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Who Works Above And Below A Person In Animator?

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American animator, cartoon artist, screenwriter, producer, and manager of animated films

For other people with the proper noun Charles Jones, see Charles Jones.

Chuck Jones
Chuck Jones2 (cropped).jpg

Jones in 1978
Born

Charles Martin Jones


(1912-09-21)September 21, 1912

Spokane, Washington, U.S.
Died February 22, 2002(2002-02-22) (anile 89)

Newport Beach, California, U.South.
Other names Charles M. Jones
The Father of Contemporary Animation
Yard. Charl Jones
Alma mater Chouinard Art Found
Occupation Animator, voice thespian, painter
Years active 1931–2001[1]
Employer Ub Iwerks Studio (1931–1933)
Warner Bros. Cartoons (1933–1962)
Walt Disney Animation Studios (1953)
Sib Tower 12 Productions (1962–1970)

Notable work

 Looney Tunes
Merrie Melodies
Tom and Jerry
How the Grinch Stole Christmas!
Spouse(southward)

Dorothy Webster

​

​

(k. 1935; died 1978)​


Marian Dern

​

(chiliad. 1981)​
Children 1
Website chuckjones.com

Charles Martin Jones (September 21, 1912 РFebruary 22, 2002) was an American animator, director, and painter, best known for his work with Warner Bros. Cartoons on the Looney Tunes and Merrie Melodies series of shorts. He wrote, produced, and/or directed many classic Animated Cartoon shorts starring Bugs Bunny, Daffy Duck, Wile E. Coyote and the Road Runner, Pep̩ Le Pew, and Porky Sus scrofa, among others.

Jones started his career in 1933 alongside Tex Avery, Friz Freleng, Bob Clampett, and Robert McKimson at the Leon Schlesinger Product's Termite Terrace studio, where they created and developed the Looney Tunes characters. During the Second World War, Jones directed many of the Private Snafu (1943–1946) shorts which were shown to members of the U.s.a. military. After his career at Warner Bros. concluded in 1962, Jones started Sib Belfry 12 Productions and began producing cartoons for Metro-Goldwyn-Mayer, including a new serial of Tom and Jerry shorts (1963–1967) too as the television adaptations of Dr. Seuss' How the Grinch Stole Christmas! (1966) and Horton Hears a Who! (1970). He subsequently started his own studio, Chuck Jones Enterprises, where he directed and produced the film adaptation of Norton Juster'due south The Phantom Tollbooth (1970).

Jones' piece of work along with the other animators was showcased in the documentary, Bugs Bunny: Superstar (1975). Jones directed the first feature-length animated Looney Tunes compilation flick, The Bugs Bunny/Route Runner Picture (1979). In 1990 he wrote his memoir, Chuck Amuck: The Life and Times of an Blithe Cartoonist, which was made into a documentary film, Chuck Amuck (1991). He was also profiled in the American Masters documentary Chuck Jones: Extremes & Inbetweens – A Life in Animation (2000) which aired on PBS.

Jones won iii Academy Awards. The cartoons which he directed, For Odour-imental Reasons, So Much for So Little, and The Dot and the Line won the Best Animated Short. Robin Williams presented Jones with an Honorary Academy Laurels in 1996 for his work in the animation manufacture. Pic historian Leonard Maltin has praised Jones's work at Warner Bros., MGM and Chuck Jones Enterprises. In Jerry Beck's The 50 Greatest Cartoons, a group of animated professionals ranked What'southward Opera, Doc? (1957) equally the greatest cartoon of all time, with ten of the entries beingness directed by Jones including Duck Amuck (1953), Duck Dodgers in the 24½thursday Century (1953), Ane Froggy Evening (1955), Rabbit of Seville (1950), and Rabbit Seasoning (1952).[ii]

Early life [edit]

Chuck Jones was born on September 21, 1912, in Spokane, Washington, to Mabel McQuiddy (née Martin) and Charles Adams Jones.[3] He subsequently moved with his parents and iii siblings to the Los Angeles, California area.[4]

