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Additional credits: In April 29, 1987 notes, Barks has recalled that he did in-betweens of "a scene of the Big Bad Wolf singing a parody of 'Schnitzlebank' while basting the piggies. Norm Ferguson and Nick George were the animators."
Research: In November 13, 1987 notes, Barks explained that 'Schnitzlebank' "is a German drinking song that was popular in the beer balls after the repeal of prohibition. Disney's songwriters wrote a parody on the words, and that is what the Big Bad Wolf sings as he turns the piggies on a spit." Correspondence:
Additional credits: In April 29, 1987 notes, Barks has recalled that he did "in-betweens of Mickey doing a Fred Astaire bit, dancing with a top hat".
Correspondence:
Additional credits: In April 29, 1987 notes, Barks has recalled that he did in-betweens of "a short bit of a shedlike building being blown apart, which may have been part of a Silly Symphony."
Correspondence:
Questions: Which cartoon could this be?
Additional credits:
Barks' submitted a gag drawn in comic book form about a mechanized barber
chair with a shoeshine apparatus, on which Donald gets flipped upside down.
Released as a Mickey Mouse short. Donald was not yet a box office name.
Initially, the cartoon was to have been called "Mickey's Inventions" and would
have starred Mickey and Donald.
Barks drew many or most of the storyboards.
Description: Donald runs afoul of the robots in a museum of modern inventions.
Landmark:
Contains first Barks gag to be animated by Disney.
Last Donald Duck cartoon released as a Mickey Mouse short.
Backstage: Barks' creation of the barber chair gag in this cartoon led Walt Disney to transfer him into the story department and launched Barks' career as a storyman on the Duck shorts. Detailed information
Correspondence:
Interviews:
Notes: With 'comic book form" Barks means that he often sketched his gags four panels to the page, with dialogue and explanatory narration jotted in. "The panel-to-panel method of submitting gags was the preferred way at the Studio," he has said in April 29, 1987 notes.
Additional credits: Barks drew many or most of the storyboards.
Description: Donald is the stationmaster at a railway station and must care for a voraciously hungry ostrich named Hortense.
Landmark: First cartoon of the "Donald Duck" series. And it marked the beginning of Barks' collaboration with veteran storyman Harry Reeves.
Additional credits: Barrier's information on Barks' title credits is based on "an outline that was distributed thoughout the studio before work on the story was completed". The present Barks credits are taken from the flyleaves of bound volumes of storyboard drawings from the finished cartoons, preserved in the Disney Archives.
Description: Taking the advice of a radio program on self-control, Donald struggles to contain his anger while beset by outdoor pests who ruin his summer day.
Additional credits: Barrier's information on Barks' title credits is based on "an outline that was distributed thoughout the studio before work on the story was completed". The present Barks credits are taken from the flyleaves of bound volumes of storyboard drawings from the finished cartoons, preserved in the Disney Archives.
Description: Donald must choose between going to school and playing hookey when he is caught in a battle between his good and evil selves.
Description: Donald's nephews Huey, Dewey, and Louie pay him a visit and wreak havoc around the house, despite their uncle's attempts to practice child psychology on them.
Landmark: Introduction of Donald's nephews to the screen.
Congruences:
Interviews:
Additional credits: Barrier's information on Barks' title credits is based on "an outline that was distributed thoughout the studio before work on the story was completed". The present Barks credits are taken from the flyleaves of bound volumes of storyboard drawings from the finished cartoons, preserved in the Disney Archives.
Description: On a scouting expedition with his nephews to Yellowstone Park, the nephews try to follow Donald's orders as scoutmaster. While the nephews struggle to erect a tent, Donald's own makeshift tent threatens to fly apart. He run afoul of a bear and is caught in a geyser.
Landmark:
Academy Award nomination for the best animated short.
The scouting theme in this film undoubtedly contributed to Barks' inspiration
for the Junior Woodchucks.
One of Barks's first uses of bears as comic threats.
Additional credits: Barrier's information on Barks' title credits is based on "an outline that was distributed thoughout the studio before work on the story was completed". The present Barks credits are taken from the flyleaves of bound volumes of storyboard drawings from the finished cartoons, preserved in the Disney Archives.
Description: Donald tries to impress the nephews with his skill as a golfer, but they sabotage his game and show him up by performing their own fancy shots.
Congruences:
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Description: Donald is a superstitious delivery boy who must deliver a package on Friday the Thirteenth. His bad luck is compounded by the interference of a black cat and the fact that the package contains a bomb.
