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A year following his departure from Fleischer, Culhane worked briefly in the units of Chuck Jones and Frank Tashlin at Leon Schlesinger Productions, before moving on to being a director for Walter Lantz. At Lantz, he collaborated on The Greatest Man in Siam with the layout artist (and former Disney and Chuck Jones alumnus) Art Heinemann. In that animation, "the king of Siam bolts past doorways that are distinctly phallic in shape and peers at another that mimics a vagina."

Later the same year he helmed Woody Woodpecker's classic The Barber of Seville. The cartoon debuted a new streamlined design for the woodpecker, and is also known for featuring one of the first uses of fast cutting, after taking the idea from Sergei Eisenstein.

At Lantz, he sporadically introduced Russian avant-garde influenced experimental art into the cartoons.; one example is briefly visible during an explosion in the Woody Woodpecker short The Loose Nut.

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