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Chuck Amuck: The Life and Times of an Animated Cartoonist
The illustrated classic, complete with a new preface by Matt Groening.
Winner of three Academy Awards and numerous other prizes for his animated films, Chuck Jones is the director of scores of famous Warner Bros. cartoons and the creator of such memorable characters as the Road Runner, Wile E. Coyote, Pepé Le Pew, and Marvin Martian. In this beguiling memoir, Chuck Jones evokes the golden years of life at "Termite Terrace," the Warner Bros. studio in which he and his now-famous fellow animators conceived the cartoons that delighted millions of moviegoers throughout the world and entertain new generations of fans on television. Not a mere history, Chuck Amuck captures the antic spirit that created classic cartoons-such as Duck Dodgers in the 241/2 Century, One Froggy Evening, Duck Amuck, and What's Opera, Doc?-with some of the wittiest insights into the art of comedy since Mark Twain.
Winner of three Academy Awards and numerous other prizes for his animated films, Chuck Jones is the director of scores of famous Warner Bros. cartoons and the creator of such memorable characters as the Road Runner, Wile E. Coyote, Pepé Le Pew, and Marvin Martian. In this beguiling memoir, Chuck Jones evokes the golden years of life at "Termite Terrace," the Warner Bros. studio in which he and his now-famous fellow animators conceived the cartoons that delighted millions of moviegoers throughout the world and entertain new generations of fans on television. Not a mere history, Chuck Amuck captures the antic spirit that created classic cartoons-such as Duck Dodgers in the 241/2 Century, One Froggy Evening, Duck Amuck, and What's Opera, Doc?-with some of the wittiest insights into the art of comedy since Mark Twain.
303 pages, Paperback
First published January 1, 1989
62 people are currently reading
1131 people want to read
About the author
Chuck Jones
35 books21 followersCharles Martin "Chuck" Jones was an American animator, cartoon artist, screenwriter, producer, and director of animated films, most notably of Looney Tunes and Merrie Melodies shorts for the Warner Bros Cartoons studio.
Jones was born in Spokane, Washington and later moved with his family to Los Angeles, California. His father encouraged his drawing from an early age.
Jones graduated from Chouinard Art Institute (now the California Institute of the Arts) in 1932 and married Dorothy Webster. He received his first job as a cel washer from former Disney animator, Ubbe Iwerks at Iwekrs Productions.
In 1933, Jones joined Leon Schlesinger Productions that produced Looney Tunes and Merrie Melodies for Warner Bros. and was promoted to animator in 1935. Jones became a director in 1938. His first cartoon was The Night Watchman. In 1942, he used stylized animation for the cartoon, The Dover Boys.
During World War II, Jones worked closely with Theodor Geisel, to create the Private Snafu series of Army educational cartoons. He would later collaborate with Geisel on a number of adaptations of his books to animated form, most importantly How the Grinch Stole Christmas! in 1966.
Also during World War II, Jones directed shorts regarding shortages and rationing, including The Weakly Reporter in 1944. In 1944, he also directed Hell-Bent for Election, a campaign film for Franklin D. Roosevelt.
In the 1950s, Jones created characters such as Claude Cat, Marc Antony, Pepe LePew, the Road Runner, and Wile E. Coyote. His Road Runner cartoons, Duck Amuck, One Froggy Evening, and What's Opera, Doc? are today hailed by critics as some of the best cartoons ever made.
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 Pictures, where he teamed with Ward Kimball for a four month period of uncredited work on Sleeping Beauty (1959).
In the early 1960s, Jones and his wife, Dorothy, wrote the screenplay for the animated feature Gay Purr-ee. UPA completed the film and made it available for distribution in 1962; it was picked up by Warner Bros. When Warner discovered that Jones had violated his exclusive contract with them, they terminated him.
He and his business partner, Les Goldman, created Sib Tower 12 Productions, an animation studio which was contracted in 1963 by Metro-Goldwyn-Mary for the Tom and Jerry cartoons. Their studio was merged with MGM and renamed MG Animation/Visual Arts.
In 1965, Jones' animated film, The Dot and the Line: A Romance in Lower Mathematics, won the Oscar for Best Animated Short. In 1966, he produced and directed the TV special How the Grinch Stole Christmas. The Phantom Tollbooth, produced by Jones, was released in 1970.
In 1970, MGM closed the animation studio and Jones created Chuck Jones Productions. Most notably, this studio produced The Curiosity Shop and three short films based on The Jungle Book.