Backstage: By the time of this cartoon, which was storyboarded late in 1937, Barks' skill had grown considerably. The storyboards show a rounder, more expressive duck. Barks' drawings are alive with motion lines and visual shorthand to depict different kinds of movement. For instance, Donald cycles so fast that his body becomes a blur, while the black cat's attack on a fizzing bomb becomes a flurry of heads and paws, and the sketches bear copious notes, directions to the animators on how to choreograph the action. Trucking shots, close-ups on street-signs, and careful staging of the first encounter between Donald and the cat all reveal a new awareness of camera angles and movement. The dynamic quality of Barks' vision is also apparent in an increased ability to conceive a scene in terms of continuous motion.
Additional credits:
Barks' title credits are taken from Barrier, who
based his information on "an outline that was distributed thoughout the
studio before work on the story was completed". Curiously, the flyleaves of
bound volumes of storyboard drawings from the finished cartoons, preserved
in the Disney Archives, do not credit Barks at all on this cartoon.
Barks drew most of the storyboards.
Description: Donald shows off his ice skating skill to the nephews and challenges them to a game of hockey, but loses at his own game.
Backstage: Barks drew most of the story sketches for this cartoon, specializing in action scenes. No other set of storyboards shows Barks' mastery of motion gags and broad physical humor so well. Detailed information
Congruences:
Correspondence:
Interviews:
Additional credits:
Barks' title credits are taken from Barrier, who
based his information on "an outline that was distributed thoughout the
studio before work on the story was completed". Curiously, the flyleaves of
bound volumes of storyboard drawings from the finished cartoons, preserved
in the Disney Archives, do not credit Barks at all on this cartoon.
Barks and Reeves wrote the story. Barks drew most of the storyboards.
Apparently, an eating sequence Barks drew for
«Interior Decorators»
provided the inspiration for Gus' voracious appetite.
Description: Cousin Gus pays a visit and eats Donald out of house and home.
Landmark: Introduction of Gus Goose, making his first and last appearance on the screen.
Backstage: Gus Goose was used earlier, as Donald's helper in the unproduced cartoon «Interior Decorators». Detailed information
Congruences:
Correspondence:
Questions: Information on Jack Hannah being an animator for this cartoon, is taken from Thomas Andrae article "The Animation Years", published in the Carl Barks Library (07B-427). This information is contradicted in "A Hannah/Barks Filmography", published in The Carl Barks Library (01A-146), where Hannah only is credited for writing for this cartoon. Which information is correct?
Additional credits: Disney's "Copyright Synopsis" for «Sea Scouts», typed and dated 5/5/39, refers to Scene 56, where "...the shark flips Don into its mouth by hitting the raft, although he cannot bite him because of the life preserver which is around Don's fanny." This is thought to be one of Barks' gags.
Description: Donald is the pompous captain of a sailboat, with the nephews as his crew. When Donald falls overboard, he is chased by a shark but decks the fish when it ruins his admiral's hat.
Congruences:
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Description: Donald receives a penguin named Tootsie as a present. When the bird eats his pet goldfish, Donald becomes enraged and threatens to shoot him, but relents and makes amends.
Additional credits:
Barks' title credits are taken from Barrier, who
based his information on "an outline that was distributed thoughout the
studio before work on the story was completed". Curiously, the flyleaves of
bound volumes of storyboard drawings from the finished cartoons, preserved
in the Disney Archives, do not credit Barks at all on this cartoon.
None of the surviving storyboard art for this cartoon is thought to be by
Barks.
Description: Hunting for autographs, Donald sneaks into a movie studio and is chased by a policeman. When the cop and the movie stars discover who he is, they besiege him for autographs.
Research: A number of real celebrities are caricatured, including Greta Garbo, Mickey Rooney, Sonja Heine, The Ritz Brothers, Shirley Temple, Clark Gable, Charlie McCarthy, Joe E. Lewis, Katherine Hepburn, and Groucho and Harpo Marx. Congruences:
Additional credits: Barrier's information on Barks' title credits is based on "an outline that was distributed thoughout the studio before work on the story was completed". The present Barks credits are taken from the flyleaves of bound volumes of storyboard drawings from the finished cartoons, preserved in the Disney Archives.
Description: Donald calls Daisy for a date but is cut in on by the nephews. They feed him heated corn as a joke, and when it starts to pop, his gyrations on the dance floor convince Daisy that he is an ace jitterbug.
Landmark: Introduction of Daisy Duck. Barks never used Daisy again in the Donald cartoons.
