With the success of Tiny Toon Adventures, Steven Spielberg and
Jean MacCurdy, then-president of Warner
Bros. Animation, turned to showrunner Tom Ruegger to create the next
collaboration between Spielberg and Warner
Bros. Reugger wanted to make a show with new characters, but Spielberg
wanted a marquee name. Gaining inspiration from the water tower
on the Warner Bros. lot, Ruegger found his marquee name—assuming Warner Bros.
would approve the use of it (spoiler alert: they did)—and Animaniacs began to take shape.
The Warners' newsreel introduction. |
Where
Tiny Toons was more of a standard
show with relatively focused stories and plots, Animaniacs was approached as more of a sketch comedy show starring
a variety of independent characters where anything could happen. The process
for writing for the series was non-restrictive and open, meaning that any of
the characters could appear at any time period doing anything, and largely
inspired by the Looney Tunes theatrical
shorts, the works of Chuck Jones
and Tex
Avery, and The Marx Brothers. Each
episode of the series was broken up into several segments, many with their own
theme music and opening sequences making them shows unto themselves. While the
segments generally had a set cast of standard characters, characters from other
segments could (and frequently did) cross over.
The original proposed duck forms for the Warners. |
The primary segments starred the
Warner brothers (and the Warner sister). Yakko (Rob Paulsen), Wakko (Jess
Harnell, impersonating John
Lennon at a higher pitch) and Dot (Tress McNeille) were
three (scaled down from four) anthropomorphic animal characters who were given
the fictional backstory of having been created back in the 1930s. A black and
white (except for their noses) faux newsreel opened up the series and many
season one episodes detailing how the Warners’ crazy antics made their movies
so incomprehensible that the studio (the actual Warner Bros.) locked
them away in the water tower on their studio lot until they eventually escaped
in the present. Although the Warners continued to live out of the tower, they
would often be punished by being ordered locked up back in it for however brief
a time (the tower also served as the inspiration for their family name).
Revised concept for the Warners, including a 4th sibling. |
The
Warners’ personalities were based on Ruegger’s three sons (all of whom had
roles in the series) who were “at an age where they could really be annoying.” Their
basic black and white designs were inspired by the cartoon characters of the
1920s and 30s. While their final species was unspecified (sometimes referred to
as “ink-blot characters”), initially they were imagined as platypuses taken
from Ruegger’s student film at Dartmouth
College, The
Premiere of Platypus Duck. However, given that ducks had been done
before, they were gradually revised and shifted to the characters they would
become. The Warners were often used to bridge between segments in brief
minute-long gags, and tended to end episodes by spinning the “Wheel
of Morality” to decide what nonsensical lesson they
learned in that episode (a satire of the FCC
mandate for moral and educational value in children’s programming, and a way to
fill up any remaining episode space with mostly stock animation).
The brothers go ga-ga over Hello Nurse while Dot and Dr. Scratchansniff's portrait look on in annoyance. |
While
the Warners were equal-opportunity annoyances, they most often proved thorns in
the sides of Thaddeus Plotz (Frank Welker), the diminutively short-tempered,
money-grubbing CEO of the studio; Dr. Otto Scratchansniff (Paulsen, inspired by
Peter Sellers in Dr. Strangelove), a
psychiatrist hired by the studio to attempt to curb the Warners’ antics; and
Ralph (named for one of Ruegger’s childhood friends, and voiced by Welker
reprising the role from Tiny Toons),
the dim-witted studio guard often tasked with recapturing and locking up the
Warners. Another frequent character was Hello Nurse (MacNeille), a buxom blonde
studio nurse that often turned Yakko and Wakko’s heads, prompting the greeting
“Hellooooooooooooooooooo, Nurse!” (Dot, despite rolling her eyes at her
brothers when they did that, often did the same when she saw an attractive man).
The joke behind her was that despite her looking like a stereotypical airheaded
bombshell, she was actually an incredibly intelligent and competent individual
(Ruegger would later reveal her real name: Heloise Nerz). There was also Dot’s pet:
a giant, monstrous creature who lived in a small box kept in Dot’s pocket.
