'Tyer worked on some of Deitch's other projects as well, most notably the character "Clint Clobber," and the highly successful TV show Tom Terrific but it didn't last long. There were bad feelings between Deitch and Bill Weiss, the "official" businessman who had ultimate control of Terrytoons. It was decided by Weiss and CBS to revert back to Terry's original idea of "the cartoon as mass-produced product" rather than Deitch's meticulous care for each individual film. Deitch was out by mid-1958, and Tyer left on November 18 of that year. With Deitch gone, the studio was going "limited" the same way that Paramount had already gone. In fact, it looked like New York animators would be turning out limited animation from here on out. Tyer had no reason to stick around."'

R.O. Blechman. Bob, of course, was not a member of the studio; quite the opposite. He was the most hard-to-get talent I ever went after. I was dying to do his Juggler of Our Lady from the moment I saw the book. I spent night after night on the phone with him for nearly a year, trying to persuade him to let us do the film, but the schlock reputation of Terrytoons had turned him off. He was a shy, seemingly remote and strange fellow, with a nervous, bashful smile, but hard as nails concerning the integrity of his work. Finally I succeeded. I promised him my most advanced staffer, Al Kouzel, to be the nominal director, and that I would personally oversee the project to ensure absolute fidelity to his book. Here is where Phil Scheib also came through for me, creating a classic baroque music track. My greatest inspiration for this film was to get Boris Karloff to narrate. I had heard him do classic roles on the radio, and I wanted to present him out of type, as the gentle, literate man he really was. It was a pleaure working with him, and the film turned out to be my highest achievement at Terrytoons. I am proud that I was the first to bring R.O. Blechman to the screen.

Ralph Bakshi. During my time at Terrytoons, Ralph was the lowest of the lowly, a minor cel painter, and not a very good one. But in the democratic studio atmosphere I was creating, he took full advantage of his right to nose around, ask questions and put in his opinions. He had a lot of brass and a lot of moxie. I began to notice that he was always tailing me around, trying to learn everything that was going on. Almost immediately after I left, Weiss tagged him as a potential replacement for me, and the rest is history. Ralph really shot up the ladder, and became the enfant terrible of the animation world.

My fondest memory from Terrytoons was the excitement of having such a neat job -- the chance to do something big, trying to remold a studio with the worst possible reputation, having the 20th Century-Fox CinemaScope release, having the chance to create new characters, having so many people working on concepts that I was creating and directing, developing an entire new way of doing soundtracks for animation movies with the help of Tod Dockstader. He was not only a terrific artist and gagman, but a genius sound man. All of this great fun blinded me to the realities...

I was out of Terrytoons about May, 1958, and was then present at the birth of a new studio in Manhattan, with the intriguing name, Gene Deitch Associates, Inc.

Gene Deitch is one of the last surviving members of the original Hollywood UPA studio of 1946 and the instigator of the CBS-Terrytoon "renaissance" of 1956-1958. He was also: Animation Department Chief of the Detroit Jam Handy Organization, 1949-1951, Creative Chief of UPA-New York, 1951-1954, Director at John Hubley's Storyboard, Inc. New York, 1955, President of Gene Deitch Associates, Inc. New York, 1958-1960, Creative Director for Rembrandt Films, 1960-1968, and star director for Weston Woods Studios, Inc., Weston, Connecticut, 1968-1993. He has worked for over 40 years with the Prague animation studio, "Bratri v Triku."