Bob Clampett

Cartoonist

Bob Clampett was born in San Diego, California, United States on May 8th, 1913 and is the Cartoonist. At the age of 70, Bob Clampett biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

Date of Birth
May 8, 1913
Nationality
United States
Place of Birth
San Diego, California, United States
Death Date
May 2, 1984 (age 70)
Zodiac Sign
Taurus
Profession
Animator, Composer, Film Director, Film Producer, Puppeteer, Screenwriter, Writer
Bob Clampett Height, Weight, Eye Color and Hair Color

At 70 years old, Bob Clampett physical status not available right now. We will update Bob Clampett's height, weight, eye color, hair color, build, and measurements.

Height
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Weight
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Hair Color
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Measurements
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Bob Clampett Religion, Education, and Hobbies
Religion
Not Available
Hobbies
Not Available
Education
Otis College of Art and Design
Bob Clampett Spouse(s), Children, Affair, Parents, and Family
Spouse(s)
Sody Clampett ​(m. 1955⁠–⁠1984)​
Children
3
Dating / Affair
Not Available
Parents
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Bob Clampett Life

Robert Emerson Clamington (May 8, 1913 – May 2, 1984) was an American animator, producer, and puppeteer best known for his contribution to Warner Bros' Looney Tunes' animated film "Time for Beany and Cecil" and Cecil's television series Time for Beany and Beany.

Clamo was born and raised not far from Hollywood, and early on, Clamo expressed an interest in animation and puppetry.

Clamson joined Harman-Ising Productions and began assisting with the studio's newest short films, Looney Tunes and Merrie Melodies, just months after graduating in 1931. Clamt was promoted to a directorship in 1937 and created 84 cartoons later deemed classic and produced some of the studio's most popular characters, including Porky Pig, Daffy Duck, and Tweety.

Porky in Wackyland (1938) and The Great Piggy Bank Robbery (1946) are two of Clamt's most well-known films.

Warner Bros. left Clamson.

Cartoons were first introduced to television in 1946 and 1952, when Stanley Emerson created the puppet show Time for Beany in 1949.

Beany and Cecil, a later animated version of the series, first appeared on ABC in 1962 and wasn't rerun until 1967.

The series is considered the first entirely creator-driven television series, as well as the tag line "a Bob Clampton Cartoon." Clamt visited college campuses and animation festivals as a lecturer on animation history in his later years.

Since being praised for their surrealistic appearances, exciting and unexpected animation, and irreverent humor, his Warner cartoons have regained attention in decades.

Jerry Beck, an animation specialist, lauded Clamington for "putting the word 'looney' in Looney Tunes."

Early life

Robert Emerson Clamfield was born in San Diego, California, on May 8, 1913, to Robert Caleb Clamt and Mildred Joan Merrifield. The elder Clamt was born in Nenagh, County Tipperary, Ireland, in 1882, and with his parents, he immigrated to the United States in 1884. By the age of five, Clampet was exhibiting exceptional art skills. Clampet was fascinated by and inspired by Douglas Fairbanks, Lon Chaney, Charlie Chaplin, Buster Keaton, and Harold Lloyd, and he began filming in his garage beginning when he was twelve years old. Clampet and his mother Joan lived next door to Charlie Chaplin and his brother Sydney Chaplin when they were living in Hollywood as a young boy. Clamington also recalled watching his father play handball at the Los Angeles Athletic Club with another of the great silent comedians, Harold Lloyd. Clamington's early teens showed an interest in animation and puppetry. As a child, Clamt made hand puppets, and by the time of adolescence, the animation historian Milt Gray had completed "a sort of prototype, a nondescript dinosaur sock puppet that later evolved into Cecil." Clamsycat drew a full-page comic about the nocturnal adventures of a pussycat, which was later released in color in a Los Angeles Times Sunday edition. Clamson was given a "cartoonist's job" and started a seventy-five dollars a week after high school. During high school, King Features encouraged Clampton to work in their Los Angeles art department on Saturdays and vacations. On occasion, King Features would feature one of Clam's cartoons to encourage. In addition, they paid their way through the Otis Art Institute, where Clampet learned to paint with oils and sculpture.