Jones moved onto writing and drawing the comic strip, Crawford, in 1977. In 1978, his wife died and he remarried Marian Dern in 1981.
In the 1980s and the 1990s, Jones painted and sold cartoons and parody art and directed several animation sequences.
In 1993, he received an honorary degree from Oglethorpe University and later won the Annie Award for Outstanding Achievement in an Animated Special Project for the 2001-2002 Chuck Jones Show. Jones also has a star on the Hollywood Walk of Fame and won an Honorary Academy Award in 1996.
His work has been nominated eight times for an Oscar and has won three times with For Scent-imental Reasons, So Much for So Little, and The Dot and The Line.
Jones died of heart failure in 2002. After his death, the Looney Tunes cartoon, Daffy Duck for President, based on the book that Jones had written and using Jones' style for the characters, was released in 2004.
Jones was born in Spokane, Washington and later moved with his family to Los Angeles, California. His father encouraged his drawing from an early age.
Jones graduated from Chouinard Art Institute (now the California Institute of the Arts) in 1932 and married Dorothy Webster. He received his first job as a cel washer from former Disney animator, Ubbe Iwerks at Iwekrs Productions.
In 1933, Jones joined Leon Schlesinger Productions that produced Looney Tunes and Merrie Melodies for Warner Bros. and was promoted to animator in 1935. Jones became a director in 1938. His first cartoon was The Night Watchman. In 1942, he used stylized animation for the cartoon, The Dover Boys.
During World War II, Jones worked closely with Theodor Geisel, to create the Private Snafu series of Army educational cartoons. He would later collaborate with Geisel on a number of adaptations of his books to animated form, most importantly How the Grinch Stole Christmas! in 1966.
Also during World War II, Jones directed shorts regarding shortages and rationing, including The Weakly Reporter in 1944. In 1944, he also directed Hell-Bent for Election, a campaign film for Franklin D. Roosevelt.
In the 1950s, Jones created characters such as Claude Cat, Marc Antony, Pepe LePew, the Road Runner, and Wile E. Coyote. His Road Runner cartoons, Duck Amuck, One Froggy Evening, and What's Opera, Doc? are today hailed by critics as some of the best cartoons ever made.
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 Pictures, where he teamed with Ward Kimball for a four month period of uncredited work on Sleeping Beauty (1959).
In the early 1960s, Jones and his wife, Dorothy, wrote the screenplay for the animated feature Gay Purr-ee. UPA completed the film and made it available for distribution in 1962; it was picked up by Warner Bros. When Warner discovered that Jones had violated his exclusive contract with them, they terminated him.
He and his business partner, Les Goldman, created Sib Tower 12 Productions, an animation studio which was contracted in 1963 by Metro-Goldwyn-Mary for the Tom and Jerry cartoons. Their studio was merged with MGM and renamed MG Animation/Visual Arts.
In 1965, Jones' animated film, The Dot and the Line: A Romance in Lower Mathematics, won the Oscar for Best Animated Short. In 1966, he produced and directed the TV special How the Grinch Stole Christmas. The Phantom Tollbooth, produced by Jones, was released in 1970.
In 1970, MGM closed the animation studio and Jones created Chuck Jones Productions. Most notably, this studio produced The Curiosity Shop and three short films based on The Jungle Book.
Jones moved onto writing and drawing the comic strip, Crawford, in 1977. In 1978, his wife died and he remarried Marian Dern in 1981.
In the 1980s and the 1990s, Jones painted and sold cartoons and parody art and directed several animation sequences.
In 1993, he received an honorary degree from Oglethorpe University and later won the Annie Award for Outstanding Achievement in an Animated Special Project for the 2001-2002 Chuck Jones Show. Jones also has a star on the Hollywood Walk of Fame and won an Honorary Academy Award in 1996.
His work has been nominated eight times for an Oscar and has won three times with For Scent-imental Reasons, So Much for So Little, and The Dot and The Line.
Jones died of heart failure in 2002. After his death, the Looney Tunes cartoon, Daffy Duck for President, based on the book that Jones had written and using Jones' style for the characters, was released in 2004.
