I'm still researching who's who. I know Chuck Jones, of course, and Tex Avery but the rest I knew little to nothing about - apart from seeing their work a million times.
[B]ROBERT MCKIMSON
[/B]if McKimson's cartoons did not reach the intellectual heights of Jones or enjoy the musical freedom of Freleng, he is seen by animation scholars as being the most artistically talented of the Termite Terrace cartoon directors. In 1942, McKimson drew a single portrait of Bugs Bunny, leaning against a tree and smiling as he was eating a carrot, that became known as the definitive portrait of the character; this picture has been imitated many times by later artists, including McKimson's peers. McKimson was, for many years, the studio's most prominent animator and character designer; he created the definitve Bugs Bunny model sheet in 1943. His peers acknowledged McKimson's ability to draw images and figures without any construction lines. Even when Warner Bros. acknowledged the influence of UPA and abandoned extreme "realism" in cartoons during the early 1950s, the characters in McKimson's cartoons continued to reflect his craftsmanship.
[B]
FRIZ FRELENG
[/B]Freleng and Chuck Jones would dominate the Warner Bros. studio in the years after World War II, Freleng largely confining himself to these few characters and Bugs Bunny. Freleng also continued to produce modernized versions of the musical comedies he animated in his early career, such as The Three Little Bops (1957) and Pizzacato Pussycat (1955). Freleng won four Oscars during his time at Warner Bros., for the films Tweetie Pie (1947), Speedy Gonzales (1955), Knighty Knight Bugs (1958) and Birds Anonymous (1957).
[B]
ROBERT CLAMPETT[/B]
Clampett was promoted to director in late 1937, and he soon entered his personal golden age. His cartoons grew increasingly violent, irreverent, and surreal, not beholden to even the faintest hint of real-world physics, and his characters are easily the rubberiest and wackiest of all the Warner directors'. Clampett was heavily influenced by surrealist artist Salvador Dalí, as is most visible in Porky in Wackyland (1938), where the entire short takes place within a Dali-esque landscape complete with melting objects and abstracted forms. Clampett and his work can even be considered part of the surreal movement, as it incorporated film as well as static media.
TEX AVERY Porky's Duck Hunt introduced the character of Daffy Duck, who possessed a new form of "lunacy" and zaniness that had not been seen before in animated cartoons. Daffy was an almost completely out-of-control "darnfool duck" who frequently bounced around the film frame in double-speed, screaming "Hoo-hoo! hoo-hoo" in a high-pitched, electronically sped-up voice provided by veteran Warners voice artist Mel Blanc. Although Avery directed the cartoon, Bob Clampett (who also worked on the film) is generally given the credit of creating Daffy Duck.
Avery's 1940A Wild Hare is seen as the first cartoon to truly establish the personality of Bugs Bunny, after a series of shorts featuring a Daffy Duck-like rabbit directed by Ben Hardaway, Cal Dalton and Chuck Jones, who was promoted to director along with Bob Clampett in the late 1930s. Avery's Bugs was a super-cool rabbit who was always in control of the situation and who ran rings around his opponents.
McKimson is a strong favorite, if, for nothing else, "Gorilla My Dreams"
McKimson is a strong favorite, if, for nothing else, "Gorilla My Dreams"
I admire you for educating yourself before voting. :)
I've always liked Chuck Jones even befor I knew who he was. When I learned who Chuck was, I found out that probably 90 percent of the Looney Tunes shorts that I loved were his. I just really like his timing as well as the way he brought the audience into the cartoons. As well as other things, I liked how he treated some of the characters as actors playing different rolls. A few of my favorites are, Robin Hood Daffy, the coyote-roadrunner shorts, Duck Dodgers, Rabbit of Sevile, What's Opera Doc, and the Grinch Who Stole Christmas. Oh wait, thats not a Looney Tune. Oh well, it's still cool.
Aloha,
the Ape
I could only choose one dammit. If this poll allowed multiple choices I'd say all but Ben Hardaway. He was a strong gagman but had trouble coming up with a decent story to fit all those gags together. Sure he got the ball rolling on the creation of Bugs Bunny and would go on to the Walter Lantz studio and create Woody Woodpecker, but he's still several steps behind the others on this list in terms of directorial skill.
