The Quest For Publicity

Jonny Quest was an amazing series for its time in so many ways, from Hoyt Curtin’s score (and the work of the sound cutters to pick the cues to fit the action), to the background art, to the suspenseful stories to angles picked by the layout men. It’s unfortunate the show never got the ratings necessary to be able to continue for a second season.

Hanna-Barbera was coming off a string of losses. Top Cat failed in prime time in 1961. The Jetsons did the same the following year. The failures made the networks shy from buying animated series for evening hours, but Bill Hanna and Joe Barbera convinced ABC to make one more try in 1964.

To push Jonny Quest in the press prior to its debut, Hanna-Barbera trotted out its super salesman—Joe Barbera. Among his many talents, Barbera adeptly knew how to plug his cartoons. He was also very good at selling the story of Hanna-Barbera, the little underdog operation, run by two ordinary guys (and Oscar-winners, make sure you mention that), that became a monster success.

Here’s a nice feature story that appeared in a couple of papers on October 24, 1964; it appears the writer was a scribe for several newspapers in Pennsylvania. If you’ve checked out other Quest newspaper stories on this blog, some of Barbera’s talking points will be familiar. Joe mentions “units.” I suspect he’s referring to something Jerry Eisenberg mentioned, that he and Lew Ott teamed up to work on Jonny Quest. I haven’t checked the credits to see if the same sets of animators worked together but as reader Howard Fein has pointed out, Carlo Vinci and Hugh Fraser worked together on a number of half-hour shows.

One other note: Chris Webber’s blog has some frame grabs from the Quest DVD (I’ve grabbed some of his grabs). It’s a shame he didn’t blog for long but you can check out some artwork there.

Animators Using New Technique In 'Quest'
By RUTH E. THOMPSON
"In 'Jonny Quest' we have design planes that are possible, but slightly ahead of what's really available because equipment evolves so fast. And you can't tell children that last year's jet is next year's. They won't believe it."
They also won't buy it . . . and it was the licensing and franchising of "Jonny Quest" products that had brought soft-spoken, Brooklyn-born Joseph Barbera back East for a quickie New York visit.
And you don't need more proof that that that "Jonny" which bowed in color in September on ABC (Fridays, 7:30 p.m.) is a sure success. But as Barbera spread a circle of prints from "Jonny Quest" around him you felt that that wasn't what mattered so much. He kept talking, thinking in terms of series' values and audience acceptance.
"We're using, a whole new technique in Quest. It's illustration, not cartooned. We brought some of the best illustrators from around the country for this one. "Of course the others are doing fine, too. Oh you like 'The Flintstones?' So do I."
"But the story in 'Quest' did seem to cry for something new. We have a leading scientist much sought after for consultation and sought out, naturally by enemies. That's why the government assigns Race (isn't he handsome) as permanent bodyguard.

"Then there's the doctor's 12-year-old Jonny and his adopted Jaji [sic], who's from India.
"We went one-third over our expected budget researching, enough to make sure our background are authentic. Now we can travel around as no live company could possibly afford to do . . . and with the good art work you should feel you're there."
20 Nice Years, 7 Mercurial Ones
Barbera is one-half of the seven-year corporate miracle that is Hanna-Barbera Productions.
In 1937 Bill Hanna chucked the engineering and journalism he'd studied for, to do something more creative, being idea man and director for animated cartoons. Joe Barbera chucked the banking and accounting for which he'd studied, to draw magazine cartoons. MGM saw him, as a animator-writer teamed with Hanna and together they created "Tom and Jerry," turned off some 125 episodes and won seven Oscars by 1957 when—after two decades in the same shop and with growing families—they got their pink slips. MGM was getting out of the animated field.
On went the Bill and Joe thinking caps. What came out as a goal was television. Back to MGM they went with "the big idea." Wouldn't MGM like to consider the medium? MGM would not.
"So we decided to go into business for ourselves." The Screen Gems TV subsidiary of Columbia Pictures sensed a hot idea and went along with financing and distribution phase.
The work space was nil, the staff numbered three, but the enthusiasm was boundless, and in a short time out came a 15-minute show "Ruff and Reddy," still seen in many parts of the world.
"Well, you see, there really was a need for something new, fresh animations especially for television. Re-runs of old—usually very old—theatre cartoons was pretty much it when we got in," Barbara explains. "And the more we got into it, the more we found innovations to simplify production and add interest.
Barbara reached for another photo.
"This is the new building. Isn't it a honey?

"We turn off as much production here in a week as we did at MGM in a year . . . and with no time clocks, no memos and a minimum of supervision. Our units work out the details themselves.
"Do I draw any more?" He smiled. "Well, only to the extent that I'll show an artist what I might have in mind, rather than try to tell him . . . but otherwise it's up to a unit to do its own work."
"Unit," that seems to be the Hanna-Barbera modern invention to outstrip anything that's being designed in "Quest."
"You see we feel it's up to creative people to determine their own best working hours. Each unit determines its own deadlines, by what time one phase of a job has to be finished so another can proceed. Everybody works hard, but at times of personal choosing, and it proves to be the times when they produce fastest and best."
And the "fastest and best" dossier now totals—with this season's "Jonny Quest"—13 series in seven years! ("The Flintstones," "Huckleberry Hound," "Yogi Bear," "Quick Draw McGraw," "Touche Turtle," among others).
And as for Barbera, "Well, I never sleep anyway, but it's worse right now on a trip." There's one irony, though. Barbera, who turned his back on banking for the creative life, has to pay more and more attention to finance.