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Animation Cels & Production Materials
Toys, Collectibles & Entertainment Memorabilia
COLLECTOR
Heidi Bosch Romano
Captain Planet
The Road to HANNA–BARBERA Cartoons
Heidi: Ending up at Hanna-Barbera Cartoons was beyond belief—I was looking for work in the entertainment industry, but not specifically in the field of animation at that time. After moving to Burbank to live in the hub of the industry, I had taken a few jobs at various studios, but hadn't found the best match for me.
Then I applied for a job through a blind ad in the Hollywood Reporter.
A screener called me at home for a brief interview. She asked, What do you know at DIC?
I thought deek?
I had
no idea at that time. That's the disadvantage when answering blind ads, you don't know who is hiring and therefore can't do
any before-hand research. All I could do was tell her the truth, I am not familiar with DIC.
She sounded incredulous
and the interview was over instantly. I didn't let that deter me—I did background checking on DIC and other
regional animation studios so I would be better prepared next time.
Back to my job search, in both the Hollywood Report and Variety I found big want ads Now Hiring, Legal Secretary,
Hanna-Barbera Productions.
Thankfully, I knew them well and was excited about the opportunity.
I had the legal background they were looking for and faxed them my resume immediately.
The next day, I was elated to get a call from Human Resources. The over-the-phone screening went well and they scheduled me for an interview. It was exciting to be going to the legendary studio where classics such as The Flintstones and The Jetsons were made. The studio's 50s looking interior with black marble-styled linoleum floors and old-fashioned furnishings was surprising. It wasn't intentionally retro—they'd just never updated it. The Business Affairs department was very serious, not at all what I was expecting, but my interview went well.
A few long days later, nothing had happened. I was sure that I hadn't gotten the job, when HR called asking if I was available for a second interview. I said yes
of course and went.
I felt nervous this time, but to my relief, the hiring lawyer said
that she'd interviewed so many candidates (several out of the 60 applicants!), she had just wanted to see my face to
make sure I was the one she had wanted. Thankfully, I was and she immediately hired me on the spot.
I worked very hard in Contracts and Licensing and received a big raise after my first review. But then, I discovered that a production assistant job had opened up. Production was where all the creative people worked, and as an artist, I wanted to get in, badly. Interviewing for that position, they would happily give me the job, but in order to work in Production, I would have to take a significant cut in pay. I discussed it with my husband, and with his seal of approval, I accepted the job. All of a sudden, work had become a dream come true. I worked with many legendary artists and other talented people, met several big stars of the day who did the voices of the animated characters, and made many life-long friends over the next 8-1/2 years at the studio.
* Twist of Fate: After Ted Turner purchased Hanna-Barbera Productions, he brought over his animated creation from DIC: Captain Planet and the Planeteers.** He had Hanna-Barbera revamp the show renaming it The New Adventures of Captain Planet, and I ended up working on DIC's former show for the next three years.