“I was the financial guy, being responsible for a million dollars. “It was scary stuff, especially for me,” D’Angelo said. The animators went on strike, halting the production for three weeks. That’s when an already chaotic production-with D’Angelo sending money to London in small increments so they didn’t have a million dollars sitting in England-hit yet another potentially disastrous snag. “Six months into production, we were only about 40 percent finished with the film, and I was watching the numbers like crazy because you didn’t know what the hell you were gonna wind up with,” D’Angelo, whose now the chairman of King Features, told me. and London, where 250 animators were working tirelessly inside a warehouse in the SoHo neighborhood to draw 25,000 cells for Yellow Submarine, in which cartoon versions of John, Paul, George, and Ringo save an underwater fantasy world. He spent the year traveling between the U.S. In those days, animated films took years and roughly four times that much money to develop.
However, the budget, and the production schedule, was an insane request. The movie needed to be finished in eleven months.Ī year earlier, Al Brodax, then the president of King Features, a company that distributes content (including comic strips) to newspapers, had pitched Beatles manager Brian Epstein on turning their hit song "Yellow Submarine" into a movie.
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In the summer of 1967, Joe D’Angelo, a young business manager at King Features was given a million dollars and told to figure out how to finance a feature-length film with the most popular band in the world.
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