In his autobiography, Chuck Amuck, Jones credits his artistic bent to circumstances surrounding his father, who was an unsuccessful businessman in California in the 1920s. He recounted that his father would get-go every new business venture by purchasing new jotter and new pencils with the company proper name on them. When the business organisation failed, his male parent would quietly turn the huge stacks of useless jotter and pencils over to his children, requiring them to use up all the material as fast every bit possible. Armed with an countless supply of loftier-quality paper and pencils, the children drew constantly. Later, in one art school class, the professor gravely informed the students that they each had 100,000 bad drawings in them that they must get-go get by before they could possibly draw annihilation worthwhile. Jones recounted years later that this pronouncement came every bit a great relief to him, as he was well past the 200,000 marker, having used up all that stationery. Jones and several of his siblings went on to creative careers.[five] [vi]

During his creative education, he worked function-time as a janitor. After graduating from Chouinard Art Found, Jones got a phone call from a friend named Fred Kopietz, who had been hired past the Ub Iwerks studio and offered him a chore. He worked his mode upwardly in the blitheness industry, starting as a cel washer; "then I moved up to become a painter in blackness and white, some colour. Then I went on to take animator's drawings and traced them onto the celluloid. And then I became what they call an in-betweener, which is the guy that does the drawing between the drawings the animator makes".[vii] While at Iwerks, he met a cel painter named Dorothy Webster, who afterwards became his get-go wife.[8]

Career [edit]

Warner Bros. [edit]

Jones joined Leon Schlesinger Productions, the independent studio that produced Looney Tunes and Merrie Melodies for Warner Bros., in 1933 as an assistant animator. In 1935 he was promoted to animator and assigned to work with a new Schlesinger director, Tex Avery. At that place was no room for the new Avery unit in Schlesinger'south small studio, so Avery, Jones, and boyfriend animators Bob Clampett, Virgil Ross, and Sid Sutherland were moved into a small adjacent building they dubbed "Termite Terrace". When Clampett was promoted to director in 1937, Jones was assigned to his unit; the Clampett unit was briefly assigned to work with Jones's old employer, Ub Iwerks, when Iwerks subcontracted four cartoons to Schlesinger in 1937. Jones became a managing director (or "supervisor", the original championship for an blitheness managing director in the studio) himself in 1938 when Frank Tashlin left the studio. The following yr Jones created his first major graphic symbol, Sniffles, a cute Disney-style mouse, who went on to star in twelve Warner Bros. cartoons.[9]

Jones initially struggled in terms of his directorial manner. Unlike the other directors in the studio, Jones wanted to make cartoons that would rival the quality and design to that of ones made by Walt Disney Production.[x] Every bit a result, his cartoons suffered from sluggish pacing and a lack of clever gags, with Jones himself later albeit that his early conception of timing and dialog was "formed by watching the activity in the La Brea Tar Pits".[xi] Schlesinger and the studio heads were unsatisfied with his piece of work and demanded that he make cartoons that were more than funny.[12] He responded by creating the 1942 short The Draft Horse. The drawing that was mostly considered his turning point was The Dover Boys. Released the aforementioned yr, it noticeably featured quickly-timed gags and extensive use of limited animation. Despite this, Schlesinger and the studios heads were still dissatisfied and begun the process to burn him, but they were unable to discover a replacement due to a labor shortage stemming from World State of war Two, and so Jones kept his position.

He was actively involved in efforts to unionize the staff of Leon Schlesinger Studios. He was responsible for recruiting animators, layout men, and background people. Nearly all animators joined, in reaction to salary cuts imposed by Leon Schlesinger. The Metro-Goldwyn-Mayer cartoon studio had already signed a union contract, encouraging their counterparts under Schlesinger.[13] In a meeting with his staff, Schlesinger talked for a few minutes, then turned over the meeting to his attorney. His insulting manner had a unifying issue on the staff. Jones gave a pep talk at the marriage headquarters. As negotiations broke downward, the staff decided to go on strike. Schlesinger locked them out of the studio for a few days, earlier agreeing to sign the contract.[13] A Labor-Direction Committee was formed and Jones served as a moderator. Because of his part as a supervisor in the studio, he could not himself bring together the union.[13] Jones created many of his lesser-known characters during this period, including Charlie Dog, Hubie and Bertie, and The Three Bears.[ citation needed ]