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Displaying 1 - 30 of 67 reviews
May 5, 2016
Warner Brothers cartoons were a very important part of my childhood. I wasn't allowed to watch much TV as a kid, but on the weekend, Warner Brothers was a big exception. I would watch with my dad, who had also watched them when he was a kid. Unlike other television from his childhood era (like Honeymooners or Andy Griffith Show or cowboy serials), these cartoons rarely felt outdated (with the exception of some troubling racial and gender stereotypes and tropes). What I liked about these cartoons was of course the humor and the characterization, but also specifically the fact that a lot of the humor was so absurd, and the backgrounds so weird and avant garde. There was a formula (Elmer chases Bugs; Coyote chases Roadrunner; Sylvester chases Tweety; Pepe chases the cat) but even within these repetitions, there was so much invention.
I always enjoy reading about artists and their creative process, and Chuck Jones' memoir-with-drawings is no exception. I particularly enjoyed him talking about character development and about how everything comes from character. I also liked his comparative anatomy drawings of different animals, both realistic and animated.
The only downside to reading this memoir (written in 1999) is finding out what a total boys' club the studio was, which shouldn't have been a total surprise, given the time period and the fact that there were never any major female characters. And, of course all these men were also white. I get it, it was just how things were. But from the perspective of now, it makes my fave feel more problematic. Sometimes seeing behind the scenes means seeing behind the veil.
I always enjoy reading about artists and their creative process, and Chuck Jones' memoir-with-drawings is no exception. I particularly enjoyed him talking about character development and about how everything comes from character. I also liked his comparative anatomy drawings of different animals, both realistic and animated.
The only downside to reading this memoir (written in 1999) is finding out what a total boys' club the studio was, which shouldn't have been a total surprise, given the time period and the fact that there were never any major female characters. And, of course all these men were also white. I get it, it was just how things were. But from the perspective of now, it makes my fave feel more problematic. Sometimes seeing behind the scenes means seeing behind the veil.
March 28, 2023
A surprisingly wise book by a guy who spent his life drawing pictures of coyotes falling off cliffs. Many reviewers didn't like the ahistorical structure of the book (although Jones wisely does give a quick overview of his life in Appendix A) but I actually enjoyed it. Yes, at times, it meant some of the chapters felt more like Grandpa Simpson telling you a story of the old days (... and we wore an onion on our belts, which was the fashion at the time...) but other chapters, like the one about how exactly, step by step, cartoons got made were fascinating.
Also, it feels rare to find a biography about a huge 20th Century cartoonist, animator or comic book artist that was actually written by that artist. Jones talking about his own life is fascinating because of things he chooses to include and not include, some of which have not aged well since this book came out. "Hilarious" stories about the guy who kissed the receptionist every day on the way into the office come across much less cool, as do the repeated - and often weird - references to his own sex drive. The fact that he holds Pepe Le Pew's tendency to see any attention from a woman as an invitation to paw at her as a virtue is unsettling.
That said, Jones's insights into character, story and comedy are priceless. Wisely they make up the bulk of the book. He also includes tons of great drawings, animation cells, story boards and even full scripts for the cartoons he created. My favorite part was realizing, nearly at the end of the book, that Jones had include a flip animation. About a third of the way through a little Wile E. Coyote had started running across the top of the page only to fall to his doom by the end of the book. If you flip the pages with your thumb you can see him move. It's brilliant!
If you want to learn about how cartoons are made this book is for you. If you're looking for a full on, linear biography of Jones you will be disappointed. For example, Jones says next to nothing about why Warner Brothers shut down their cartoon factory in 1963, nor does he talk about how hard it was, at 51, to be facing the end of the only job he'd had for the previous 30 years. Given that this book almost exclusively focuses on this period of his life it would have been great to know more about why it ended and what that meant to him.
I wish more of that had been in the book but, over all, I have to recommend this to anyone with a passing interest in the subject.
Also, it feels rare to find a biography about a huge 20th Century cartoonist, animator or comic book artist that was actually written by that artist. Jones talking about his own life is fascinating because of things he chooses to include and not include, some of which have not aged well since this book came out. "Hilarious" stories about the guy who kissed the receptionist every day on the way into the office come across much less cool, as do the repeated - and often weird - references to his own sex drive. The fact that he holds Pepe Le Pew's tendency to see any attention from a woman as an invitation to paw at her as a virtue is unsettling.
That said, Jones's insights into character, story and comedy are priceless. Wisely they make up the bulk of the book. He also includes tons of great drawings, animation cells, story boards and even full scripts for the cartoons he created. My favorite part was realizing, nearly at the end of the book, that Jones had include a flip animation. About a third of the way through a little Wile E. Coyote had started running across the top of the page only to fall to his doom by the end of the book. If you flip the pages with your thumb you can see him move. It's brilliant!