One of the more popular segments was
Pinky and the Brain. Pinky (Paulsen,
using what he called “a goofy whack job” of a British accent) and the Brain
(Maurice LaMarche, impersonating Orson
Welles, which won him the role for the character) were two
mice who lived in Acme
Labs
and were transformed as part of the lab’s experimentation. Pinky was
dim-witted, often making noises such as “Narf!” or “Poit!”. Brain was given
hyper-intelligence with a cranium to match, and a strong desire to conquer the
world. Each segment focused on Brain’s insanely elaborate plots to take over the
Earth; including becoming a singer to use hypnotic songs, becoming a stand-up
comic to hypnotize audiences with his false teeth, infiltrating Santa’s
workshop to get hypnotizing dolls out to the populace (hypnotism was his big
thing). No matter how well thought-out the plot, or how well it seemed to
succeed, something would always happen to derail it and put the mice back where
they started with Brain undauntingly plotting for the next attempt. The segment
proved so popular that it was eventually spun off into its own show, Pinky and the Brain, and continued to
appear on Animaniacs. Their theme
song was written by Richard
Stone with lyrics by Ruegger, and was initially sung by the
Warners with animation by AKOM.
A second version was sung by a male and female chorus with animation by Tokyo
Movie Shinsha (now TMS
Entertainment). Ruegger modeled the characters after Tiny Toons producers Eddie Fitzgerald
and Tom
Minton, looking at them and pondering what would happen if
they decided to get together and take over the world. Producer Peter Hastings
served as the primary writer for their segments, coming up with all of the
running gags and conventions that would continue on in all their appearances.
In early concepts for the show, there was a segment called Bossy Beaver & Doyle that was cut because it was too similar to
Pinky and the Brain; except this time
Bossy was trying to make the “best damn dam ever” but was constantly foiled by
Doyle.
The next frequent segment was that
of Slappy Squirrel (Sherri Stoner). Slappy was a grumpy cartoon veteran who
lived in a tree with her contrastingly chipper nephew, Skippy (Nathan Ruegger).
Slappy would often have to deal with everyday things that irked her or
disturbed her trying to relax, old villains she frequently humiliated in her
cartoons looking for revenge, or just begrudgingly joining in Skippy’s
interests. Three versions of her theme were used, all sung by the Warners. The
first, animated by StarToons
International, LLC, featured the Warners outside her house,
with Slappy poking her head out to shut them up. The second had the Warners
off-camera and Slappy staying inside. The third was longer and mentioned
Skippy, who got to sing a line at the end. Stoner created Slappy when fellow
writer John
McCann made fun of her career in TV movies playing troubled
teenagers by saying she’d be playing those roles well into her 50s. She liked
the idea of an older cartoon character who would “have the dirt” on other
characters from having been around so long.
The
Goodfeathers followed a trio of pigeons: Squit (originally named Gary,
voiced by LaMarche), Bobby (originally named Frankie, voiced by John Mariano)
and Pesto (originally named Joey Z, voiced by Chick Vennera), each influenced
by the characters portrayed by Ray Liotta,
Robert DeNiro
and Joe
Pesci from Goodfellas. In fact, their
segments tended to parody various mafia movies such as The
Godfather or
the works of Martin
Scorsese (a statue of whom served as the trio’s home). Pesto
was the leader of the group; however, he was short-tempered and often took
Bobby’s harmless remarks as insults and proceeded to beat him to a pulp. Other
characters who popped up included their boss, the Godpigeon (resembling Marlon Brando
from The Godfather, impersonated by
LaMarche in a raspy mumble only Bobby could translate), and the Girlfeathers
comprised of their girlfriends Sasha (MacNeille), Lana (a parody of Cathy Moriarty’s
character from Raging Bull, voiced by Gail Matthius)
and Kiki (also MacNeille). Their theme song was sung using a Dean Martin
impression to the tune of his song, “That’s Amore.”
Rita and Runt starred Rita (Bernadette
Peters, with vocal effects by Welker) and Runt (Welker, taking inspiration from
Dustin Hoffman in Rain Man), a stray singing cat and dim-witted dog who
traveled together in an effort to find a home. Because Peters was the
highest-profile star of the show, she received a special credit at the end of
her episodes (“and Bernadette Peters as Rita”). After the first season, the
segment was dropped from the show as it became difficult to create a new song
for Rita to perform in each of their appearances. The characters did make
non-speaking cameos in other shorts from time to time. In the earliest stages
of production, Rita and Runt were set to be the hosts of the show instead of
the Warners.
Buttons and Mindy featured
Buttons (Welker), a Rough Collie, who was tasked with taking care of his
owners’ toddler, Mindy (Nancy Cartwright). Mindy was mischievous and often
unknowingly got into trouble, which Buttons had to rescue her from and ending
up being hurt in the process. All but one of their shorts ended with Buttons
being scolded by Mindy’s mom (who was never seen from the neck up, voiced by
MacNeille) for allowing Mindy to get into mischief. The Buttons and Mindy
segments were almost cut from the show during development until one of
Spielberg’s daughters saw a drawing of them and loved them. The segment’s
opening was a parody of the opening of Lassie.
