Max Fleischer was the only real challenger to Walt Disney’s supremacy in the field of animation in the 1930s. As the head of Fleischer Studios, Max had (with his brother Dave, the director) created Ko-Ko the Clown and Betty Boop, incorporated the music and personalities of Cab Calloway and Louis Armstrong into their cartoons, and brought Popeye to life in some of the most popular animated shorts of the era (vying with Mickey as the most popular animated character of the day). With an exclusive contract with Paramount Pictures, one of the powerhouse studios in Hollywood, to distribute their shorts, they were seen everywhere.
Max Fleischer had long wanted to make an animated feature — he was already making extended animated shorts with Popeye and Betty Boop and saw great potential in a Popeye feature — but Adolph Zukor, the head of Paramount Pictures, didn’t see any future in feature-length cartoons. The remarkable success of Walt Disney’s Snow White and the Seven Dwarfs in 1937 changed his mind and he gave the green light to Fleischer to begin developing a feature for Paramount. He also gave him a deadline: Christmas 1939. A mere year and a half to develop, write, animate, and finish his first ever feature (Disney worked for over three years on Snow White).
Fleischer turned to Jonathan Swift’s Gulliver’s Travels, and the Lilliputian section in particular, for his story. “I knew it was my father’s favorite book since he used to read it to me as a bedtime story when I was a child,” remembers Richard Fleischer, Max’s son, in his 2005 book Out of the Inkwell. He even briefly considered using Popeye as his Gulliver before rejecting the idea in pre-production.
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