'Outpost', a Private Snafu cartoon directed by Chuck Jones in 1944

During Globe War Two, Jones worked closely with Theodor Geisel, better known equally Dr. Seuss, to create the Private Snafu series of Ground forces educational cartoons (the character was created by manager Frank Capra). Jones later collaborated with Seuss on animated adaptations of Seuss' books, including How the Grinch Stole Christmas! in 1966. Jones directed such shorts every bit The Weakly Reporter, a 1944 short that related to shortages and rationing on the home front end. During the same twelvemonth, he directed Hell-Bent for Election, a campaign flick for Franklin D. Roosevelt.[xiv]

Jones created characters through the tardily 1930s, belatedly 1940s, and the 1950s, which include his collaborative assist in co-creating Bugs Bunny and also included creating Claude Cat, Marc Antony and Pussyfoot, Charlie Dog, Michigan J. Frog, Gossamer, and his four most popular creations, Marvin the Martian, Pepé Le Pew, Wile E. Coyote and the Road Runner. Jones and author Michael Maltese collaborated on the Road Runner cartoons, Duck Amuck, 1 Froggy Evening, and What's Opera, Md?. Other staff at Unit A whom Jones collaborated with include layout artist, groundwork designer, and co-director Maurice Noble; animator and co-manager Abe Levitow; and animators Ken Harris and Ben Washam.

Jones remained at Warner Bros. throughout the 1950s, except for a brief period in 1953 when Warner closed the animation studio. During this interim, Jones found employment at Walt Disney Productions, where he teamed with Ward Kimball for a four-calendar month menses of uncredited work on Sleeping Beauty (1959). Upon the reopening of the Warner animation department, Jones was rehired and reunited with most of his unit.[ commendation needed ]

In the early 1960s, Jones and his wife Dorothy wrote the screenplay for the animated feature Gay Purr-ee. The finished film featured the voices of Judy Garland, Robert Goulet and Red Buttons as cats in Paris, France. The feature was produced by UPA and directed past his sometime Warner Bros. collaborator, Abe Levitow.

Jones moonlighted to work on the flick since he had an sectional contract with Warner Bros. UPA completed the moving-picture show and fabricated it available for distribution in 1962; it was picked up past Warner Bros. When Warner Bros. discovered that Jones had violated his exclusive contract with them, they terminated him.[15] Jones's former blitheness unit was laid off after completing the final cartoon in their pipeline, The Iceman Ducketh, and the residue of the Warner Bros. Cartoons studio was closed in early 1963.[15]

MGM Animation/Visual Arts [edit]

With business partner Les Goldman, Jones started an independent animation studio, Sib Tower 12 Productions, and brought on most of his unit of measurement from Warner Bros., including Maurice Noble and Michael Maltese. In 1963, Metro-Goldwyn-Mayer contracted with Sib Belfry 12 to take Jones and his staff produce new Tom and Jerry cartoons besides equally a television accommodation of all Tom and Jerry theatricals produced to that date. This included major editing, including writing out the African-American maid, Mammy Ii-Shoes, and replacing her with one of Irish descent voiced by June Foray. In 1964, Sib Tower 12 was absorbed past MGM and was renamed MGM Animation/Visual Arts. His animated short motion-picture show, The Dot and the Line: A Romance in Lower Mathematics, won the 1965 Academy Award for Best Animated Curt Film. Jones directed the classic animated brusk The Bear That Wasn't.[14]

Every bit the Tom and Jerry series wound down (it was discontinued in 1967), Jones produced more for boob tube. In 1966, he produced and directed the Idiot box special How the Grinch Stole Christmas!, featuring the voice and facial models based on the readings by Boris Karloff.[16]

Jones connected to piece of work on other TV specials such as Horton Hears a Who! (1970), but his primary focus during this time was producing the feature flick The Phantom Tollbooth, which did lukewarm business when MGM released it in 1970. Jones co-directed 1969's The Pogo Special Birthday Special, based on the Walt Kelly comic strip, and voiced the characters of Porky Pine and Bun Rab. Information technology was at this indicate that he decided to showtime ST Incorporated.[14]