Backstage: In November 13, 1987 notes, Barks has said: "'Mr. Duck Steps Out' was about ballroom dancing and seemed to us coarse Duck men to be a subject more suited to Mickey's type of stagecraft. As for gags, I may have concocted some wild routine or two or anti-gravity flips and spins, but overall the animators, not the story-men, were the people who injected humor into such terpsichore. None of us older Duck men knew what was hip in the dance of the day, and we had to call in younger talent such as Ford Banes to tell us what the ever-changing new steps were all about."
The anti-gravity dance to which Barks refers is a sequence in which Donald
and Daisy get to jitterbugging so intensely that they dance up the wall, along
the ceiling and down the other
Ford Banes joined the Disney Studio in 1937 and worked as a storyman from December 1938 to September 1941.
Correspondence:
Questions: Information on Jack Hannah being an animator for this cartoon, is taken from Thomas Andrae article "The Animation Years", published in the Carl Barks Library (07B-427). This information is contradicted in "A Hannah/Barks Filmography", published in The Carl Barks Library (01A-146), where Hannah isn't credited for this cartoon at all. Which information is correct?
Additional credits: None of the known surviving storyboard art for this cartoon looks to be by Barks.
Description: Pluto pilfers a bone from a large bulldog but is caught and chased into an amusement park, where he uses reflections in the hall of mirrors to frighten off his adversary.
Landmark: First cartoon of the "Pluto" series.
Additional credits: Probably none of the surviving storyboard art is by Barks.
Description: Donald has problems with a motorboat which are compounded when Pluto tries to help him.
Additional credits: Barks concocted the running gag of the chair but Hannah drew the finished storyboards for it.
Description: Donald's holiday is interrupted by a recalcitrant folding chair, thieving chipmunks, and an unfriendly bear.
Landmark: The first produced cartoon that teamed Barks and Jack Hannah.
Backstage:
Jack Hannah, in a 1988 article published in
The Carl Barks Library - Set VII, about his relation with Barks: "Carl
often started with a situation rather than a plot line. For instance, we built
"Donald's Vacation" around a single gag saved
from an earlier storyboard. Donald, dressed in an oversize swim suit, is
attempting to set up a beach chair on the dry sand at the edge of a calm
surf. After too much pressure, the chair snaps into the wrong position,
entrapping Donald's swimsuit and freezing the duck in a ridiculous tableau.
A flurry of action, and Donald is entrapped in another ridiculous tableau.
This series of comic tableaux took over and became the nucleus of the
cartoon.
When we had a rough synopsis of sketches pinned up, we would invite other
story crews in for a rap session. Gags were suggested; sometimes an idea came
up that would change a section of the story or even the whole concept. At
some point, the setting of "Donald's Vacation"
was moved to the mountains, where added jokes about chipmunks and a bear could
be introduced."
Articles:
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Description: Donald's attempt to clean the windows of a skyscraper is sabotaged by an angry bee and a sleeping assistant, Pluto.
Additional credits: Barks drew many or most of the storyboards.
Description: Donald accidentally sets fire to his own station house then compounds the blunder by dousing it with gasoline rather than water.
Backstage: At this time, Barks' visual style began to coalesce. His drawings of Donald in «Fire Chief» bear a remarkable resemblance to his comic book duck of the late 1940s, having a long bill, pie-cut eyes, and a supple, expressive body. Background details show hallmarks of Barks' later comic book style. The portrait to the side of Donald's bed, like similar background details in George McManus' comic strip Bringing Up Father, comments satirically on the action in the room. Barks would later make such devices famous in his own comics, with a plethora of portraits, sculptures, bookends, lamp finials, and goldfish bowls.
«Fire Chief» reprises themes from earlier films like «myanimationtitle», showing Donald as an arrogant authority figure who tries to impress his nephews and ends up causing one disaster after another. At the same time, the film breaks new ground by focusing on Donald's obsession with being an expert fireman.
Congruences:
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Description: Black Pete, alias Pierre, is owner of a lumber camp. When he forces Donald to work off a stolen meal, the duck unintentionally fells a tree on Pete's head, and a mad chase ensues.
Landmark: The first Barks-Hannah collaboration featuring both Donald and Pete.
Backstage: In an 1977-1983 interview by Jim Korkis, Jack Hannah recalled of «Timber»: "We worked especially closely on that one, and I enjoyed doing the story very much. The scene where Donald picks up the dynamite on Black Pete's table still sticks out in my mind. We wanted that sequence done without music, just the ticking of the clock to build suspense. But the director felt differently and added lots of music at that point. I felt the scene wasn't as effective that way."
