Background: Ralph Bakshi (born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 2015, he directed ten theatrically released feature films, six of which he wrote. He has been involved in numerous television projects as director, writer, producer and animator.
Context: After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973.  An initial version of Hey Good Lookin' was completed in 1975. A three-minute promo of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara.  Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best--using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets.
Question: Why did Bakshi call it his best work?
Answer: 

Problem: Background: Williams was born in Nassau, The Bahamas, on November 12, 1874, to Frederick Williams Jr. and his wife Julia. At the age of 11, Bert permanently emigrated with his parents, moving to Florida. The family later moved to Riverside, California, where he graduated from Riverside High School. In 1893, while still a teenager, he joined different West Coast minstrel shows, including Martin and Selig's Mastodon Minstrels, where he first met his future professional partner, George Walker.
Context: The following month, Williams & Walker had their greatest success to date with Sons of Ham, a broad farce that was perhaps most notable for its lack of the extreme "darkie" stereotypes which were then common. One of the show's songs, "Miss Hannah from Savannah," even touched upon class divisions within the black community. The pair had already begun to transition away from racial minstrel conventions to a more human style of comedy. In 1901, they recorded 13 discs for the Victor Talking Machine Company. Some of these, such as "The Phrenologist Coon," were standard blackface material, but the financial lament "When It's All Going Out and Nothing Coming In" was race-blind, and became one of Williams' best-known songs. Another Williams composition, "Good Morning Carrie", was covered by many artists, becoming one of the biggest hits of 1901. These discs existed only in pressings of fewer than 1,000, and were not heard by very many listeners. Sons of Ham ran for two years.  In September 1902, Williams & Walker debuted their next vehicle, In Dahomey, which was an even bigger hit. In 1903 the production, with music by Will Marion Cook and lyrics by Paul Laurence Dunbar moved to New York City, where it became the first black musical to open on Broadway. Part of the inspiration for the show was Williams' copy of a 1670 book, Africa, in which author John Ogilby traced the history of the continent's tribes and peoples. "With this volume, I could prove that every Pullman porter is the descendant of a king," said Williams.  This was a landmark event, but seating inside the theater was segregated. One of the musical's songs, "I'm a Jonah Man," helped codify Williams' hard-luck persona and tales of woe. It helped to establish the character Williams played most frequently in his career: the slow-talking, deep-thinking victim of life's misfortunes. "Even if it rained soup," Williams later explained, "[my character] would be found with a fork in his hand and no spoon in sight." However, Williams and Walker were ebullient about their Broadway breakthrough, which came years after they had established themselves as profitable stage stars. Williams wrote, "We'd get near enough to hear the Broadway audiences applaud sometimes, but it was some one else they were applauding. I used to be tempted to beg for a $15 job in a chorus just for one week so as to be able to say I'd been on Broadway once." Walker recalled, "Some years ago we were doing a dance before an east side audience. They gave us a hand, and I called out to them, "Some day we'll do this dance on Broadway!" Then they gave us the laugh. Just the same we gave Broadway that same dance."  In Dahomey then traveled to London, where it was enthusiastically received. A command performance was given at Buckingham Palace in June 1903. The show's British tour continued through June 1904. In May, Williams and Walker were both initiated into the Edinburgh Lodge of the Freemasons; the Scottish Masons did not racially discriminate as the United States chapters did, including the northern states.
Question: So did he join the Masons?
Answer: