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You Ought to Be in Pictures (1940)

Daffy Duck convinces Porky Pig to quit the cartoon biz and try his luck in the features. Porky's adventures begin when he tries to enter the studio.

Director:

Friz Freleng (as I. Freleng)

Writer:

Jack Miller (story)
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1 nomination. See more awards »

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Cast

Credited cast:
Leon Schlesinger Leon Schlesinger ... Himself
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Storyline

Daffy Duck convinces an unwilling Porky Pig to quit his job with Leon Schlesinger. Why be a cartoon actor, Daffy says, when you can be leading man opposite Bette Davis? Schlesinger lets Porky go, but he is confident Porky will be back. Porky's adventures begin when he tries to get past the guard at the studio gate. He manages it by disguising himself as Oliver Hardy, but he has more trouble ahead. Meanwhile, Daffy tries to convince Schlesinger that he should take over Porky's starring roles. Daffy's scheme backfires when Porky returns to get his old job back. Written by J. Spurlin

Plot Summary | Add Synopsis


Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

18 May 1940 (USA) See more »

Also Known As:

Deberías hacer películas See more »

Company Credits

Production Co:

Leon Schlesinger Studios See more »
Show more on IMDbPro »

Technical Specs

Runtime:

(Blu-ray)

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Along with producer Leon Schlesinger, other members of the Warner Bros. animation studio played the live-action roles: writer Michael Maltese was the security guard, animator Gerry Chiniquy was the live-action director, and manager Henry Binder was the stagehand who tosses Porky out of the soundstage. With the exception of Schlesinger, all voices were dubbed over by Mel Blanc. See more »

Goofs

Shadow of a camera can be seen on wall, while Porky Pig beats up Daffy Duck for revenge, off-screen, just after returning to Warner Brothers' animation studio and asks Leon Schlesinger of his contract. See more »

Quotes

[first lines]
Animator: Lunch!
See more »

Crazy Credits

In the same frame as the opening WB shield, the copyright year (1940) is listed incorrectly as MCMXXXX, not MCMXL. See more »

Alternate Versions

This cartoon was colorized in 1995, with a computer adding color to a new print of the original black and white cartoon. This preserved the quality of the original animation. See more »

Connections

Featured in Happy Birthday, Bugs!: 50 Looney Years (1990) See more »

Soundtracks

Largo al factotum
(uncredited)
From "The Barber of Seville"
Music by Gioachino Rossini
Lyrics by Cesare Sterbini
Sung by Daffy during the "I'd Be Famous on the Screen" number
See more »

Frequently Asked Questions

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User Reviews

 
A priceless Hollywood satire from the guys at Termite Terrace
26 September 2005 | by wmorrow59See all my reviews

I remember discovering this cartoon on TV when I was a kid, back when they still showed black & white Looney Tunes regularly, and even as a youngster I recognized it as something special. In the '80s I managed to get a copy on VHS and practically wore it out with re-plays; it's one of those miraculous little films you can go back to again and again, one that retains its charm and its ability to make you laugh no matter how many times you've seen it. If anything, I enjoy it even more as a grown-up, having come to appreciate the inside jokes about Hollywood, cartoon producer Leon Schlesinger, and the legendary "Termite Terrace" facility, seen here at the height of its glory days.

It's clear from the opening shot that this is no ordinary cartoon; in fact, it's primarily a live action short filmed on the Warner Brothers lot, featuring actors playing studio personnel. (Amusingly, almost every person we see aside from Schlesinger has his voice dubbed by Mel Blanc, which is not only a great inside joke but makes the humans come off like cartoon characters themselves.) After the animators have gone to lunch Porky Pig comes to life on his drawing board, just like Max Fleischer's Koko the Clown did in the '20s, and so does Daffy Duck, who initially addresses Porky from a portrait on the wall. Daffy urges his colleague to quit cartoons and go for a job in features playing opposite Bette Davis. Pushed by Daffy, Porky quits, and his confrontation with the boss makes for a memorable and oddly poignant scene. Schlesinger, an affable-seeming guy who looks a little uncomfortable playing himself, agrees to release him from his contract. After Porky's gone, however, the producer turns to the camera and addresses us with hard-bitten wisdom: "He'll be back!"

Predictably enough, Porky's venture into the real world of studio system film-making is a disaster. He is belittled and chased by a hostile security guard, sneaks onto a sound stage but ruins a take, and when he tries to flee he blunders into a Western set and is pursued by stampeding horses (a great effect, and a comic high point). Daffy, meanwhile, has been trying to hassle a visibly irritated Schlesinger into giving him Porky's former position. Porky returns to Termite Terrace in the nick of time, gets his old job back, and rewards Daffy with a vigorous beating. Thus, order is restored.

As a kid I didn't catch all the references to Errol Flynn, Frank McHugh, or Greta Garbo, although I certainly got the joke when Porky tries to sneak into the studio disguised as Oliver Hardy. Still, viewers don't have to be hardcore film buffs to appreciate the comedy. The animated elements in You Ought To Be in Pictures have a fascinating look, achieved by laying down cell artwork (representing Daffy, Porky, and Porky's car) on still photographs of the office, the studio, and other "real world" locations. This is inter-cut with live action scenes, but on several occasions the cartoon characters interact with the human ones, as when Porky shakes hands with Schlesinger, or, later, drives like a maniac through midtown traffic. There's an especially startling bit when the studio guard hoists Porky and his car into the air and flings them off the lot These effects may look rudimentary by today's standards, but they pack more humor and pizazz into each frame than a lot of the technically adept but soulless CGI work produced nowadays.

This is a great piece of work, and if you're a movie buff with a fondness for old time Hollywood it's guaranteed to make you happy.


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