Other
segments featured a collection of one-joke characters. Chicken-Boo followed the adventures of a man-sized chicken who wore
unconvincing disguises that would fool everyone into believing he was actually
a man. Everyone would love Chicken in whatever occupation he was in until the
discovery of his true nature. The Flame showed
an anthropomorphic candle flame (Luke Ruegger)
who bore witness to significant events in American history: such as Thomas
Jefferson drafting the Declaration of
Independence and Francis
Scott Key writing what would become “The
Star-Spangled Banner.” The Hip Hippos showcased the wealthy and
snobby married couple Flavio (originally John, voiced by Welker) and Marita (originally
Martha, voiced by MacNeille) as they tried to keep abreast of the latest trends
and new ways to keep entertained. Katie
Ka-Boom centered on teenager Katie (Laura Mooney) who would grow angry over
trivial things, turning into a monster (in a parody of Marvel Comics’
Hulk)
and subsequently exploding; leaving her family’s house in ruins. Producer Nicholas Hollander
based Katie on his stepdaughter, who tended to explode (though not quite as
literally) over every little thing that went wrong. Good Idea, Bad Idea showed Mr. Skullhead from
Tiny Toons taking part in an activity
that was a good idea (such as doing your own yard work), followed by a
comically exaggerated bad idea (such as doing your own dental work). Mime Time showed a mime
performing a described action before he would be hurt by something, such as a
falling anvil or a swarm of bees. Both segments were narrated by Tom Bodett. Colin shorts starred a boy named Colin
(Colin Wells, son of writer Deanna
Oliver) who told the audience quick tall tales about his
unseen friend, Randy Beaman.
Minerva character study. |
The
final segment, and the first one discontinued, starred Minerva Mink (Julie
Brown). Minerva, originally named Marilyn after Marilyn Monroe,
was an extremely sexy anthropomorphic mink created by writer Paul Dini
and Stoner. Minerva’s shorts were centered around her attractiveness and the
Tex Avery-styled reactions of males who encountered her, while she would have
no interest in them (although, when she spotted an attractive male, the
opposite would happen). She borrowed elements from a variety of famous sex
symbols; in particular Veronica
Lake,
who inspired Minerva’s hairstyle. Minerva was originally designed to be “naked”
like Slappy, but given her human-like form it was decided it would be better if
she were clothed. Minerva’s shorts ended up being dropped from the show due to
their overtly sexual nature not really being appropriate for the intended
audience, and attempting to “flip the script” on the cartoon male wolf characterization
didn’t come through as planned with Minerva being portrayed as gold-digging and
vapid.
Spielberg and his favorite creations. |
Ruegger supervised the overall
production and the writer’s room, while Stoner, Hastings, Rusty Mills
and Rich Arons
contributed scripts while serving as series producers. Other writers included
Oliver, Paul Rugg,
Liz Holzman,
Nicholas Hollander,
Charlie Howell,
Gordon Bressack,
Jeff Kwitny,
Earl Kress
and Randy
Rogel, as well as McCann and Minton. The writers all came
from a combination of cartoon and sketch comedy backgrounds. Extremely loose
ideas were pitched and given the go-ahead, with the goal to make each
other—especially Ruegger—laugh. Ruegger would also test jokes out on his
children, using their reactions as a gauge.
The hard-working animators. |
As with Tiny Toons, Spielberg insisted that Animiancs display the highest production quality possible. As a
result, each episode used almost double the cel count of a standard cartoon in
order to produce fluid and constant movement. To keep up with those
requirements and a demanding schedule, the animation duties were farmed out to
several different studios including TMS, StarToons, Wang
Film Productions, Freelance
Animators New Zealand and AKOM. A standard episode could
contain work from different studios in each of the segments.
Wakko belching out the classics. |
Spielberg also insisted on using a
full orchestra to create the music for the series. While it was an expensive
proposition, MacCurdy noted that the sound set them apart from other shows. Animaniacs employed a 35-piece orchestra
and utilized an original score for each episode. Composers Richard Stone,
Julie
and Steve Bernstein, Carl Johnson,
J. Eric Schmidt,
Gordon Goodwin
and Tim Kelly
were contracted to compose the series’ music. Ruegger, Rogel, Hollander and
Oliver also contributed a lot of music to the show. Not only was the music done
in a similar style to that of Looney
Tunes composer Carl
Stalling, but the orchestra used the same studio and piano
that Stalling used. However, not all music was completely original; many times parodies
of classical or folk music were used with new lyrics, such as Wakko singing about all
the states and their capitals to “Turkey in the Straw”
or the segment “Slippin’
on the Ice” to the tune of “Singin’ in the Rain.”