Chuck Jones Enterprises [edit]

MGM closed the animation division in 1970, and Jones once over again started his own studio, Chuck Jones Enterprises. He produced a Sabbatum forenoon children'due south TV series for the American Dissemination Company chosen The Curiosity Shop in 1971. In 1973, he produced an animated version of the George Selden volume The Cricket in Times Square and afterward produced 2 sequels.[fourteen]

Three of his works during this menses were animated TV adaptations of short stories from Rudyard Kipling's Mowgli's Brothers, The White Seal and Rikki-Tikki-Tavi. During this period, Jones began to experiment with more than realistically designed characters, about of which had larger eyes, bacteria bodies, and altered proportions, such as those of the Looney Tunes characters.[17]

Return to Warner Bros. [edit]

Jones resumed working with Warner Bros. in 1976 with the blithe Tv set adaptation of The Funfair of the Animals with Bugs Bunny and Daffy Duck. Jones also produced The Bugs Bunny/Road Runner Movie (1979), which was a compilation of Jones'southward best theatrical shorts, new Road Runner shorts for The Electric Company serial and Bugs Bunny's Looney Christmas Tales (1979). New shorts were made for Bugs Bunny's Bustin' Out All Over (1980).[14]

From 1977 to 1978, Jones wrote and drew the newspaper comic strip Crawford (also known as Crawford & Morgan) for the Chicago Tribune-NY News Syndicate. In 2011 IDW Publishing collected Jones's strip as role of their Library of American Comic Strips.[18]

In 1978, Jones's wife Dorothy died. He married Marian Dern, the writer of the comic strip Rick O'Shay in 1981.[xviii]

Jones–Avery letter [edit]

On December 11, 1975,[nineteen] presently after the release of Bugs Bunny: Superstar, which prominently featured Bob Clampett, Jones wrote a letter to Tex Avery, accusing Clampett of taking credit for ideas that were non his, and for characters created by other directors (notably Jones' Sniffles and Friz Freleng's Yosemite Sam). Their correspondence was never published in the media. It was forwarded to Michael Barrier, who conducted the interview with Clampett and was distributed by Jones to multiple people concerned with animation over the years.

Robert McKimson claimed in an interview that many animators (but mostly Clampett) contributed to the crazy personality of Bugs, while others like Chuck Jones concentrated more than on the more calmed-downwardly gags. As far as plagiarism is concerned, McKimson claimed the animators always looked at each other'due south sheets to see if they could infringe some punchlines and cracks.[20]

Afterwards years [edit]

Through the 1980s and 1990s, Jones was painting cartoon and parody art, sold through animation galleries by his daughter'south company, Linda Jones Enterprises.[iv] Jones was the creative consultant and grapheme designer for ii Raggedy Ann animated specials and the first Alvin and the Chipmunks Christmas special A Chipmunk Christmas. He fabricated a cameo advent in the picture Gremlins (1984)[21] and he wrote and directed the Bugs Bunny/Daffy Duck animated sequences that bookend its sequel Gremlins 2: The New Batch (1990).[22] Jones directed animated sequences for various features such every bit a lengthy sequence in the film Stay Tuned (1992)[23] and a shorter one seen at the get-go of the Robin Williams vehicle Mrs. Doubtfire (1993).[24] Also during the 1980s and 1990s, Jones served on the advisory board of the National Student Picture Plant.[25] [26]

Jones'due south final Looney Tunes drawing was From Hare to Eternity (1997), which starred Bugs Bunny and Yosemite Sam, with Greg Burson voicing Bugs. The cartoon was dedicated to Friz Freleng, who had died in 1995. Jones's final animation project was a series of thirteen shorts starring a timber wolf character he had designed in the 1960s named Thomas Timber Wolf. The serial was released online past Warner Bros. in 2000.[27] From 2001 until 2004, Cartoon Network aired The Chuck Jones Show which features shorts directed by him. The show won the Annie Honour for Outstanding Achievement in an Animated Special Project.[28]

In 1997, Jones was awarded the Edward MacDowell Medal.[29]