The one I did end up choosing from this list is Tex Avery. As great as the others are, it was really Tex's skill and energy that inspired everyone else to realize their full potential. The same could be said for Bill Hanna and Joe Barbara when Tex went to MGM.
I prefer Robert Clampett because he is the animator's director.
When you animated under Chuck Jones, you were basically an in-betweener.
When you animated for Clampett, you had the freedom to really express yourself.
Of all the WB directors of that period, Clampett took animation to the greatest extremes, portraying greater physical depth - characters who seemed to jump off the screen - and more intense emotion.
Draftee Daffy (1945)
Tortoise Wins by a Hare (1943)
The Great Piggy Bank Robbery (1946)
Kitty Kornered (1946)
Oh and I forgot one of my other favorites, Feed the Kitty.
Aloha,
the Ape
There's great cartoons from every director but if I HAD to pick a favorite, it would have to be Chuck Jones.
Why? It's simple: because he made my favorite Looney Tunes cartoons.
Robin Hood Daffy, Feed the Kitty, Duck Dodgers in the 24th 1/2 Century, Duck! Rabbit! Duck!, that one that spoofs off Dragnet which name escapes me..., Drip Along Daffy, the Road Runner cartoons, and so many of the most memorable cartoons that define what we think of as "The Looney Tunes" today.
For those unfamiliar with Frank Tashlin, I recommend Swooner Crooner from 1944 and Nasty Quacks from 1945.
Both are hilarious and have great timing.
Tashlin went on to direct a bunch of Jerry Lewis movies.
EDIT: I just noticed that Norman Rockwell did that movie poster. lol :) http://www.nrm.org/
that one that spoofs off Dragnet which name escapes me...
That would be Rocket Squad (by Chuck Jones c. 1956).
Man, for me that is like trying to decide which of your children is your favorite...it's impossible to pick! I too love Gorilla of my Dreams... the angry father is hilarious.
That would be Rocket Squad (by Chuck Jones c. 1956).
Thanks.
Man, that was really starting to bug me... I couldn't think of the at all...
James :cool:
I think I'm narrowing it down to the directors before WWII, but I doubt I can pick just one. Can anyone help identify the director for these? In lieiu of actual titles, I'll include some lines and characters:
The LOUD little Red Riding hood one with 'Heeey, Grandma! What bigs eyes ya got -- ta have!"
"IwannaEasterEggIwannaEasterEggIwannaEasterEgg"
Killer, the baby vulture with his mother. (I'm bringing home a baby bumblebee).
The dog racing one - "Make way! Make way! Let a rabbit tru"
The two guys on the desert island (hamburger & hotdog sequence).
I feel I should mention something about Art Davis. He invented inbetweening.
When he was working at the Charles Mintz studio in and around 1923 he noticed that the animators were working quite hard drawing every single drawing for the sequences they were working on. So, Art came up with the idea of animators only making the key drawingswhile assistants handled the drawings that went inbetween them. Mr. Mintz liked that idea and studios have been doing it that way ever since.
There, that oughta drum up some votes for Davis. :cool:
There, that oughta drum up some votes for Davis.
My dream is that everyone gets at least one vote, except for Hardaway and Davis. :p
Davis was a fine animator, as far as I can tell, but he wasn't much of an animation director.
I do like Bye Bye Bluebeard, probably more for the writing than for the directing.
He invented inbetweening.
When he was working at the Charles Mintz studio in and around 1923
Where do you get your information that Davis invented in-betweening, Haredevil? I know he is recognized as the first professional in-betweener, but I can't find any information about Davis inventing the process. (Prior to professional in-betweeners, animators did their own in-betweening.) Also, I thought he was with Fleischer in the early '20s. :confused: :confused: :confused:
I did a little more research on the history of in-betweening.
I don't know how accurate this info is, but here it is anyway.
"While making the film, [Gertie the Dinosaur in 1914, Winsor McCay] devised the system, since used by every animator, of establishing the key poses or frames in each action, then working out the ‘in-between’ frames." http://www.anim8ed.org.uk/resources_index_mccay.asp
(That's just sloppy. Every animator does not use in-betweening.)