Animaniacs
debuted on FOX’s
Fox Kids
programming block on September 13, 1993. The series’ theme was composed by
Stone with lyrics from Ruegger. FOX ordered a 65-episode first season up front
due to the success they found with the earlier Tiny Toons effort. Animaniacs
became a ratings success, falling second only to FOX’s Mighty Morphin Power Rangers. Animaniacs and
Tiny Toons almost doubled the ratings
of rival shows Darkwing Duck and Goof Troop.
"Helloooooooooo, Nurse!" |
The
series relied on slapstick, parodies, caricatures of celebrities (the show did
take place on a studio lot, after all) and cartoon violence that was balanced
by educational segments. A lot of the humor, while enjoyable for children, was
also targeted for adults and attracted a large following in that demographic. The
large adult fanbase led to one of the first internet-based fandom cultures: the
internet newsgroup alt.tv.animaniacs was highly active with fans showcasing
reference guides, fan fiction and fan art about the show. The show’s producers
invited twenty of the newsgroup’s most active participants out to the studios
in August of 1995 for a gathering the fans dubbed “Animania IV.”
Still, a greater attempt was made to give the show more exposure with the
production of the theatrical short “I’m Mad” starring the Warners. It aired
before Thumbelina and was intended
to be the first of many, but ended up being the only short produced and was
later incorporated as part of the 69th episode.
New episodes aired on FOX weekdays
and Saturdays until the 1994 season. Such was the series’ popularity that
Warner Bros. Animation was willing to invest in more new episodes of the show
beyond the 65 they already had for syndication. However, they planned to bring Animaniacs
over to their own network, The WB,
launching the following year and, knowing this, FOX chose to just play the
series in another year of reruns instead of ordering more episodes. The
production did cobble together a short four-episode second season during this
time, comprised of unused scripts, which were integrated into the FOX run. Once
the FOX contract officially ended, the series moved over to the new network and
become one of the launch programs for their new Kids’ WB
programming block on September 9, 1995. New episodes debuted alongside its
spin-off, Pinky and the Brain, and
other Warner Bros. Animation series, Freakazoid!
While the series continued to be
successful on The WB, it wasn’t with the intended demographic that The WB and
their advertisers were looking for. They wanted young children they could sell
toys to, but instead the majority of the viewers ended up being adults. The WB
expressed their dissatisfaction at this turn of events by gradually reducing
their order for new episodes. Warner Bros. laid off over 100 artists at this
time, choosing to rely on the backlog of Animaniacs
episodes unless fans demanded more. After two final abbreviated seasons, Animaniacs aired its final episode on
November 14, 1998 alongside Pinky and the
Brain’s as part of the Ultimate
Animaniacs Super Special. The final original Animaniacs production came with the direct-to-video film Wakko’s
Wish.
Animaniacs
continued to air on Kids’ WB as part of The Cat & Birdy Warneroonie Pinky
Brainy Big Cartoonie Show;
a
compilation program that aired segments from various episodes of Animaniacs, The Sylvester & Tweety Mysteries, Pinky and the Brain and
Pinky, Elmyra & the Brain. Initially the show
also aired reruns of classic Looney Tunes
shorts with new title cards until its hour and a half format was chopped
down to half an hour to accommodate WB’s acquisition of anime series Pokémon. In 2016, Ruegger stated on his Reddit
AMA
account that the decline of original programming by Warner Bros. came about due
to their ability to cheaply acquire and air other programs. Meanwhile, Animaniacs continued to air in
syndicated reruns on various networks and was even released in its entirety on
the Netflix
streaming service where it gained a newfound popularity.
Hello Nurse keeps track of the show's awards. |
During its run the
series was nominated for and won multiple awards for its music, stars and
content. The series’ first major award was a Peabody Award during its first season. The show was nominated for multiple
Annie Awards, although it never won one, and took home eight Daytime
Emmy Awards. With the
Emmys came a record as the series was the most consistently nominated in the
category of “Outstanding Achievement in Music Direction and Composition.”
Splash page to a Minerva story in the comics. |
Coinciding
with the series’ move to The WB, DC
Comics began publishing an ongoing Animaniacs
comic book series and two specials
which followed a similar format to the show. Minerva got a second life in the
comics, appearing in several issues and without as many restrictions as
television imposed. Pinky and the Brain made cameo appearances due to the
concurrent publication of their own comic series,
but once it was cancelled they were merged into the Animaniacs book and took over half of the pages. The book was
renamed Animaniacs Featuring Pinky and
the Brain with #43
until the series was cancelled with #59.
