![]() studio was an exciting place to be during the late 1930s. Within a year, he would find a role that would endear him to generations of animation fans and define his place in movie history. Bryan eventually worked his way into films, first appearing on the silver screen as Mr. It was apparent that Bryan had a natural knack for comedy, a trait that would serve him in good stead in years to come. The young performer was, for his entire career, a freelancer who answered auditions at many studios. The earliest known work by the aspiring actor was, in fact, as the narrator of a little-known film called Killing to Live (1931).īryan was never part of the contractual studio arrangement known in Hollywood as the Star System. Narrators and character actors were in demand, and these roles seemed to be suited for Bryan. What Bryan did not possess were the devastatingly handsome features sought by studio executives, and he tended to be on the portly side, but he could act, sing and owned a marvelous speaking voice. Such individuals often set out in search of studios and stardom during the early days of the motion picture industry. By all accounts, Bryan was a star-struck young man who always saw a future for himself in show business. Before his endeavors ended, Bryan would work in both animated and live film, radio, television, movies and recording.īryan was born in Brooklyn, New York, on May 8, 1899. Bryan accomplished more than that, however, and few realize how prolific and fascinating his career truly was. This gentleman, as many aficionados may already know, was the voice of Elmer Fudd. Blanc, however, must concede a few rays of fame to his Warner Bros. In the latter case, the spotlight belongs mainly to Mel Blanc, renowned as the man who created virtually every voice belonging to the Warners characters. Thanks to television special features and the copious archival material now available on DVD, even casual fans are acquainted with the artists and directors behind the films, not to mention the voice artists who helped the Looney Tunes and Merrie Melodies come alive. Books, videotapes, laserdiscs and DVDs have exposed Bugs, Daffy, Tweety and even Sniffles to a wider audience than Leon Schlesinger could ever have imagined. No one can fail to recognize the immortal stars spawned in Termite Terrace. cartoon shorts (now referred to as classic) are as popular today as when they played in movie houses across America.
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