Clamt attended both Glendale High School and Hoover High School in Glendale, California, but he was a few months behind graduating in 1931. Clamington found a job at Charlotte Clark's doll factory. Clark was looking for a unique item to sell, and Clampet suggested Mickey Mouse due to increasing success. Clammett took his sketchpad to the movie theater and came out with several sketches as a result of his inability to find a drawing of the character. Clark was worried about the copyright, so the two travelled to the Disney studio. Walt and Roy Disney were thrilled, and they started a company not far from the Disney studio. Clamt recalled his brief time with Disney: "Walt Disney himself" would come over in an old car to pick up the dolls; he'd give them out to visitors to the studio and at sales meetings. I helped him load the dolls in the car. His car was never going to start, but I pushed until Walt steered until it was caught and he took off."

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Bob Clampett Career

Career

Clamt was, in his words, so "enchanted" by the new medium of sound cartoons that he rejoined Harman-Ising Studios in 1931 for ten dollars a week. Leon Schlesinger watched one of Clam's 16mm films and was impressed, so he offered him a job at the studio. In the first Merrie Melodie, Lady, Play Your Mandolin, his first job was animating secondary characters. (1931). After submitting an idea that would be used for Smile, Darn Ya, Smile!, the same year. The two films were not released at Harman-Ising until mid-1933, when they were converted into Leon Schlesinger Productions. Clambert's first years in the studio were mostly for Friz Freleng, under whose direction Clampet grew to be a good animator. Bob Claming was just 17 years old when he joined Harman-Ising.

Schlesinger was in the middle of a controversy trying to find a well-known cartoon character by 1934. He said that the Our Gang story consisted of nothing but "little kids doing things together," and that a worldwide effort to find inspiration for an animal version of Our Gang began. Clamington drew a drawing of a pig (Porky) and a black cat (Beans), and "Clampett's Pork and Beans" was attached to the letter's letter. In 1935, Porky debuted in the Friz Freleng-directed I Haven't Got a Hat. Schlesinger also announced a studio competition with a cash reward to whichever employee of the staff had the best original story. Clamt's tale was first recognized and turned into My Green Fedora, which was also directed by Freleng.

After these successes, Clamington was encouraged to continue writing more story contributions. Schlesinger discovered he needed another unit and set up an alliance with Tex Avery, naming Clamson his coworker. They were moved to a ramshackle building used by gardeners and the WB custodial staff for the storage of cleaning chemicals, solvents, brooms, lawnmowers, and other items. In the middle of the Vitaphone lot's small, dilapidated wooden building, Avery and Clampet discovered that they weren't the only ones - they shared the building with thousands of tiny termites. They christened the building "Termite Terrace," a term that historians have used to describe the entire studio. The two boys soon discovered an irreverent style of animation that would separate Warner Bros. from its competitors. Animators Chuck Jones, Virgil Ross, and Sid Sutherland followed them shortly, and they did an excellent job with their new, pioneering style of humor for the next year. It was a wild place with a quasi-collegiate fraternity feel. Animators would often glue paper streamers to flies' wings. Leon Schlesinger, a visitor who rarely went out of town, was reported to have remarked in his lissome voice, "Please let me out of here." The only thing missing is the sound of a flushing toilet!"

Clamt produced a sales film that was co-animated by Chuck Jones and in-betweened by Robert Cannon. Clamson filmed Cannon in live action and rotoscoped it into a film. Clamson wanted to leave Leon Schlesinger Productions, but Schlesinger gave him a raise in directorship and more money if he stayed. Clamington was promoted to director in late 1936, and he was in charge of a color sequence in the film When's Your Birthday? (1937) A.K.a. This resulted in Chuck Jones' co-directing stint for the financially ailing Ub Iwerks, which Schlesinger subcontracted to produce several Porky Pig shorts. The short lived and generally unpopular Gabby Goat was Porky's sidekick in these shorts. Despite Clamt and Jones' contributions, Iwerks was the only recognized director. Porky's Badtime Story was Clamt's first directorial credit. Clamt had complete creative control over his own films under Warner's banner system, but he was limited to $3,000 and four weeks for each short. Avery created a character that would become Daffy Duck and Clamt for the first time during the production of Porky's Duck Hunt in 1937.