"McCay also used for the first time an animation method known as the split system. Instead of drawing an 'action' in sequential order, he split it up into poses, drawing the first pose, the last pose, the halfway pose, and then continuing to draw the poses in between the last two drawn. In this manner, he was able to simplify timing and placement with a method that underwent further refinement only after the advent of sound cartoons in 1928 ... " http://www.filmreference.com/Films-Fr-Go/Gertie-the-Dinosaur.html
Where do you get your information that Davis invented in-betweening, Haredevil? I know he is recognized as the first professional in-betweener, but I can't find any information about Davis inventing the process. (Prior to professional in-betweeners, animators did their own in-betweening.) Also, I thought he was with Fleischer in the early '20s. :confused: :confused: :confused:
Someone named Ray Pointer posted that at the GAC forums some time ago. You were right about him doing that at Fleischers by the way.
From what I've read, Art Davis didn't last long as a director simply because he lacked confidence. At Warner Bros. whenever he finished a storyboard pitch he had no idea if it went over well or not and would sweat like Niagra Falls throughout. Fortunately, Chuck Jones would always be the first to assure him that the cartoon he just pitched was great which would help Art finally relax.
Someone named Ray Pointer posted that at the GAC forums some time ago.
I have read Ray Pointer's posts before. Ray Pointer is an intelligent and well-informed guy and we can all learn tons of valuable stuff from him. Animation enthusiasts are lucky that he has so much extra time to spend educating us in web forums (but not here :p ). http://www.imdb.com/name/nm1383087/
Another detail about Art Davis is that he was the first Inbetweener, asigned to make the inbetween drawings for Dick Huemer on OUT OF THE INKWELL around 1923 or '24. Although other sources claim that Otto Messmer had "inbetweened" before this, the process was not put into formal use in the production of animated cartoons until it was adapted by Max Fleischer. Previously, each animator did every drawing for his scene.
Haredevil, Ray didn't say in that post that Davis invented in-betweening.
That's okay. Everyone mis-remembers stuff occasionally.
It helps to remember that Davis was only 18 years old when he started at Fleischer. He would have had to have been a pretty brilliant kid to have invented in-betweening.
From what I've read, Art Davis didn't last long as a director simply because he lacked confidence.
Yes, I get sad when I think of Davis's career. I feel the same way about Messmer: so much wasted potential. :( Wasted Potential: sounds like another winning thread topic :D
[Art Davis] noticed that the animators were working quite hard drawing every single drawing for the sequences they were working on. So, Art came up with the idea of animators only making the key drawingswhile assistants handled the drawings that went inbetween them. Mr. Mintz liked that idea and studios have been doing it that way ever since.
Someone named Ray Pointer posted that at the GAC forums
Another detail about Art Davis is that he was the first Inbetweener
[THE END]
Haredevil, Pointer's post only mentions that Davis was the first in-betweener.
From which source did you learn that "[Art Davis] noticed that the animators were working quite hard [etc.]"?
It's important to identify your source so we know which people are fabricating anecdotes and otherwise lying about animation history.
thanks in advance for your help :)
Mr. Mintz liked that idea and studios have been doing it that way ever since.
Well, that emboldened part was discounted the moment it was proven that Art was with the Fleischers at the time and not Mintz so there's no need to worry about that one any longer.
Haredevil, Pointer's post only mentions that Davis was the first in-betweener.
Generally, the one who invents a new product or procedure or whatever is the first one to use it. (Unless it's something medical, then the inventor bestows that "honour" to a hapless lab rat ;) ). When Alexander Graham Bell invented the telephone, HE was the one who asked for Watson with it, for example.
According to one of the snippets of info you cited about Windor McCay, it looks like he was the one who started the notion of dividing the drawings up into keys and inbetweens. But, I believe it was Art's idea to have a seperate person on keys and one on inbetweens. Until there's some documentation that proves otherwise, that's what we'll have to go with for now.
Well, that emboldened part was discounted the moment it was proven that Art was with the Fleischers at the time and not Mintz so there's no need to worry about that one any longer.
I'm more concerned about the made-up anecdote about Davis noticing something. That is dangerous stuff to animation history.
It looks like there's a little Shakespeare in you, but don't let your theatrical side take over your factual side.
I believe it was Art's idea to have a seperate person on keys and one on inbetweens. Until there's some documentation that proves otherwise, that's what we'll have to go with for now.
Davis was hired by Fleischer for Huemer, specifically as an assistant to do in-betweens, so it makes more sense that it was either Fleischer or Huemer's idea.
I don't think teenage Davis was bursting into the studio and telling Max Fleischer how to be more efficient.