Animaniacs
was adapted into several video games. Konami and Factor 5
released Animaniacs for the Super
NES,
Sega
Genesis and Nintendo Game Boy
in 1994 and 1995. The SNES version
featured the Warners assigned by Plotz to retrieve the script to a new film
from the Brain. The Genesis
and Game
Boy
versions had the Warners going around the studio to collect memorabilia to sell
in their new store and then retrieve them from the Brain. In 1997 Funnybone
Interactive and Warner
Bros. Interactive released Animaniacs
Game Pack,
which
featured the characters in five arcade games. Saffire
and ASC
Games released a sequel
to their bowling game, Ten Pin Alley, in
1998 for the Sony
PlayStation starring the Warners, Pinky and the
Brain. In 1999, EAI
Interactive and SouthPeak
Interactive released A
Gigantic Adventure for
the PC, which followed the Warners as they try to retrieve all of their films Plotz
ordered Ralph to collect and hide. That same year, they also released Splat
Ball! For
the PC, which had the Warners participating in a giant paintball competition
against other characters from the show. The
Great Edgar Hunt was
developed by Warthog
and published by Ignition
Entertainment in 2005 for the Nintendo GameCube,
Xbox
and PlayStation
2.
The Warners had to collect 44 of 45 Edgars (a parody of the Oscars) stolen by
frustrated director C.C. Deville. Lights,
Camera, Action!,
also
by Warthog and Ignition, was released for the Game Boy Advance
and Nintendo
DS
and has the Warners obligated to make three films to pay for damage they caused
the studio. This was the last new appearance of the Animaniacs cast. In 1994, Tiger Electronics
released Hollywood Hi-Jinx as part of their
LCD handheld game line.
As the show began during the early years of the Warner Bros.
Studio Store, a wide variety of merchandise was made with the characters;
including plush
dolls, apparel,
mugs,
and other items. After Warner Bros. acquired the Hanna-Barbera library in
1998, merchandise related to the show gradually began to be phased out in favor
of the new acquisitions. McDonald’s
also included toys of the
characters in their happy meals. In 2016, Funko
released a collection of Animaniacs POP! figures. Warner
Home Video released a random selection of episodes and bonus skits across
several VHS
volumes in the United States, United Kingdom and Australia between 1993 and
1994. In 1998, three volumes were released in Poland, the Czech Republic and
Central Europe. The following year, Wakko’s Wish saw its first
release onto VHS. In July of 2006, Warner released the first
25 episodes to DVD. Within the first week of its release, over half of the
sets released sold, making it the fastest selling animation DVD sets that
Warner ever released. It was quickly followed by the next
volume that December. June 2007 saw the release of the third
volume. It wouldn’t be until 2013 that the fourth
and final volume with the remaining episodes would be released; however
unlike the previous sets it contained no special features. Wakko’s Wish came
to DVD the following year. In 2018, a complete
series collection was released that included the film. Rhino Entertainment and Time Warner Kids
released several
albums collecting the various songs from the series between 1993 and 2003.
The series was made available for streaming on Hulu.
Animaniacs Live tour logo. |
In 2014, Paulsen, MacNeille and Harnell reunited and performed
the Animaniacs theme live with
accompaniment by the Colorado Symphony in Denver’s Boettcher
Concert Hall. In 2016, they reunited once again to announce a tour called Animaniacs Live!, where
they would perform the various original songs from the series’ run. The most noteworthy one was a revamp of
the show’s most memorable toon, “Yakko’s World,” where
changes in the global landscape in the 20 years since its first airing would be
incorporated. The accompanying orchestra was led by Rogel.
Because of the response to the show when it was on Netflix, Amblin and Warner Bros. decided to produce a revival of the series in 2017. Hulu became the official home, ordering two seasons up front to begin airing in 2020 with Wellesley Wild taking over as showrunner. Spielberg was heavily involved in the production phase, wanting to ensure the series was heading in the right direction and maintained as many elements of the original as possible. The focus of the revival was scaled down to just focus on the Warners and Pinky and the Brain with their respective actors all returning. The other characters were jettisoned in favor of creating new characters in line with modern sensibilities and audiences, such as new studio head Nora Rita Norita (Stephanie Escajeda). The Bernsteins returned to score the series with a 30-piece orchestra along with composers trained by Stone and Rogel.
3 comments:
cool animaniacs facts
Not only was Steven Spielberg not the head writer of the show, Steven didn't write a single word of a single episode of this show. This posting has massive fact-check issues.
The sources used for the initial writing of a bunch of older entries (believe it or not, NOT Wikipedia) turned out to be faulty in retrospect. I've been slowly working my way through them to fix these errors.
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