers" shorts. These shorts were, in the context of Bonkers, explained to be some of the shorts Bonkers made at Wackytoons Studios before he was fired. The animated short entitled Petal to the Metal was originally shown in theaters in 1992 before the feature movie 3 Ninjas, while the rest were shown on the program Raw Toonage. In syndication, the shorts were collected into four full episodes with fillers of new material in between.
Meanwhile, Duane Capizzi, making his producing debut, was brought into the fold and teamed with animation veteran Robert Hathcock and charged with making 65 episodes (a full season's worth in syndication). The episodes theoretically would feature Bonkers with Wright as his partner. These episodes came back from overseas animation studios looking less than spectacular, causing considerable concern at Disney. Ultimately, the original team was replaced, and a team headed by Robert Taylor came in. Only 19 of the original-order shows survived to air; they are what is known as the "Miranda Wright episodes" of Bonkers. 9 of these episodes being aired on the Disney Channel during the first half of 1993, as a preview for the series before its syndicated premiere in the fall. The 19 Miranda Wright episodes are shown toward the end of the series in the official continuity. Greg Weisman (co-creator of Disney's Gargoyles) worked on the Miranda episodes, and Bonkers's relationship with Miranda inspired Goliath's relationship with Elisa Maza.
Taylor threw out the old premise of the show. He replaced it with the Lucky Piquel scenario, but his episodes were revised and established to occur before the original episodes. 42 episodes of the "Piquel Era" were made, including one (New Partners On The Block), which attempted to bridge the gap between the two somewhat contradictory storylines.
The syndicated version of the series (which omits several of the original episodes that survived first-run) was last seen on Toon Disney, but due to bad scheduling and the addition of Jetix, it has vanished completely off the network.
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Famous quotes containing the word production:
“The heart of man ever finds a constant succession of passions, so that the destroying and pulling down of one proves generally to be nothing else but the production and the setting up of another.”
—François, Duc De La Rochefoucauld (16131680)
“... if the production of any commodity necessitates the sacrifice of human life, society should do without that commodity, but it can not do without that life.”
—Emma Goldman (18691940)
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (18441900)