"The animators themselves drew the inbetweens, though, and it was that procedure that the Fleischers proposed to change in Huemer's case by making Davis a sort of subanimator who would draw the inbetweens for Huemer's scenes. 'It was their idea .... They talked me into it,' Huemer said in 1973." - Michael Barrier
Comments
I'm still researching who's who. I know Chuck Jones, of course, and Tex Avery but the rest I knew little to nothing about - apart from seeing their work a million times.
I found this great page of Frank Tashlin quotes.
http://www.brainyquote.com/quotes/authors/f/frank_tashlin.html
Interesting the way they were influenced by the great comics/actors/singers of the day.
from Wikipedia
[B]ROBERT MCKIMSON
[/B]if McKimson's cartoons did not reach the intellectual heights of Jones or enjoy the musical freedom of Freleng, he is seen by animation scholars as being the most artistically talented of the Termite Terrace cartoon directors. In 1942, McKimson drew a single portrait of Bugs Bunny, leaning against a tree and smiling as he was eating a carrot, that became known as the definitive portrait of the character; this picture has been imitated many times by later artists, including McKimson's peers. McKimson was, for many years, the studio's most prominent animator and character designer; he created the definitve Bugs Bunny model sheet in 1943. His peers acknowledged McKimson's ability to draw images and figures without any construction lines. Even when Warner Bros. acknowledged the influence of UPA and abandoned extreme "realism" in cartoons during the early 1950s, the characters in McKimson's cartoons continued to reflect his craftsmanship.
[B]
FRIZ FRELENG
[/B]Freleng and Chuck Jones would dominate the Warner Bros. studio in the years after World War II, Freleng largely confining himself to these few characters and Bugs Bunny. Freleng also continued to produce modernized versions of the musical comedies he animated in his early career, such as The Three Little Bops (1957) and Pizzacato Pussycat (1955). Freleng won four Oscars during his time at Warner Bros., for the films Tweetie Pie (1947), Speedy Gonzales (1955), Knighty Knight Bugs (1958) and Birds Anonymous (1957).
[B]
ROBERT CLAMPETT[/B]
Clampett was promoted to director in late 1937, and he soon entered his personal golden age. His cartoons grew increasingly violent, irreverent, and surreal, not beholden to even the faintest hint of real-world physics, and his characters are easily the rubberiest and wackiest of all the Warner directors'. Clampett was heavily influenced by surrealist artist Salvador Dalí, as is most visible in Porky in Wackyland (1938), where the entire short takes place within a Dali-esque landscape complete with melting objects and abstracted forms. Clampett and his work can even be considered part of the surreal movement, as it incorporated film as well as static media.
TEX AVERY
Porky's Duck Hunt introduced the character of Daffy Duck, who possessed a new form of "lunacy" and zaniness that had not been seen before in animated cartoons. Daffy was an almost completely out-of-control "darnfool duck" who frequently bounced around the film frame in double-speed, screaming "Hoo-hoo! hoo-hoo" in a high-pitched, electronically sped-up voice provided by veteran Warners voice artist Mel Blanc. Although Avery directed the cartoon, Bob Clampett (who also worked on the film) is generally given the credit of creating Daffy Duck.
Avery's 1940 A Wild Hare is seen as the first cartoon to truly establish the personality of Bugs Bunny, after a series of shorts featuring a Daffy Duck-like rabbit directed by Ben Hardaway, Cal Dalton and Chuck Jones, who was promoted to director along with Bob Clampett in the late 1930s. Avery's Bugs was a super-cool rabbit who was always in control of the situation and who ran rings around his opponents.
McKimson is a strong favorite, if, for nothing else, "Gorilla My Dreams"
I admire you for educating yourself before voting. :)
I've always liked Chuck Jones even befor I knew who he was. When I learned who Chuck was, I found out that probably 90 percent of the Looney Tunes shorts that I loved were his. I just really like his timing as well as the way he brought the audience into the cartoons. As well as other things, I liked how he treated some of the characters as actors playing different rolls. A few of my favorites are, Robin Hood Daffy, the coyote-roadrunner shorts, Duck Dodgers, Rabbit of Sevile, What's Opera Doc, and the Grinch Who Stole Christmas. Oh wait, thats not a Looney Tune. Oh well, it's still cool.
