History Creator / FrankTashlin

He would once again return to Creator/WarnerBros in 1943, this time bringing a stylized, magazine-like angular designs to his new shorts. Some of these later shorts of his had noticeable sexual themes, particularly "Plane Daffy" (which had a femme fatale character named Hata Mari, whose blond hair and top-heavy hourglass figure would be a reality in the form of JayneMansfield) and "Stupid Cupid". It's been said that the difference between Creator/BobClampett's cartoons and Frank Tashlin's cartoons in terms of risqué humor is that Tashlin was more polished and subtle while Clampett was broader, wilder, and more adolescent.

* Wholly Smoke

* Mr. Duck Steps Out: A DonaldDuck short. He did not direct, but wrote the story.

* ACornyConcerto: Directed by Creator/BobClampett, but he wrote the story.

* I Got Plenty of Mutton: A one-shot cartoon that would be the inspiration for ChuckJones' PepeLePew cartoons

* Plane Daffy

* The Girl Can't Help It

* SnowWhiteAndTheThreeStooges

* BigNameFan : His films had an incredible influence on the FrenchNewWave who loved his GenreBusting style and visual invention. PaulMcCartney and JohnLennon loved his film ''The Girl Can't Help It'' as did several other rock stars of the 1960s.
** JohnWaters has also acknowledged Tashlin's influence on his films, expressed [[https://m.youtube.com/watch?v=-n3vyvEPgOw here]], where he gushes over "The Girl Can't Help It."
** Don't forget that his cartoon work has just as many fans, with many accolades from historians, directors and animators alike, including JohnKricfalusi, JoeDante and EricGoldberg.

* GenreBusting : His feature films were radical and innovative comedies. ''The Girl Can't Help It'' was a pioneer in the rock musical genre, and gave audiences around the world their first glimpses of favorite rock acts of the 50s.
* HotterAndSexier: The PrivateSnafu cartoon "Censored", which features a topless woman. The one time CartoonNetwork aired the cartoon, the scenes were cropped to conceal the nudity.

* ProductionPosse: Tashlin worked on too many JerryLewis movies to count, both as a solo act and when he was teamed with DeanMartin. He also worked often with BobHope and JayneMansfield, so much so with the latter that she filled the role of his muse.
* RecycledPremise: His feature ''Rock-a-Bye Baby'' features a hapless man (Jerry Lewis) in comical situations while babysitting, very much like his Porky Pig short ''Brother Brat''.

* The Unruly Hare: One of two BugsBunny shorts he directed.

* Hare Remover: Second of two BugsBunny shorts he directed, but was uncredited.

* ProductionPosse: Tashlin worked on too many JerryLewis movies to count, both as a solo act and when he was teamed with DeanMartin. He also worked often with JayneMansfield, so much so that she filled the role of his muse.

* HotterAndSexier: The PrivateSnafu cartoon "Censored", which features a topless woman.

* RecycledPremise: His feature ''Rock-a-Bye Baby'' features a hapless man in comical situations while babysitting, very much like his Porky Pig short ''Brother Brat''.

* RecycledPremise: His feature ''Rock-a-Bye Baby" features a hapless man in comical situations while babysitting, very much like his Porky Pig short ''Brother Brat''.

He would once again return to Creator/WarnerBros in 1943, this time bringing a stylized, magazine-like angular designs to his new shorts. Some of these later shorts of his had noticeable sexual themes, particularly "Plane Daffy" (which had a femme fatale character named Hata Mari, whose blond hair and top-heavy hourglass figure would be a reality in the form of JayneMansfield) and "Stupid Cupid". It's been said that the difference between Creator/BobClampett's cartoons and Frank Tashlin's cartoons in terms of risqué humor is that Tashlin was more polished and subtle while Clampett was broader, wilder, and more immature.

* I Got Plenty of Mutton

He would once again return to Creator/WarnerBros in 1943, this time bringing a stylized, magazine-like angular designs to his new shorts. Some of these later shorts of his had noticeable sexual themes, particularly "Plane Daffy" (which had a femme fatale character named Hata Mari, whose blond hair and top-heavy hourglass figure would be a reality in the form of JayneMansfield) and "Stupid Cupid". It's been said that the difference between Creator/BobClampett's cartoons and Frank Tashlin's cartoons in terms of risque humor is that Tashlin was more subtle with it.

