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Carl W. Stalling
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Carl W. Stalling
Carl William Stalling (November 10, 1891 – November 29, 1972) was an American composer, voice actor and arranger for music in animated films. He is most closely associated with the Looney Tunes and Merrie Melodies shorts produced by Warner Bros., where he averaged one complete score each week, for 22 years.
Stalling was born to Ernest and Sophia C. Stalling. His parents were from Germany; his father arrived in the United States in 1883. The family settled in Lexington, Missouri where his father was a carpenter. He started playing piano at six. By the age of 12, he was the principal piano accompanist in his hometown's silent movie house. For a short period, he was also the theatre organist at the St. Louis Theatre, which eventually became Powell Symphony Hall.
By his early 20s, he was conducting his own orchestra and improvising on the organ at the Isis Movie Theatre in Kansas City. His actual job at the time was to play "organ accompaniment" for silent films. During that time, he met and befriended a young Walt Disney, who was producing animated comedy shorts in Kansas City. According to music critic Neil Strauss, the chance meeting between Stalling and Disney in the early 1920s was of great importance to the development of music for animation. Stalling was at his job at the Isis Movie Theatre, demonstrating his ability to combine well-known music by other creators with his own, improvised compositions. Disney stepped into the movie theater and was reportedly impressed with his style. He approached Stalling to introduce himself, and their acquaintance was mutually beneficial. Stalling was able to arrange the screening of a few Disney animated shorts at the Isis, and Disney ensured that Stalling would play the accompaniment for his films.
Disney eventually left Kansas City and moved to California to open a new studio. Stalling and Disney kept in touch through correspondence, and considered each other friends. In 1928, Disney was on a journey from California to New York City to record the sound and make the preview of Steamboat Willie, Disney's first released sound short. During the journey he stopped at Kansas City to hire Stalling to compose film scores for two other animated shorts. Stalling composed several early cartoon scores for Walt Disney, including Plane Crazy and The Gallopin' Gaucho in 1928 (but not Steamboat Willie). Plane Crazy and The Gallopin' Gaucho were originally silent films and were the first two Mickey Mouse animated short films in production.
When finishing composing the film scores, Stalling went to New York City to record them for Disney. Walt was apparently pleased with the results, and offered to hire Stalling as his studio's first music director. In order to get the job, Stalling had to move to California, where the studio was located. According to Martha Sigall, Stalling accepted because the job offer was a great opportunity for him. He probably realized that his career as an organist for a silent movie theatre was coming to an end, because the silent film era was also at its end. Sound films were the new trend. Stalling soon followed Disney in moving to Hollywood, in order to work for his friend. Animation historian Allan Neuwirth credits Stalling for basically inventing the process of creating a film score for cartoons. According to Strauss, the "wildly talented" Stalling was suitable as a film score composer for animated films. Stalling even voiced Mickey Mouse in The Karnival Kid in 1929.
Stalling encouraged Disney to create a new series of animated short films, in which the animation and its action would be created to match the music. This was still unusual at the time, since film music was played or composed to match the action of a film. Stalling's discussions with Disney on whether the animation or the musical score should come first led to Disney creating the Silly Symphonies series of animated short films. Stalling is credited with both the composition and the musical arrangement of The Skeleton Dance (1929), the first of the Silly Symphonies. These cartoons allowed Stalling to create a score that Disney handed to his animators. The Silly Symphonies was an innovative animated film series, in which pre-recorded film scores were making use of well-known classical works and the animation sequences were choreographed to match the music. Stalling helped Disney streamline and update the sound process used in creating early animated sound films, following the long and laborious synchronization process used in Steamboat Willie. The close synchronization of music and on-screen movement pioneered by the Disney short films became known as Mickey Mousing.
While working at the Disney studio, Stalling further refined a forerunner to the click track, they called the "Tick-system". Initially, Wilfred Jackson utilized a Metronome to set a definitive tempo of the cartoon sections, that then got further developed over the years (being transcribed onto a "bar-sheet" or a "dope-sheet"). The system helped synchronize music and sound effects to the visuals. An early example of a click track was used in the production of The Skeleton Dance (1929). The method used in this film involved a reel of unexposed film with holes punched out to make clicks and pops when run on the sound head. According to Strauss, this version of the click track is credited to sound effects artist Jimmy MacDonald.
Stalling left Disney after two years, at the same time as animator Ub Iwerks. He had reportedly completed the scoring of about 20 animated films for Disney. Finding few outlets in New York, Stalling rejoined Iwerks at the Iwerks Studio in California, while freelancing for Disney and others. Stalling served as the music director of Iwerks' studio until the studio shut down in 1936. In 1936, when Leon Schlesinger—under contract to produce animated shorts for Warner Bros.—hired Iwerks, Stalling went with him to become a full-time cartoon music composer. According to Sigall, Stalling was hired by the Leon Schlesinger studio in July, 1936. She recalled the month because she was hired by the studio as an apprentice painter that same month. Stalling already had a reputation as a very talented musician and composer. He had gained this reputation and considerable experience as the music director at the studios of both Walt Disney and Ub Iwerks. Schlesinger was aware of these facts when offering to hire him. Stalling had been recommended to Schlesinger by storyman Ben Hardaway. Hardaway had met Stalling while they both worked at the Iwerks studio and, when Schlesinger started searching for a new music director for his studio, Hardaway suggested hiring his old colleague who was available. According to Sigall, the hiring of Stalling turned out to be a smart move for Schlesinger. The new music director (Stalling) became an integral member of the team producing two very successful animated series.