In 1999, he founded the non-profit Chuck Jones Center for Inventiveness, in Costa Mesa, California, an art education "gymnasium for the brain" dedicated to teaching creative skills, primarily to children and seniors, which is nevertheless in operation.[30]

In his afterward years, he recovered from skin cancer and received hip and ankle replacements.[31]

Decease [edit]

Jones died of congestive heart failure on February 22, 2002, at the historic period of 89. He was cremated and his ashes were scattered at sea.[four] Later his death, Cartoon Network aired a 20-2d segment tracing Jones's portrait with the words "Nosotros'll miss you". Also, the Looney Tunes drawing Daffy Duck for President, based on the book that Jones had written and using Jones'due south style for the characters, originally scheduled to be released in 2000,[32] was released in 2004 equally part of disc three of the Looney Tunes Golden Collection: Book two DVD set.

Legacy [edit]

Academy Awards [edit]

Yr Honour Work Consequence Ref.
1962 All-time Animated Brusque Motion picture Beep Prepared Nominated [33]
Nelly's Folly Nominated
1966 The Dot and the Line Won
1996 Honorary University Award Lifetime achievement Won

Jones received an Honorary Academy Accolade in 1996 by the lath of governors of the Academy of Motion Picture Arts and Sciences, for "the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than half a century." At that yr'southward awards bear witness, Robin Williams, a cocky-confessed "Jones-aholic," presented the honorary award to Jones, calling him "The Orson Welles of cartoons", and the audience gave Jones a standing ovation every bit he walked onto the stage. For himself, a flattered Jones wryly remarked in his acceptance speech, "Well, what tin I say in the face of such humiliating evidence? I stand guilty earlier the earth of directing over three hundred cartoons in the last fifty or sixty years. Hopefully, this ways you lot've forgiven me."[34] He received the Lifetime Achievement Award at the World Festival of Animated Film – Animafest Zagreb in 1988.[35]

Honours [edit]

Jones was a historical authority likewise every bit a major contributor to the development of animation throughout the 20th century. In 1990, Jones received the Golden Plate Award of the American University of Achievement.[36] He received an honorary degree from Oglethorpe University in 1993.[37] For his contribution to the motion flick manufacture, Jones has a star on the Hollywood Walk of Fame at 7011 Hollywood Blvd.[38] He was awarded the Inkpot Accolade in 1974.[39]

Art exhibit [edit]

Jones'due south life and legacy were celebrated on Jan 12, 2012, with the official grand opening of The Chuck Jones Experience at Circus Circus Las Vegas. Many of Jones's family unit welcomed celebrities, animation aficionados and visitors to the new attraction when they opened the attraction in an appropriate and anarchistic mode. Among those in attendance were Jones's widow, Marian Jones; girl Linda Clough; and grandchildren Craig, Todd and Valerie Kausen.[40]

Publications [edit]

  • Chuck Jones; Steven Spielberg (February 19, 1990). Chuck Amuck: The Life and Times of an Blithe Cartoonist. Simon & Schuster Ltd. ISBN978-0671710248.
  • Jones, Chuck (1996). Chuck Reducks: Drawing from the Fun Side of Life. New York: Warner Books. ISBN 0-446-51893-X.
  • Chuck Jones (July 1997). Daffy Duck for President. Warner Bros. ISBN978-1890371005.
  • Stefan Kanfer; Chuck Jones (May 1, 2000). Serious Business: The Fine art and Commerce of Blitheness in America from Betty Boop to Toy Story . Da Capo. ISBN978-0306809187.
  • Chuck Jones (December 27, 2011). Chuck Jones: The Dream that Never Was. IDW Publishing & The Library of American Comics. ISBN978-1613770306.