However, he left the studio again, with his crew being handed over to Creator/ChuckJones, while he to work for Disney in 1938 to 1940, where he began story work on Walt's proposed MickeyMouse feature, which would later evolve into the Mickey and the Beanstalk segment of FunAndFancyFree.

In 1941, he found work at Creator/ColumbiaCartoons, where he directed three short cartoons, one of them being the first of Columbia's star series "TheFoxAndTheCrow"--the short in question, "The Fox and the Grapes" was the first cartoon to use a "blackout gag" format, which director Creator/ChuckJones would cite as an influence on his [[WesternAnimation/WileECoyoteAndTheRoadRunner Road Runner]] cartoons.

In 1941, he found work at ColumbiaCartoons, where he directed three short cartoons, one of them being the first of Columbia's star series "TheFoxAndTheCrow"--the short in question, "The Fox and the Grapes" was the first cartoon to use a "blackout gag" format, which director Creator/ChuckJones would cite as an influence on his [[WesternAnimation/WileECoyoteAndTheRoadRunner Road Runner]] cartoons.

He would once again return to Warner Bros. in 1943, this time bringing a stylized, magazine-like angular designs to his new shorts. Some of these later shorts of his had noticeable sexual themes, particularly "Plane Daffy" (which had a femme fatale character named Hata Mari, whose blond hair and top-heavy hourglass figure would be a reality in the form of JayneMansfield) and "Stupid Cupid". It's been said that the difference between Bob Clampett's cartoons and Frank Tashlin's cartoons in terms of risque humor is that Tashlin was more subtle with it.

After his cartoon career ended, Tashlin went on to direct and write for many live action films, most famously the Jayne Mansfield comedies ''The Girl Can't Help It'' and ''Will Success Spoil Rock Hunter'', and numerous JerryLewis movies. His films are notable for including live-action versions of cartoon gags, such as the near-sexual reactions of every man who sees Jayne Mansfield's character walk by in ''The Girl Can't Help It'' (such as the ice melting in the ice truck and the milkman's bottle of milk popping and spilling over). He also wrote five books: "The Bear That Wasn't" (1941), "How The Circus Learned to Smile" (1949, "The Possum That Didn't" (1950) and "The World That Isn't" (1951) and a self-help cartooning book "How to Create Cartoons" (1952). He even briefly returned to animation in 1967, adapting one of his children's books "The Bear That Wasn't" into an {{MGM}} animated short, directed by his former colleague Creator/ChuckJones (which Tashlin didn't like).

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In 1936, Leon managed to lure Tashlin back to his studio, giving him a position as a director there, right during a time when Creator/TexAvery was starting to take the studio away from its {{Disney}} roots in favor of faster paced, more cartoony shorts. Frank jumped right in, getting off to a good head start with "Porky's Poultry Plant", where he adapted live action style fast-cutting and dynamic camera angles into his cartoons, giving them a cinematic, energetic feeling lacking from Creator/TexAvery and Creator/FrizFreleng's cartoon shorts. Despite this, he wasn't particularly happy due to him being stuck working on PorkyPig cartoons, a character whom Tashlin admitted later to hating.

He would once again return to Warner Bros. in 1943, this time bringing a stylized, magazine-like angular designs to his new shorts. Some of these later shorts of his had noticeable sexual themes, particularly "Plane Daffy" (which had a femme fatale character named Hata Mari, whose blond hair and top-heavy hourglass figure would be a reality in the form of JayneMansfield) and "Stupid Cupid".

He would once again return to Warner Bros. in 1943, this time bringing a stylized, magazine like angular designs to his new shorts. Some of these later shorts of his had some noticeable sexual themes, particularly "Plane Daffy" and "Stupid Cupid".

