The Radical Squadron. Seibert wanted the studio to produce short cartoons, in the vein of the Golden age of American animation. Although a project consisting of 48 shorts would cost twice as much as a normal series, Seibert's pitch to Cartoon Network involved promising 48 chances to "succeed or fail", opened up possibilities for new original programming, and offered several new shorts to the thousands already present in the Turner Entertainment library. According to Seibert, quality did not matter much to the cable operators distributing the struggling network, they were more interested in promising new programs. With Turner Broadcasting CEO Ted Turner and Seibert's boss Scott Sassa on board, the studio fanned out across the world to spread the word that the studio was in an "unprecedented phase", in which animators had a better idea what cartoons should be than executives and Hanna-Barbera supported them. The company started taking pitches in earnest in 1993 and received over 5,000 pitches for the 48 slots. The diversity in the filmmakers included those from various nationalities, race, and gender. Seibert later described his hope for an idealistic diversity as "The wider the palette of creative influences, the wider and bigger the audiences." Seibert's idea for the project was influenced heavily by Looney Tunes. Hanna-Barbera founders and chairmen William Hanna and Joseph Barbera, as well as veteran animator Friz Freleng, taught Seibert how the shorts of the Golden Age of American animation were produced. John Kricfalusi, creator of The Ren & Stimpy Show, became a teacher of sorts for Seibert and was the first person Seibert called while looking for new talent for the project. As was the custom in live action film and television, the company did not pay each creator for the storyboard submitted and pitched. For the first time in the studio's history, individual creators could retain their rights, and earn royalties on their creations. While most in the industry scoffed at the idea, encouragement, according to Seibert, came from the cartoonists who flocked to Hanna-Barbera with original ideas. Format The format for What a Cartoon! was ambitious, as no one had ever attempted anything similar in the television animation era. The shorts produced would be a product of the original cartoonists' vision, with no executive intervention: for example, even the music would be an individually crafted score. Each 7-minute short would debut, by itself, as a stand-alone cartoon or a