See besides [edit]

  • Warner Bros. Cartoons
  • Warner Bros. Animation

References [edit]

  1. ^ "Chuck Jones". Academy of Achievement. Archived from the original on January 19, 2021. Retrieved December 20, 2020.
  2. ^ "THE 50 GREATEST CARTOONS — Equally SELECTED Past one,000 ANIMATION PROFESSIONALS". Mubi. Archived from the original on February 12, 2021. Retrieved July 5, 2021.
  3. ^ Hugh Kenner; Chuck Jones (Jan ane, 1994). Chuck Jones: A Flurry of Drawings. p. 22. ISBN9780520087972 . Retrieved May 4, 2017.
  4. ^ a b c Martin, Hugo (Feb 23, 2002). "Chuck Jones, 89; Animation Pioneer". Los Angeles Times. Archived from the original on February 24, 2021. Retrieved April 22, 2014.
  5. ^ Jones, Chuck (1989). Chuck Amuck : The Life and Times of an Animated Cartoonist, New York: Farrar Straus & Giroux; ISBN 0-374-12348-ix
  6. ^ Jones, Chuck (1996). Chuck Reducks: Drawing from the Fun Side of Life. New York: Warner Books; ISBN 0-446-51893-X
  7. ^ "Archived copy". Archived from the original on July 27, 2014. Retrieved July 21, 2014. {{cite web}}: CS1 maint: archived copy as title (link)
  8. ^ Williams, Jasmin (May vii, 2009). "Chuck Jones – Master Animator". New York Postal service: 34 – via Business Insights: Global.
  9. ^ "Sniffles". Chuck Jones Eye. Archived from the original on December xvi, 2017. Retrieved December xvi, 2017.
  10. ^ "Chuck Jones | American animator | Britannica". www.britannica.com . Retrieved December 25, 2021.
  11. ^ Jones, Chuck (1999). Chuck Amuck: The Life and Times of an Animated Cartoonist. Macmillan. ISBN978-0-374-52620-7.
  12. ^ Chuck Jones: Extremes and In-betweens - A Life in Blitheness (PBS 2000)
  13. ^ a b c Sigall (2005), pp. 59–61
  14. ^ a b c d east Chuck Jones at IMDb
  15. ^ a b Bulwark, Michael (1999). Hollywood Cartoons. New York: Oxford University Press. pp. 562–563; ISBN 0-xix-516729-v
  16. ^ How The Grinch Stole Christmas! at the Big Cartoon DataBase
  17. ^ "Marker Twain inspired Chuck Jones to create this Looney Tunes graphic symbol". Me-TV Network . Retrieved March 4, 2022.
  18. ^ a b "Archived copy". Archived from the original on August 21, 2016. Retrieved August eight, 2016. {{cite spider web}}: CS1 maint: archived re-create equally championship (link)
  19. ^ "Unadulterated Hogwash". Letters of Annotation. October 21, 2009. Archived from the original on September 25, 2020. Retrieved May 4, 2017.
  20. ^ Robert McKimson account Archived May 25, 2012, at the Wayback Machine, Michaelbarrier.com; accessed June 18, 2015.
  21. ^ Shaffer, R. L. (May 21, 2012). "Gremlins Blu-ray Review". IGN. Archived from the original on February 17, 2021. Retrieved April 22, 2014.
  22. ^ Hinson, Hal (June 15, 1990). "Gremlins 2: The New Batch". The Washington Post. Archived from the original on Dec two, 2017. Retrieved Apr 22, 2014.
  23. ^ Johnson, Malcolm (August fifteen, 1992). "No Need To 'Stay Tuned' To This One". Hartford Courant. Archived from the original on Oct nine, 2020. Retrieved April 22, 2014.
  24. ^ Fields, Curt (February 29, 2008). "Get Behind The Seams of 'Mrs. Doubtfire'". The Washington Postal service. Archived from the original on July 31, 2017. Retrieved April 22, 2014.
  25. ^ National Student Film Institute/L.A: The Sixteenth Annual Los Angeles Student Moving picture Festival. The Directors Guild Theatre. June ten, 1994. pp. ten–11.
  26. ^ Los Angeles Student Film Institute: 13th Annual Educatee Pic Festival. The Directors Guild Theatre. June 7, 1991. p. iii.
  27. ^ Botwin, Michele (August 17, 2000). "Chuck Jones'south Latest Creation Will Cruise the Web". Los Angeles Times. Archived from the original on February 24, 2021. Retrieved Apr 22, 2014.
  28. ^ "29th Annual Annies Winners(2001)". Annie Award. Archived from the original on Jan ii, 2013. Retrieved April 22, 2014.
  29. ^ "MacDowell Medal winners 1960–2011". The Telegraph. April xiii, 2011. Archived from the original on Dec 6, 2019. Retrieved December 6, 2019.
  30. ^ "Chuck Jones Eye for Inventiveness". Chuck Jones Heart for Creativity. Archived from the original on May 25, 2019. Retrieved May 27, 2019.
  31. ^ "Falling Behind with the Joneses". Archived from the original on November 25, 2020. Retrieved April eighteen, 2020. ... He has persevered through skin cancer, a pacemaker, and hip and ankle replacements. This is a lot to have experienced ...
  32. ^ "Bugs on Video – The 1960s". The Bugs Bunny Video Guide. Archived from the original on May 11, 2014. Retrieved Apr 27, 2013.
  33. ^ "Chuck Jones – Awards". IMDb. Archived from the original on March 8, 2021. Retrieved March 14, 2020.
  34. ^ Jones, Chuck. "Honorary Award: Acceptance Oral communication". Academy of Motion Pictures, Arts and Sciences. Archived from the original on September 29, 2013. Retrieved February 21, 2013.
  35. ^ "Animafest Zagreb". Animafest.hour. June iii, 1988. Archived from the original on August 6, 2016. Retrieved May 4, 2017.
  36. ^ "Gold Plate Awardees of the American Academy of Achievement". world wide web.achievement.org. American Academy of Achievement. Archived from the original on December 12, 2017. Retrieved Apr 24, 2019.
  37. ^ "Honorary Degrees Awarded by Oglethorpe Academy". Oglethorpe Academy. Archived from the original on March 19, 2015. Retrieved April 22, 2014.
  38. ^ Martin, Hugo (Feb 23, 2002). "Chuck Jones". Los Angeles Times. Archived from the original on March 7, 2014. Retrieved April 22, 2014.
  39. ^ "Inkpot Award". Comic-Con International: San Diego. December six, 2012. Archived from the original on January 29, 2017. Retrieved September 12, 2020.
  40. ^ Anderson, Paul (January xiii, 2011). ""The Chuck Jones Experience" opens in Las Vegas". Big Drawing News . Retrieved June eighteen, 2015. [ expressionless link ]