After his cartoon career ended, Tashlin went on to direct and write for many live action films, most famously the JayneMansfield comedies ''The Girl Can't Help It'' and ''Will Success Spoil Rock Hunter'', and numerous JerryLewis movies. His films are notable for including live-action versions of cartoon gags, such as Jayne Mansfield melting ice and causing milk bottles to overflow as she walks by. He also wrote five books: "The Bear That Wasn't" (1941), "How The Circus Learned to Smile" (1949, "The Possum That Didn't" (1950) and "The World That Isn't" (1951) and a self-help cartooning book "How to Create Cartoons" (1952). He even briefly returned to animation in 1967, adapting one of his children's books "The Bear That Wasn't" into an {{MGM}} animated short, directed by his former colleague Creator/ChuckJones.

* Speaking of the Weather: First [[WesternAnimation/LooneyTunes Merrie Melodies]] short he worked on. The short is one of three parodies of the "Things come to life in a store" genre of cartoons that was previlent during the 30's.

* BigNameFan : His films had an incredible influence on the FrenchNewWave who loved his GenreBusting style and visual invention. PaulMcCartney and JohnLennon loved his film ''The Girl Can't Help It'' as did several other rockstars of the 60s.

* HotterAndSexier: The PrivateSnafu cartoon "Censored", which features near nudity.

However, he left the studio again, with his crew being handed over to ChuckJones, while he to work for Disney in 1938 to 1940, where he began story work on Walt's proposed MickeyMouse feature, which would later evolve into the Mickey and the Beanstalk segment of FunAndFancyFree.

In 1941, he found work at ColumbiaCartoons, where he directed three short cartoons, one of them being the first of Columbia's star series "TheFoxAndTheCrow"--the short in question, "The Fox and the Grapes" was the first cartoon to use a "blackout gag" format, which director ChuckJones would cite as an influence on his [[WesternAnimation/WileECoyoteAndTheRoadRunner Road Runner]] cartoons.

After his cartoon career ended, Tashlin went on to direct and write for many live action films, most famously the JayneMansfield comedies ''The Girl Can't Help It'' and ''Will Success Spoil Rock Hunter'', and numerous JerryLewis movies. His films are notable for including live-action versions of cartoon gags, such as Jayne Mansfield melting ice and causing milk bottles to overflow as she walks by. He also wrote five books: "The Bear That Wasn't" (1941), "How The Circus Learned to Smile" (1949, "The Possum That Didn't" (1950) and "The World That Isn't" (1951) and a self-help cartooning book "How to Create Cartoons" (1952). He even briefly returned to animation in 1967, adapting one of his children's books "The Bear That Wasn't" into an {{MGM}} animated short, directed by his former colleague ChuckJones.

* The Bear That Wasn't: An animated short based off of his book, directed by ChuckJones.

* ACornyConcerto: Directed by BobClampett, but he wrote the story.

In 1936, Leon managed to lure Tashlin back to his studio, giving him a position as a director there, right during a time when TexAvery was starting to take the studio away from its {{Disney}} roots in favor of faster paced, more cartoony shorts. Frank jumped right in, getting off to a good head start with "Porky's Poultry Plant", where he adapted live action style fast-cutting and dynamic camera angles into his cartoons, giving them a cinematic, energetic feeling lacking from TexAvery and Creator/FrizFreleng's cartoon shorts. Despite this, he wasn't particularly happy due to him being stuck working on PorkyPig cartoons, a character whom Tashlin admitted later to hating.

Initially, Tashlin cut his teeth working for [[Creator/{{Terrytoons}} Paul Terry]] as an animator on the ''Aesops Film Fables'' series of cartoons, only to quickly drift off to another animation stint at Creator/VanBeurenStudios. Finally, in 1932, he found work at the then-rising WesternAnimation/LooneyTunes and [[WesternAnimation/LooneyTunes Merrie Melodies]] cartoon studio, working as an animator, while working on a short lived comic strip in his spare time called Van Boring, the name being obvious jab at his previous boss. When Leon tried to swindle Frank into giving him a cut of the comics profits, Frank told him to shove it and promptly lost his job as a result. Once again adrift, he did a brief stint at the UbIwerks cartoon studio in 1934, only to leave in 1935 to be a writer on Hal Roach's OurGang series of live comedies. During this time, he learned quite a bit about live-action film-making, including film-camera techniques.

