cartoons – and a large number of the print cartoons that he published in various humor magazines – were signed by Tish Tash. That nom was “Tish Tash,” a pseudonym Tashlin started using as early as his teenage years, when he illustrated his school’s yearbook and other publications. The other element of Tashlin’s unusual relationship with Schlesinger is that, evidently, the producer granted the animator a unique privilege: the permission to use a nom de animation for several of his cartoons. Tashlin bounced around from studio to studio quite a bit, as I detail in Tashlinesque. animators admired him.) In any case, even if Schlesinger fired Tashlin at that time (around 1933), he would rehire him two more times. (He was also regarded as a fairly permissive, hands-off producer, for which many Warner Bros. I’ve never been able to corroborate that story about Schlesinger wanting a cut of Tashlin’s (assuredly meager) “Van Boring” profits, but it doesn’t seem all that unlikely to me, given Schlesinger’s reputation as a rather stern and shrewd businessman. (Incidentally, “Van Boring” – whose eponymous main character was based on Tashlin’s former boss, Amedée Van Beuren, the head of the nearly-forgotten Van Beuren animation studio – has its own Facebook page! Check it out – whoever holds that account posts at least one vintage “Van Boring” strip per day, and many are quite clever.) Quoth Tashlin, “He wanted a cut of it, and I said go to hell. ![]() Three directors: (left to right) Norman Taurog, Jerry Lewis, and Frank Tashlinįrank Tashlin was an unusual filmmaker for a number of reasons, one of which has to do with his relationship with Looney Tunes/Merrie Melodies producer Leon Schlesinger.įor one thing, Tashlin often contended that, once his comic strip “Van Boring” started to bring in a bit of revenue, Schlesinger - the supervisor of Warner Bros.’s fabled “Termite Terrace” animation studio, where Tashlin worked - felt that he was entitled to some of the profits.
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