Production
- In a real-life parallel of the storyline, the short was directed by Friz Freleng, who had just returned to Schlesinger after a stint as a director at MGM's cartoon division.
- As noted, many staff members have cameos in this short:
- Leon Schlesinger — appears as himself
- Chuck Jones — one of the crowd rushing out during the lunch break
- Bob Clampett — another one of the Termite Terrace employees rushing frantically off to lunch
- Michael Maltese — the studio security guard (also voiced by Blanc)
- Gerry Chiniquy — studio director calling for quiet
- Henry Binder, Paul Marin — stagehands also calling for quiet. Binder is also the stagehand throwing Porky off the set
- Because the animation unit did not have access to location sound recording equipment, all of the live-action footage was shot silent. The voices had to be dubbed in later (which is why most of them were dubbed by Mel Blanc except Leon Schlesinger).
- To keep the short on-budget, relatively few special effects were used to marry the animation and live action. Where possible, the crew simply took still pictures of the office background and had them enlarged and placed directly on the animation stand.
- Despite being in black and white, this short was shown regularly on Looney Tunes on Nickelodeon, particularly during the Nick at Nite version.
- In 1995, the film was computer colorized and became a regular part of the Cartoon Network rotation. The film could also be seen in its original black and white form on the short-lived "Golden Jubilee" video collection of the mid-1980s, Cartoon Network's installment show Late Night Black and White, and Nick at Nite's version of Looney Tunes on Nickelodeon.
Read more about this topic: You Ought To Be In Pictures
Famous quotes containing the word production:
“From the war of nature, from famine and death, the most exalted object which we are capable of conceiving, namely, the production of the higher animals, directly follows. There is grandeur in this view of life, with its several powers, having been breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.”
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“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
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