Schlesinger begged the other actors to imitate him, emphasizing gags and actions. When Tex Avery left for Clamburg in 1941, Avery's unit was taken over by Clamt, but Norman McCabe took over Clampet's old unit. Clamt produced Avery's remaining unfinished cartoons. Frank Tashlin recalled Schlesinger as the head of the unit, but it was later handed over to Robert McKimson. Milton Gray's observations are that the cartoons have gotten even more wild as Clampet's experiments reached their high point. In 1942, Clamson invented Tweety, a female version of Tale of Two Kitties. His cartoons grew more violent, irreverent, and surreal, not beholden to even the faintest hint of real-world physics, and his characters were deemed to be remarkably rubbery and wacky of all Warner directors'. Clamt was heavily inspired by Spanish surrealist artist Salvador Dal, who is most prominent in Wackyland (1938), wherein the entire short film takes place inside a Dal-esque landscape brimming with melting objects and abstracted forms. Clamt and his work can even be included in the surreal movement, since it used film as well as static media. Clamt's popularity was enough to convince the Warners executives to reclaim all Disney traces. Clamson was also known for making brief voices or sound effects in some of the cartoons, and for some of these, he impersonated the Warner Bros. zooming in shield sound effect (otherwise known as "Bay-woop!" In Clamo shorts (1946), where performers are dragged into various celebrated books, Clamt likes to incorporate contemporary cultural movements into his cartoons, particularly jazz; film, magazines, comics, books, and popular music are all cited; and popular music is referenced in Clamn shorts;

Clamt was a good source for censorship tales, but the truth of his recollections has been disputed. Clamt had a way to guarantee that such portions of his films would not be removed from the censorship list, according to an interview published in Funnyworld #12 (1971). It consisted of adding content targeted solely at the censors; the aim would be to eliminate those that were unnecessary and thus leave in the ones that the real desire was aimed at.

Clamt left the studio in May 1945, but short films directed by him will not be released until late 1946. The Big Snooze was his last animation with the studio, and it was one for which he did not receive screen credit (only one of three he directed pitting Bugs Bunny and Elmer Fudd). Although Clampton was dismissed for issues of artistic liberty, several people reported that he left the studio on his own, the general consensus was that the investigation was not complete. Clamt's style was becoming more distinct from Freleng and Jones'. Eddie Selzer, who was much more tolerant of him than Leon Schlesinger, the other unit's chief unit leaders, was fired, according to some, who was the sole reason for his departure. The Warners' style, which he was so instrumental in creating, was leaving him behind. Warner Bros. had recently acquired the rights to the entire Looney Tunes and Merrie Melodies studio from Schlesinger, and although his cartoons of 1946 are still on the cutting edge of the art at the time, Clamo was up for new challenges. Clamington was unemployed at a time when some considered his ingenuity and against all's wishes.

Later career and Beany and Cecil

Henry Binder and Ray Katz, his top executives, went to Screen Gems in 1946 and brought Clamo and Leon Schlesinger with them. Clamt worked at Screen Gems for a time, but Columbia Pictures later became a cartoon writer and gag writer. In 1947, Republic Pictures incorporated animation (by Walter Lantz) into its Gene Autry feature film Sioux City Sue. It turned out well enough for Republic to dabble in animated cartoons; Bob Clamt produced a single cartoon starring the equine character Charlie Horse. Republic's leadership, on the other hand, had second thoughts due to dwindling revenues, and the series was shelved. Clamroy, a man of letters from the "Kilroy" clan, received a tonal of praise.

Clamington's attention turned to television in 1949, where he created the famous puppet show Time for Beany. Clamson's show, which showcases voice artists Stan Freberg and Daws Butler's talents, will win the Emmys. Both Groucho Marx and Albert Einstein were big fans of the series. He created the Thunderbolt television series and the 3D prologue to Bwana Devil starring Beany and Cecil in 1952. Willy the Wolf (the first puppet variety show on television), as well as producing and voicing the lead in the Buffalo Billy television show, was directed by Roger Willy the Wolf in 1954. Clamt was hired by Associated Artists Productions in late 1950s to list the pre-August 1948 Warner cartoons it had just acquired. Beany and Cecil, his animated version of the puppet show Beany and Cecil, was first broadcast on ABC in 1962 and was rerun on the network for five years.

Bob Clampton lectured on animation history in college and animation festivals in his later years. In 1974, he was given an Inkpot Award. He was the star of a documentary titled Bugs Bunny: Superstar, the first documentary to look at the history of the Warner Bros. cartoons in 1975. Clamington's, a legendary artist, film, and memorabilia from the golden days of Termite Terrace, was included in nearly every of the film's behind-the-scenes drawings and home-movie video; in addition, his wife, Sody Clampton, has been named as the film's production co-ordinator. Larry Jackson, a filmmaker, said in an audio commentary for Bugs Bunny: Clamt's participation and access to Clamt's archive of Warners' history, he had to commit to a deal that guarantees Clamt's presence and access to Clamt's archive of Warner's history. Clamberg's response was also that he was very reluctant to talk about the other directors and their contributions.

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