wife, served as a script supervisor on the film. While Hubley was very excited for the project, his “easygoing manner” made him “hard to work with because he wasn’t very disciplined”. The musical’s writers, Burton Lane and Yip Harburg (a fellow victim of the blacklist), kept a close watch on Hubley, and tensions soon arose over the musical direction of the film and Hubley’s visuals. Issues also arose between DCA and members of the film’s crew who were members of the Screen Cartoonists Guild (SCG) and not the International Alliance of Theatrical Stage Employees (IATSE). DCA was concerned that since many members of the crew were not IATSE, the film would not be played in theaters. Soon thereafter, DCA president Fred J. Schwartz received a call from IATSE representative Roy Brewer, who ousted Hubley for his refusal to cooperate with the HUAC. Hubley, who still refused to testify before the HUAC, caused DCA’s parent company to stop funding the film. While Schwartz did attempt to save the film by approaching RKO, it was no use. The film was canceled in 1955, with the contents of the entire studio impounded. In 1955, after the collapse of Finian’s Rainbow, Hubley moved Storyboard, Inc. with him to New York City, where he soon married his second wife, Faith Hubley (née Chestman). Faith, herself an editor and script supervisor on films such as 12 Angry Men (1957), collaborated closely with her husband on all of their subsequent films. Towards the end of 1954, Hubley and James J. Sweeney, the director of the Solomon R. Guggenheim Museum, began discussing the museum commissioning a film from Hubley. Hubley and Sweeney were determined to create a film that also served as a piece of modern art and communicated the importance of “play” and “the sensuous pleasures of [approaching pictures through] the eye rather than [the] intellectual pleasure [of] the ear”. The resulting film, The Adventures of * (1957) was the first short film Hubley directed after leaving UPA, as well as the first animated film ever commissioned by an art museum. The film’s visuals were heavily influenced by the Guggenheim Museum’s collection of modern art, as well as Hubley’s desire to “transform [animation] from hard-lined cel animation to textured, subtle, new styles more connected to the history of art than to the Disney or UPA look”. Benny Carter composed the film’s score, including vibraphone by Lionel Hampton.