Aloha,
the Ape
I could only choose one dammit. If this poll allowed multiple choices I'd say all but Ben Hardaway. He was a strong gagman but had trouble coming up with a decent story to fit all those gags together. Sure he got the ball rolling on the creation of Bugs Bunny and would go on to the Walter Lantz studio and create Woody Woodpecker, but he's still several steps behind the others on this list in terms of directorial skill.
The one I did end up choosing from this list is Tex Avery. As great as the others are, it was really Tex's skill and energy that inspired everyone else to realize their full potential. The same could be said for Bill Hanna and Joe Barbara when Tex went to MGM.
I prefer Robert Clampett because he is the animator's director.
When you animated under Chuck Jones, you were basically an in-betweener.
When you animated for Clampett, you had the freedom to really express yourself.
Of all the WB directors of that period, Clampett took animation to the greatest extremes, portraying greater physical depth - characters who seemed to jump off the screen - and more intense emotion.
Draftee Daffy (1945)
Tortoise Wins by a Hare (1943)
The Great Piggy Bank Robbery (1946)
Kitty Kornered (1946)
Oh and I forgot one of my other favorites, Feed the Kitty.
Aloha,
the Ape
There's great cartoons from every director but if I HAD to pick a favorite, it would have to be Chuck Jones.
Why? It's simple: because he made my favorite Looney Tunes cartoons.
Robin Hood Daffy, Feed the Kitty, Duck Dodgers in the 24th 1/2 Century, Duck! Rabbit! Duck!, that one that spoofs off Dragnet which name escapes me..., Drip Along Daffy, the Road Runner cartoons, and so many of the most memorable cartoons that define what we think of as "The Looney Tunes" today.
James :cool:
Frank Tashlin
For those unfamiliar with Frank Tashlin, I recommend Swooner Crooner from 1944 and Nasty Quacks from 1945.
Both are hilarious and have great timing.
Tashlin went on to direct a bunch of Jerry Lewis movies.
EDIT: I just noticed that Norman Rockwell did that movie poster. lol :)
http://www.nrm.org/
That would be Rocket Squad (by Chuck Jones c. 1956).
Man, for me that is like trying to decide which of your children is your favorite...it's impossible to pick! I too love Gorilla of my Dreams... the angry father is hilarious.
Thanks.
Man, that was really starting to bug me... I couldn't think of the at all...
James :cool:
I think I'm narrowing it down to the directors before WWII, but I doubt I can pick just one. Can anyone help identify the director for these? In lieiu of actual titles, I'll include some lines and characters:
The LOUD little Red Riding hood one with 'Heeey, Grandma! What bigs eyes ya got -- ta have!"
"IwannaEasterEggIwannaEasterEggIwannaEasterEgg"
Killer, the baby vulture with his mother. (I'm bringing home a baby bumblebee).
The dog racing one - "Make way! Make way! Let a rabbit tru"
The two guys on the desert island (hamburger & hotdog sequence).
The wrestling one (rips the pants/tailor sketch).
(Is there a book or listing somewhere?)
I'm not absolutely sure, but ...
Little Red Riding Rabbit
Freleng
Easter Yeggs
McKimson
Either
Bugs Bunny Gets the Boid or
The Bashful Buzzard,
both by Clampett
The Grey Hounded Hare
McKimson
Wackiki Wabbit
Jones
Bunny Hugged
also see Rabbit Punch
both by Jones
You can also Google any of these pretty easily. :)
It's not so difficult identifying all the cultural references in The Simpsons, but it's much more difficult identifying them in 60-year-old cartoons.
I assumed that the girl in Little Red Riding Rabbit was supposed to be Ethel Merman, based on nothing other than a loud voice.
However, the girl is supposedly based on radio personality [B]Cass Daley.
[/B]You can view a video of Cass Daley singing here:
http://www.forevernetwork.com/lifestories/lifestory.cfm?Archive_ID=3914&Directory=/Archives/Hollywood&Sort=V
I feel I should mention something about Art Davis. He invented inbetweening.
When he was working at the Charles Mintz studio in and around 1923 he noticed that the animators were working quite hard drawing every single drawing for the sequences they were working on. So, Art came up with the idea of animators only making the key drawingswhile assistants handled the drawings that went inbetween them. Mr. Mintz liked that idea and studios have been doing it that way ever since.
