Edward Selzer | |
|---|---|
| Born | (1893-01-12)January 12, 1893 |
| Died | February 22, 1970(1970-02-22) (aged 77) |
| Other names | Eddie Selzer Isidore Selzer |
| Occupations |
|
| Years active | 1914–1958 |
| Employer(s) | Warner Bros. Pictures (1930–1944) Warner Bros. Cartoons (1944–1958) |
| Spouse(s) | Laura Selzer (m. 1927–1970; his death) |
| Children | Phyllis and Robert Selzer |
Edward Selzer (January 12, 1893 – February 22, 1970) was an American film producer and publicist who served as head ofWarner Bros. Cartoons from 1944 to 1958.
The son of German Jewish immigrants, he was raised in NYC with his brother, then enlisted and served in theUS Navy where he fought as a Golden Gloves boxer. He won a boxing exhibition for the Navy and was awarded with a weekend pass. While out on leave he met a New York chorus girl named Laura Cohn; he later married Laura in 1927 and relocated to Los Angeles where they had two children; Phyllis and Robert.[1]
In 1930, Lewis Warner persuaded Selzer to join Warner Bros. to work onRobert Ripley's "Believe it or Not" series and to start an animation unit. Due toThe Great Depression, he had no other choice but to take the job. He was also on an around-the-world tour with Ripley onBelieve it or Not. In late 1933 he was named Director of Publicity at Warners and from 1937 to 1944, he served as the head of the trailer and title departments.[1][2]
After the studio was purchased fromLeon Schlesinger byWarner Bros. in July 1944, Selzer was assigned studio head byJack L. Warner. His first cartoon wasGoldilocks and the Jivin' Bears.[1]
Unlike his predecessor, Selzer did not want any on-screen credit as producer for Warner Bros. Much of what is publicly known about Selzer's personality and business acumen is fromChuck Jones' autobiography,Chuck Amuck: The Life and Times of an Animated Cartoonist. In it, Jones paints Selzer as an interfering bore with no sentiment towards or appreciation of animated cartoons. However, Jones also grew to think that Selzer was a genuine if inadvertent asset as a resisting force to artistically push against and inspire the artists to excel to defy him. They later developed a mutual respect and understanding of one another, remaining friendly until Selzer's passing.
Selzer was said to be proud of his position as producer of theLooney Tunes series because of the joy the team's creations brought to so many, however he is also known for having numerous feuds with the staff when it came to their creative decisions.Friz Freleng famously butted heads with Selzer during the production ofTweetie Pie, where the latter of which did not think that pairingSylvester the Cat andTweety was a viable decision.[3] The argument reached its crux when Freleng reportedly placed his drawingpencil on Selzer'sdesk, angrily telling him that if he knew so much about animation, he should do the work himself instead.[3] Selzer backed off the issue and apologized to Freleng that evening.Tweetie Pie went on to win Warner Brothers' firstAcademy Award for Animated Short Film, in 1947, withTweety andSylvester proving to be among the most endearing duos inWarner Bros. cartoons. Accepting the Short Subject (Cartoon) award forTweetie Pie fromShirley Temple at the20th Academy Awards ceremony on March 20, 1948, Selzer said:
In accepting this award, I'm naturally thrilled, but I accept it for the entire Warner Bros. Cartoon Studio. It might interest you to know that in production of this "Tweetie Pie," 85 percent of our personnel were directly connected with its construction. However, the one man who really should be up here getting this award and not me, is the director of the picture,Friz Freleng, who is in the audience. I can't pay him too great a tribute. Thank you.[4]
He also loudly (and indelicately) declared that there was nothing funny about a skunk who spoke French, but proudly accepted theAcademy Award for Animated Short Film in 1949 – forFor Scent-imental Reasons, aPepé Le Pew cartoon while giving credit where due. Selzer also forbadeRobert McKimson from producing any future cartoons withthe Tasmanian Devil in them after seeing theDevil's premiere short and deeming the creature far too grotesque to be a recurring character.[5] Selzer changed his mind and allowed further cartoons with the Tasmanian Devil, only upon discovering from Jack Warner that he was in fact a massive hit with audiences.[5]
Selzer's edict that "camels aren't funny" inspired Freleng to disprove him again by directingSahara Hare, a cartoon in which much of the comedy arises fromYosemite Sam's attempts to control his dim-witted camel.Chuck Jones andMichael Maltese createdBully for Bugs in direct response to Selzer's declaration that there was nothing funny aboutbullfighting.[6]
Selzer was also known to be one of the first men in animation to bring female artists on board and not relegate them to secretarial roles, rather he encouraged their participation in the creative process and valued their feedback.
Selzer retired in 1958, andJohn Burton became the head ofWarner Bros. Cartoons.
Edward Selzer died on February 22, 1970, after a long illness.[2] Upon his death, some of his five Academy Award Oscar statues for the winning cartoons he produced were distributed to the crews behind the cartoons; the one for 1957'sBirds Anonymous were given to voice artistMel Blanc[7] while the ones forTweetie Pie andSpeedy Gonzales were given to Freleng.[8]