When asked for the reason why his own work on the «Timber» storyboards is more detailed, Jack Hannah replied: "It's a difference of style, just as two painters will communicate the same idea differently. We had our individual ways of sketching the story, and both ways seemed to get the job done. Even then I had an interest in directing, so I may subconsciously have paid more attention to shading or detail simply because I wanted to get the idea across to the director as clearly as possible."
Research: The wartime context is apparent, as Donald grouses: "I might as well be in a concentration camp!" Interviews:
Additional credits:
Barks' style is only evident in the scene in which Donald disguises himself as
a chicken.
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Description: When prices rise, Donald tries to speed up egg production on the farm but is prevented by an angry rooster.
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Description: Donald is kept awake by a loudly ticking clock and a wayward folding bed.
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Barks' original storyboards show two versions of the conclusion to the film:
one, that the school was closed for the summer and a second because it was
Saturday. Later, in his comic book work, Barks used the second conclusion in
new truant officer.
Description: Donald, the local truant officer, discovers the nepews playing hookey and hauls them back to school, only to discover that it is closed for the summer.
Landmark: Academy Award nomination for the best animated short.
Backstage:
In an 1977-1983 interview by Jim Korkis, Jack Hannah told that for
«Truant Officer Donald», "Carl came up with the idea of having
Donald find three roasted chickens with the nephews' hats on and think
that he had killed Huey, Dewey, and Louie. That idea sparked my idea of
having one of the nephews come down on a rope dressed as an angel. Harry
Reeves hated that sequence. He thought it was too gruesome, and Carl and
I really had to fight for it. Later, when the cartoon was previewed, it
got a big laugh, so we were proven right.
It's a good example of how two storymen can work together. Carl would come
up with an idea that would spark one from me; that in turn would spark
another idea from Carl. That particular story just seemed to flow out of
us. It wasn't always that smooth. Sometimes we'd go through three or four
story ideas until one caught hold and started to develop itself. Then all
we'd have to do was help it along."
Congruences:
Interviews:
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Description: Donald's attempt to milk his cow Clementine is thwarted by a troublesome fly.
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Description: Donald tries to cook a waffle following the directions of radio chef Mother Mallard, but accidentally mixes rubber cement into the batter.
Backstage: In the closing shot, Donald has become a helpless marionette, suspended from the ceiling by strings of sticky batter. Instead of mastering the recipe, he has been mastered by it; and the rubbery strands that hold him tight only mock his earlier efforts, causing his arm to flip eggs in a frying pan as he jiggles up and down. To add insult to irony, the soundtrack breaks into a few bars of "I've Got No Strings" from «Pinocchio».
Description: Donald is a blacksmith who has trouble shoeing a reluctant donkey,
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Description: Donald flattens the nephews' snowman, then lays siege to their fort in his ice battleship.
Congruences:
Additional credits:
Barks drew Donald's induction notice, as well as parodies of army recruiting
posters to accompany the song «The Army's Not the Army».
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Description: Donald receives his induction notice and passes his physical but ends up doing KP in the stockade when he botches the orders of his drill sergeant, Black Pete.
Landmark: This was the first of a series of cartoons featuring Donald as an hapless army private and Pete as his gruff sergeant. In humorous ways, these films confronted the new stresses placed on America with the coming of war. "The audience took to them immediately," recalls Jack Hannah in an interview, "because it was a natural thing for the duck to try to live up to the big guy; but he would only take it so long and would reverse the thing and end up getting the best of the situation with Pete."
Interviews:
Description: In hopes of getting a dinner, Pluto supplants the Yoo-Hoo Division's goat mascot. The goat tries to butt Pluto but misses and crashes into the arsenal.
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Barks drew Donald's induction notice, as well as parodies of army recruiting
posters to accompany the song «The Army's Not the Army».
Description: Camouflaging a cannon with invisible paint, Donald accidentally becomes invisible himself. Pete pursues him around the base until he runs into a general, who assumes Pete is crazy for chasing "someone who isn't there" and has him locked up, with Donald as his jailer.
Landmark: Barks' sketches of the general are among his first drawings of a dogface character for a Disney story. He later used a multitude of dogfaces as extras in his comic books.
Congruences:
Questions: «The Haunted Castle» is an unproduced cartoon from 1940 in which Mickey, Donald, and Goofy are menaced by an invisible, sword-wielding ghost in an old Scottish estate. (As far as known, Barks did not contribute to that cartoon.) Could this unproduced cartoon have inspired the invisibilty gimmick in «The Vanishing Private»?