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Carl W. Stalling
Carl William Stalling (November 10, 1891 – November 29, 1972) was an American composer, voice actor and arranger for music in animated films. He is most closely associated with the Looney Tunes and Merrie Melodies shorts produced by Warner Bros., where he averaged one complete score each week, for 22 years.
Stalling was born to Ernest and Sophia C. Stalling. His parents were from Germany; his father arrived in the United States in 1883. The family settled in Lexington, Missouri where his father was a carpenter. He started playing piano at six. By the age of 12, he was the principal piano accompanist in his hometown's silent movie house. For a short period, he was also the theatre organist at the St. Louis Theatre, which eventually became Powell Symphony Hall.
By his early 20s, he was conducting his own orchestra and improvising on the organ at the Isis Movie Theatre in Kansas City. His actual job at the time was to play "organ accompaniment" for silent films. During that time, he met and befriended a young Walt Disney, who was producing animated comedy shorts in Kansas City. According to music critic Neil Strauss, the chance meeting between Stalling and Disney in the early 1920s was of great importance to the development of music for animation. Stalling was at his job at the Isis Movie Theatre, demonstrating his ability to combine well-known music by other creators with his own, improvised compositions. Disney stepped into the movie theater and was reportedly impressed with his style. He approached Stalling to introduce himself, and their acquaintance was mutually beneficial. Stalling was able to arrange the screening of a few Disney animated shorts at the Isis, and Disney ensured that Stalling would play the accompaniment for his films.
Disney eventually left Kansas City and moved to California to open a new studio. Stalling and Disney kept in touch through correspondence, and considered each other friends. In 1928, Disney was on a journey from California to New York City to record the sound and make the preview of Steamboat Willie, Disney's first released sound short. During the journey he stopped at Kansas City to hire Stalling to compose film scores for two other animated shorts. Stalling composed several early cartoon scores for Walt Disney, including Plane Crazy and The Gallopin' Gaucho in 1928 (but not Steamboat Willie). Plane Crazy and The Gallopin' Gaucho were originally silent films and were the first two Mickey Mouse animated short films in production.
When finishing composing the film scores, Stalling went to New York City to record them for Disney. Walt was apparently pleased with the results, and offered to hire Stalling as his studio's first music director. In order to get the job, Stalling had to move to California, where the studio was located. According to Martha Sigall, Stalling accepted because the job offer was a great opportunity for him. He probably realized that his career as an organist for a silent movie theatre was coming to an end, because the silent film era was also at its end. Sound films were the new trend. Stalling soon followed Disney in moving to Hollywood, in order to work for his friend. Animation historian Allan Neuwirth credits Stalling for basically inventing the process of creating a film score for cartoons. According to Strauss, the "wildly talented" Stalling was suitable as a film score composer for animated films. Stalling even voiced Mickey Mouse in The Karnival Kid in 1929.
Stalling encouraged Disney to create a new series of animated short films, in which the animation and its action would be created to match the music. This was still unusual at the time, since film music was played or composed to match the action of a film. Stalling's discussions with Disney on whether the animation or the musical score should come first led to Disney creating the Silly Symphonies series of animated short films. Stalling is credited with both the composition and the musical arrangement of The Skeleton Dance (1929), the first of the Silly Symphonies. These cartoons allowed Stalling to create a score that Disney handed to his animators. The Silly Symphonies was an innovative animated film series, in which pre-recorded film scores were making use of well-known classical works and the animation sequences were choreographed to match the music. Stalling helped Disney streamline and update the sound process used in creating early animated sound films, following the long and laborious synchronization process used in Steamboat Willie. The close synchronization of music and on-screen movement pioneered by the Disney short films became known as Mickey Mousing.
While working at the Disney studio, Stalling further refined a forerunner to the click track, they called the "Tick-system". Initially, Wilfred Jackson utilized a Metronome to set a definitive tempo of the cartoon sections, that then got further developed over the years (being transcribed onto a "bar-sheet" or a "dope-sheet"). The system helped synchronize music and sound effects to the visuals. An early example of a click track was used in the production of The Skeleton Dance (1929). The method used in this film involved a reel of unexposed film with holes punched out to make clicks and pops when run on the sound head. According to Strauss, this version of the click track is credited to sound effects artist Jimmy MacDonald.
Stalling left Disney after two years, at the same time as animator Ub Iwerks. He had reportedly completed the scoring of about 20 animated films for Disney. Finding few outlets in New York, Stalling rejoined Iwerks at the Iwerks Studio in California, while freelancing for Disney and others. Stalling served as the music director of Iwerks' studio until the studio shut down in 1936. In 1936, when Leon Schlesinger—under contract to produce animated shorts for Warner Bros.—hired Iwerks, Stalling went with him to become a full-time cartoon music composer. According to Sigall, Stalling was hired by the Leon Schlesinger studio in July, 1936. She recalled the month because she was hired by the studio as an apprentice painter that same month. Stalling already had a reputation as a very talented musician and composer. He had gained this reputation and considerable experience as the music director at the studios of both Walt Disney and Ub Iwerks. Schlesinger was aware of these facts when offering to hire him. Stalling had been recommended to Schlesinger by storyman Ben Hardaway. Hardaway had met Stalling while they both worked at the Iwerks studio and, when Schlesinger started searching for a new music director for his studio, Hardaway suggested hiring his old colleague who was available. According to Sigall, the hiring of Stalling turned out to be a smart move for Schlesinger. The new music director (Stalling) became an integral member of the team producing two very successful animated series.