There, that oughta drum up some votes for Davis. :cool:
My dream is that everyone gets at least one vote, except for Hardaway and Davis. :p
Davis was a fine animator, as far as I can tell, but he wasn't much of an animation director.
I do like Bye Bye Bluebeard, probably more for the writing than for the directing.
Where do you get your information that Davis invented in-betweening, Haredevil? I know he is recognized as the first professional in-betweener, but I can't find any information about Davis inventing the process. (Prior to professional in-betweeners, animators did their own in-betweening.) Also, I thought he was with Fleischer in the early '20s. :confused: :confused: :confused:
in-betweening
I did a little more research on the history of in-betweening.
I don't know how accurate this info is, but here it is anyway.
"While making the film, [Gertie the Dinosaur in 1914, Winsor McCay] devised the system, since used by every animator, of establishing the key poses or frames in each action, then working out the ‘in-between’ frames."
http://www.anim8ed.org.uk/resources_index_mccay.asp
(That's just sloppy. Every animator does not use in-betweening.)
"McCay also used for the first time an animation method known as the split system. Instead of drawing an 'action' in sequential order, he split it up into poses, drawing the first pose, the last pose, the halfway pose, and then continuing to draw the poses in between the last two drawn. In this manner, he was able to simplify timing and placement with a method that underwent further refinement only after the advent of sound cartoons in 1928 ... "
http://www.filmreference.com/Films-Fr-Go/Gertie-the-Dinosaur.html
Someone named Ray Pointer posted that at the GAC forums some time ago. You were right about him doing that at Fleischers by the way.
From what I've read, Art Davis didn't last long as a director simply because he lacked confidence. At Warner Bros. whenever he finished a storyboard pitch he had no idea if it went over well or not and would sweat like Niagra Falls throughout. Fortunately, Chuck Jones would always be the first to assure him that the cartoon he just pitched was great which would help Art finally relax.
I have read Ray Pointer's posts before. Ray Pointer is an intelligent and well-informed guy and we can all learn tons of valuable stuff from him. Animation enthusiasts are lucky that he has so much extra time to spend educating us in web forums (but not here :p ).
http://www.imdb.com/name/nm1383087/
Haredevil, Ray didn't say in that post that Davis invented in-betweening.
That's okay. Everyone mis-remembers stuff occasionally.
It helps to remember that Davis was only 18 years old when he started at Fleischer. He would have had to have been a pretty brilliant kid to have invented in-betweening.
Yes, I get sad when I think of Davis's career. I feel the same way about Messmer: so much wasted potential. :(
Wasted Potential: sounds like another winning thread topic :D
Wait a minute ...
Haredevil, Pointer's post only mentions that Davis was the first in-betweener.
From which source did you learn that "[Art Davis] noticed that the animators were working quite hard [etc.]"?
It's important to identify your source so we know which people are fabricating anecdotes and otherwise lying about animation history.
thanks in advance for your help :)
Well, that emboldened part was discounted the moment it was proven that Art was with the Fleischers at the time and not Mintz so there's no need to worry about that one any longer.
Generally, the one who invents a new product or procedure or whatever is the first one to use it. (Unless it's something medical, then the inventor bestows that "honour" to a hapless lab rat ;) ). When Alexander Graham Bell invented the telephone, HE was the one who asked for Watson with it, for example.
According to one of the snippets of info you cited about Windor McCay, it looks like he was the one who started the notion of dividing the drawings up into keys and inbetweens. But, I believe it was Art's idea to have a seperate person on keys and one on inbetweens. Until there's some documentation that proves otherwise, that's what we'll have to go with for now.
I'm more concerned about the made-up anecdote about Davis noticing something. That is dangerous stuff to animation history.
It looks like there's a little Shakespeare in you, but don't let your theatrical side take over your factual side.
Davis was hired by Fleischer for Huemer, specifically as an assistant to do in-betweens, so it makes more sense that it was either Fleischer or Huemer's idea.
I don't think teenage Davis was bursting into the studio and telling Max Fleischer how to be more efficient.
"The animators themselves drew the inbetweens, though, and it was that procedure that the Fleischers proposed to change in Huemer's case by making Davis a sort of subanimator who would draw the inbetweens for Huemer's scenes. 'It was their idea .... They talked me into it,' Huemer said in 1973." - Michael Barrier