Daffy tries to convince Leon Schlesinger that he should become the new star of Warner Bros. cartoons
Daffy wants to be the top star in the studio. To this end, he persuades Porky to resign from the Schlesinger studios to pursue a career in feature films as Bette Davis' leading man. Porky goes to Leon Schlesinger and asks to have his contract torn up. Schlesinger reluctantly agrees, and wishes Porky the best of luck. "He'll be back!" chuckles Schlesinger after Porky is out of earshot.
Porky spends the rest of the film trying to get into the lots and sets of an unnamed studio, with little success. After several failures, from convincing the security guard to let him in to dressing up as Oliver Hardy to gain access, until the guard gives chase, and inadvertently interrupting the shooting of a ballet film, he decides to see if Schlesinger will take him back. He returns to Schlesinger's office after frantically dodging his cartooned car in and out of "actual" Los Angeles traffic, only to see Daffy doing a wild audition to become the new star of Warner Bros. cartoons, openly disparaging Porky. Porky then takes Daffy with him to another room, and proceeds to beat him senseless. After this, he hurriedly runs into Schlesinger's office to beg for his job back. Schlesinger, laughing heartily and saying "I knew you'd be back!", reveals that he didn't really rip up Porky's contract, and happily tells him to get back to work. Porky gladly thanks him and runs back into the animation paper that he was in when the short started. Daffy, still not quite having learned his lesson after being beaten by Porky, again attempts to persuade Porky to resign and work with Greta Garbo, only to get splattered with a tomato, irritating him.
Henry Binder and Paul Marin as stagehands (both dubbed by Mel Blanc)
Production
This film marks Friz Freleng's directorial debut with Daffy Duck upon his return to Warner Bros. Studios following a tenure at MGM's cartoon division.[5]
The short features cameos from various studio personnel, including Leon Schlesinger, Chuck Jones, Bob Clampett, Michael Maltese, Gerry Chiniquy, Henry Binder, and Paul Marin. Additionally, the film's runtime, spanning nine minutes and 45 seconds, places it among the longest Looney Tunes cartoons of the Golden Age of Animation, with only Horton Hatches the Egg surpassing it in length.
To manage production costs, the animation team employed minimal special effects, opting instead to integrate live-action footage seamlessly with animation through innovative techniques. Stock footage from the 1936 Western California Mail was repurposed to depict Porky's journey through the studio backlot.[6]
Reception
Animation historian Jerry Beck writes, "Predating Who Framed Roger Rabbit by several decades — in fact, it's credited with inspiring the 1988 film — You Ought to Be in Pictures is one of the most memorable of the black-and-white-era Porky Pig cartoons. It's also one of the funniest."[6]
Home media
Betamax/VHS - Warner Bros. Cartoons Golden Jubilee 24-Karat Collection: Porky Pig's Screwball Comedies
Laserdisc - Ham on Wry: The Porky Pig Laser Collection
VHS - Looney Tunes: The Collectors Edition, Vol. 9 - A Looney Life
^Beck, Jerry; Friedwald, Will (1989). Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Bros. Cartoons. Henry Holt and Co. p. 103. ISBN0-8050-0894-2.
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