Sources [edit]

  • Sigall, Martha (2005). "The Boys of Termite Terrace". Living Life Inside the Lines: Tales from the Golden Age of Animation. University Printing of Mississippi. ISBN9781578067497.
  • Barrier, Michael (1999). Hollywood Cartoons: American Animation in Its Golden Age. Oxford: Oxford Academy Press; ISBN 0-19-516729-5.

Further reading [edit]

  • Kenner, Hugh. Chuck Jones: A Flurry of Drawings, Portraits of American Genius. Berkeley: University of California Press, c1994 1994. Free Online – UC Printing Due east-Books Collection
  • "Chuck Jones, in his own words" The final impress interview with Chuck Jones by Ron Barbagallo, Blitheness Art Conservation (1996, 1999 / revised 2015)
  • "Chuck Jones" by John Canemaker Archived May 25, 2012, at the Wayback Machine from Cartoonist PROfiles #45 (March 1980)
  • Chuck Jones: Three Cartoons (1953–1957) – Roger Ebert discusses Jones's three films in the Us Library of Congress National Movie Registry.
  • Art Directors Club biography, portrait and images of work
  • Bob Clampetts interview for Funnyworld
  • The Jones-Avery Letter Archived September 25, 2020, at the Wayback Machine

External links [edit]

  • Official website
  • Chuck Jones at IMDb
  • Chuck Jones Eye for Creativity
  • Chuck Jones Film Productions at the Large Cartoon DataBase
  • Chuck Jones Enterprises at the Large Cartoon DataBase
  • Chuck Jones at The Interviews: An Oral History of Television
  • "Chuck Jones Biography and Interview". world wide web.achievement.org. American Academy of Achievement.
  • Chuck Jones in 1940 demography record

Source: https://en.wikipedia.org/wiki/Chuck_Jones

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