This is great: a 25-minute interview with legendary animator Chuck Jones as he sits and draws some of his iconic characters (Bugs Bunny, Porky Pig, Daffy Duck). He told this anecdote about how Steven Spielberg and George Lucas were both influenced by a particular space-themed cartoon of his:
Porky was just a kind of a little third-string Boy Scout and was not very interesting to me. And then when I put him in a picture called Duck Dodgers in the 24th and a Half Century. Spielberg used that picture in Close Encounters the Third Kind - when his kids were watching television in the picture, they were watching Duck Dodgers in the 24th and a Half Century. And Lucas told me that he saw that picture when he was 12 years old and when when he opened Star Wars in San Francisco he told them they couldn’t have Star Wars in San Francisco unless they ran Duck Dodgers in the 24th and a Half Century.
For the past few hundred million years, the legs of vertebrate animals have evolved into many different forms and shapes. But for many animals, there’s an underlying similarity as well. In his book Chuck Amuck, legendary animator Chuck Jones used a simple technique to help visualize how to accurately draw the feet and legs of various animals: he drew shoes and socks on them.
Using a Chuck Taylor-style shoe, Jones’s intuitive drawings show where each animal’s ankle and knee are simply by the placement of circular “All-Star” patch on the shoe and the height of the socks just below the knee. These are keen and illuminating anatomical observations that would have made Leonardo da Vinci proud.
Tony Zhou and Taylor Ramos are back with another installment of Every Frame a Painting. In this one, they examine the evolution of Looney Tunes animation master Chuck Jones and how his approach and style changed as his career progressed.
Speaking of the Road Runner and Wile E. Coyote, animator Chuck Jones and his team were said to follow these simple rules when creating the cartoons:
The Road Runner cannot harm the Coyote except by going “meep, meep.”
No outside force can harm the Coyote — only his own ineptitude or the failure of Acme products. Trains and trucks were the exception from time to time.
The Coyote could stop anytime — if he were not a fanatic.
No dialogue ever, except “meep, meep” and yowling in pain.
The Road Runner must stay on the road — for no other reason than that he’s a roadrunner.
All action must be confined to the natural environment of the two characters — the southwest American desert.
All tools, weapons, or mechanical conveniences must be obtained from the Acme Corporation.
Whenever possible, make gravity the Coyote’s greatest enemy.
The Coyote is always more humiliated than harmed by his failures.
The audience’s sympathy must remain with the Coyote.
The Coyote is not allowed to catch or eat the Road Runner.
The rules are made only slightly less interesting by their fiction; according to Wikipedia, long-time Jones collaborator Michael Maltese said he’d never heard of the rules.
By the time we were finished with Rabbit of Seville, Ollie had literally peed his pants from laughing so hard. I think I’m gonna get the Looney Tunes collection on Blu-ray so we can watch more but I’m a bit afraid of what the hijinks of Wile E. Coyote and The Road Runner might do to my boy’s pants.
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