Additional credits: None of the surviving Archives storyboard art for this cartoon is believed to be by Barks.
Description: Forced to parachute out of an airplane, Donald accidentally takes Sergeant Pete and a torpedo with him. The bomb explodes at an airbase and both men end up doing KP.
Additional credits: Barks drew many or most of the storyboards.
Description: As a hotel bellboy, Donald is taunted and terrorized by Senator Pete's son Junior. When he gives the brat a well-deserved spanking, he is fired for disobeying his manager's motto that "The Guest is Always Right".
Congruences:
Additional credits:
Barrier's information on Barks' title credits is based on "an outline that was
distributed thoughout the studio before work on the story was completed".
The present Barks credits are taken from the flyleaves of bound volumes
of storyboard drawings from the finished cartoons, preserved in the Disney
Archives.
Barks drew many or most of the storyboards.
Description: Using a record of snoring sounds to dupe Pete, Donald tries to leave the post without a pass.
Additional credits:
Walt Disney himself suggested this story by sending Harry Reeves a news
clipping about a listening post constructed by two youngsters.
In addition to the story sketches he made for this film, Barks drew a
model sheet of the nephews as military cadets that prefigures their
Junior Woodchuck dress uniforms.
Barks drew many or most of the storyboards.
Description: Donald operates a homemade listening post to spot enemy aircraft. The nephews and a fly trapped in his receiver fool him into thinking there is an invasion.
Additional credits: Barrier's information on Barks' title credits is based on "an outline that was distributed thoughout the studio before work on the story was completed". The present Barks credits are taken from the flyleaves of bound volumes of storyboard drawings from the finished cartoons, preserved in the Disney Archives.
Barks drew many or most of the storyboards.
According to Barrier, this cartoon had
the working title «Superman Duck» at the time Barks was involved
with it. (The Carl Barks Library - Set VII refers to
"Superduck".)
Sketches for «Superduck» show the storymen experimenting with
various powers: strength, levitation, and telekinesis. Barks appears to have
come up with the idea of an electric charge. In one series of sketches, Donald
activates a toy train merely by snapping his fingers; and when he takes over
Pete's trombone and blows, lightning bolts shoot out of the horn.
Barks also seems to have conceived the gods and most of the sight gags with
the trombone.
Description:
Pete's trombone playing keeps
Landmark: Apparently, the last cartoon for which Barks drew storyboards.
Backstage: An early sequence of storyboards titled «Superduck» suggests that the cartoon may have been conceived as a take-off on Superman. It may also have been influenced by the 1936 film version of H. G. Wells' «The Man Who Could Work Miracles», in which the gods give a timid mortal super-powers.
The backyard war between Pete and Donald may have inspired the ongoing war between Donald and Neighbor Jones in the comics. With his dark, bushy eyebrows and pugilistic build, Jones strongly resembles Pete, and he roughs up the duck in the slapstick manner of the cartoons.
Congruences:
Additional credits: None of the surviving storyboard art shows likeness to Barks's style.
Description: Donald builds an airplane out of plastic, but the rain causes it to melt and fall apart in mid-air.
Landmark: The last cartoon on which Barks worked (not counting donald-scrooge opus).
Additional credits:
As far as known, Barks had no influence on this cartoon, other than having
created Scrooge McDuck. In the year of the cartoon's release, Barks received
a cel from the production.
Scrooge speaks with the voice of the late Bill Thompson, who gave Scrooge a
standard old-man voice with a slight Scottish accent.
Description: The cartoon opens with a song that tells of the need for money to circulate, and then Scrooge is shown in his money bin, tossing money around as he sings its praise. The nephews appear, bearing a piggy-bank containing $1.95 (Scrooge can tell the amount by shaking the bank) and seeking Scrooge's investment advice. The film segues into a history of money, told in song by the Mellomen, and returns to Scrooge and the nephews occasionally in between illustrated musical treatises on the dimensions of a billion, the perils of inflation, the need for a family budget, and so on. At the close, the nephews invest their $1.95 in Scrooge's enterprises.
Landmark: First theatrical appearance of Scrooge McDuck.
Backstage:
On September 14, 1967, George R. Sherman sent Barks a cel from the production.
to Barks, and included the comment: "Don't let this get around, but I think
that your Scrooge is a whole lot better than those of our hot-shot
animators."
In an August 10, 1985 interview with Geoffrey Blum, animation supervisor Ward
Kimball has given some information about the cartoon and its flaws.
After a brief run, the cartoon slipped into obscurity.
Detailed information
Correspondence:
Interviews:
Sources
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