In 1936, Leon managed to lure Tashlin back to his studio, giving him a position as a director there, right during a time when TexAvery was starting to take the studio away from its {{Disney}} roots in favor of faster paced, more cartoony shorts. Frank jumped right in, getting off to a good head start with "Porky's Poultry Plant", where he adapted live action style fast-cutting and dynamic camera angles into his cartoons, giving them a cinematic, energetic feeling lacking from TexAvery and FrizFreleng's cartoon shorts. Despite this, he wasn't particularly happy due to him being stuck working on PorkyPig cartoons, a character whom Tashlin admitted later to hating.

Initially, Tashlin cut his teeth working for [[Creator/{{Terrytoons}} Paul Terry]] as an animator on the ''Aesops Film Fables'' series of cartoons, only to quickly drift off to another animation stint at VanBeurenStudios. Finally, in 1932, he found work at the then-rising WesternAnimation/LooneyTunes and [[WesternAnimation/LooneyTunes Merrie Melodies]] cartoon studio, working as an animator, while working on a short lived comic strip in his spare time called Van Boring, the name being obvious jab at his previous boss. When Leon tried to swindle Frank into giving him a cut of the comics profits, Frank told him to shove it and promptly lost his job as a result. Once again adrift, he did a brief stint at the UbIwerks cartoon studio in 1934, only to leave in 1935 to be a writer on Hal Roach's OurGang series of live comedies. During this time, he learned quite a bit about live-action film-making, including film-camera techniques.

[[caption-width-right:347:Tish Tash, working on a scene from the [[ColumbiaCartoons Columbia Cartoon]] "The Tangled Angler".]]

Initially, Tashlin cut his teeth working for [[TerryToons Paul Terry]] as an animator on the ''Aesops Film Fables'' series of cartoons, only to quickly drift off to another animation stint at VanBeurenStudios. Finally, in 1932, he found work at the then-rising WesternAnimation/LooneyTunes and [[WesternAnimation/LooneyTunes Merrie Melodies]] cartoon studio, working as an animator, while working on a short lived comic strip in his spare time called Van Boring, the name being obvious jab at his previous boss. When Leon tried to swindle Frank into giving him a cut of the comics profits, Frank told him to shove it and promptly lost his job as a result. Once again adrift, he did a brief stint at the UbIwerks cartoon studio in 1934, only to leave in 1935 to be a writer on Hal Roach's OurGang series of live comedies. During this time, he learned quite a bit about live-action film-making, including film-camera techniques.

In 1936, Leon managed to lure Tashlin back to his studio, giving him a position as a director there, right during a time when TexAvery was starting to take the studio away from it's {{Disney}} roots in favor of faster paced, more cartoony shorts. Frank jumped right in, getting off to a good head start with "Porky's Poultry Plant", where he adapted live action style fast-cutting and dynamic camera angles into his cartoons, giving them a cinematic, energetic feeling lacking from TexAvery and FrizFreleng's cartoon shorts. Despite this, he wasn't particularly happy due to him being stuck working on PorkyPig cartoons, a character whom Tashlin admitted later to hating.

* Thicker Than Water: A LaurelAndHardy short he wrote for.
* The Fixer Uppers: A LaurelAndHardy short he wrote for.
* Tit For Tat: A LaurelAndHardy short [[RuleOfThree he wrote for.]]

* Pettin' in the Park: While the cartoon credits Bernard Brown as director, it is believed Tashlin himself actually directed it, and was not credited due to him leaving the studio when it was released.
* Those were Wonderful Days: Same as above.

Initially, Tashlin cut his teeth working for [[TerryToons Paul Terry]] as an animator on the ''Aesops Film Fables'' series of cartoons, only to quickly drift off to another animation stint at VanBeurenStudios. Finally, in 1932, he found work at the then-rising WesternAnimation/LooneyTunes and [[WesternAnimation/LooneyTunes Merrie Melodies]] cartoon studio, working as an animator (and ''possibly'' a two-time director) while working on a short lived comic strip in his spare time called Van Boring, the name being obvious jab at his previous boss. When Leon tried to swindle Frank into giving him a cut of the comics profits, Frank told him to shove it and promptly lost his job as a result. Once again adrift, he did a brief stint at the UbIwerks cartoon studio in 1934, only to leave in 1935 to be a writer on Hal Roach's OurGang series of live comedies. During this time, he learned quite a bit about live-action film-making, including film-camera techniques.