If you want to learn about how cartoons are made this book is for you. If you're looking for a full on, linear biography of Jones you will be disappointed. For example, Jones says next to nothing about why Warner Brothers shut down their cartoon factory in 1963, nor does he talk about how hard it was, at 51, to be facing the end of the only job he'd had for the previous 30 years. Given that this book almost exclusively focuses on this period of his life it would have been great to know more about why it ended and what that meant to him.
I wish more of that had been in the book but, over all, I have to recommend this to anyone with a passing interest in the subject.
September 10, 2018
This book is a bit hard to classify. It's mostly a memoir. It's certainly not an autobiography. Jones delves into his life (though not in great detail or in any real order). He talks about his work (though there are large blanks). He talks about the evolution of the Warner Cartoon characters...a little bit. And some about his theories of art...kind of. Largely it's an almost stream of consciousness look at Chuck Jones. And that's okay. Because there was a lot of interesting stuff in Chuck Jones' head.
I'd read this one before but it had been a long time. This time around I read it in little bits here and there as I had a bit of time. And it worked pretty well that way. Kind of like a Looney Tunes cartoon. Jones' cartoons were ubiquitous in my youth...his Warner work and his later work both at MGM and for his own production company. Because of the way the Warner cartoons were packaged Jones work, along with that of Friz Freleng and Bob McKimson were more readily accessible that those of Tex Avery, Bob Clampett and Frank Tashlin.
I would dearly love a good biography of Jones (I'd say one is far overdue) with a serious look at his directorial style and his influence on popular culture. But I really did love this look into Chuck's mind.
I'd read this one before but it had been a long time. This time around I read it in little bits here and there as I had a bit of time. And it worked pretty well that way. Kind of like a Looney Tunes cartoon. Jones' cartoons were ubiquitous in my youth...his Warner work and his later work both at MGM and for his own production company. Because of the way the Warner cartoons were packaged Jones work, along with that of Friz Freleng and Bob McKimson were more readily accessible that those of Tex Avery, Bob Clampett and Frank Tashlin.
I would dearly love a good biography of Jones (I'd say one is far overdue) with a serious look at his directorial style and his influence on popular culture. But I really did love this look into Chuck's mind.
January 14, 2013
The late Chuck Jones was many peoples' favorite among the animation directors made famous by Warner Brothers cartoon shorts (home of Bugs Bunny, Daffy Duck, and so many more). Maybe that's because he was always one of the most talkative among them. This biography is based on several of his lectures about his life and work, and it is truly a kick. He writes about how influences as diverse as his dad's endless string of business failures to his truly weird pet cat lead to his creativity and artistry as an adult. Now Mr. Jones was rather famous for his personal rule that he would only talk in public about things he liked, and stay silent on people or subjects he did NOT like. Given that, don't expect to read much here about his times working with Bob Clampett, Ted "Dr. Seuss" Geisel, or Walt Kelly. On the other hand, Friz Freleng and Tex Avery each have whole chapters dedicated to them. Make of that what you will.
April 23, 2011
Part autobiography, part history, part lessons in animation and characterization, part tribute to the people he worked with and created, this is a delightful excursion into the life of someone who has made me laugh as long as I can remember. Chuck created Wile E. Coyote and the Roadrunner and contributed significantly to Bugs Bunny, Daffy Duck, Elmer Fudd and Marvin the Martian, among others. Some people may quite passages from Shakespeare or Kipling: I think i can do a word-for-word reproduction of the 'pronoun trouble' exchange between Daffy and Bugs.
A catalog of Jones cartoons includes classics that I never tire of watching;
Duck Dodgers in the 24 1/2 Century
Duck Amuck
Duck! Rabbit! Duck!
Bully for Bugs
The Scarlet Pumpernickel
I love the Roadrunner cartoons just as much, but I can't remember them by title.
Jones tell marvelous stories of his childhood and his working career. His tales of his cat, Johnson, who he credits with teaching him about characterization, are a hoot and he expands on the exploits of the crew at Schlesinger Productions (which the receptionist occasionally transposed to 'Pleasanter Seductions'), later Warner Brothers, that I read in "Bugs Bunny: Fifty Years and Only One Grey Hare"
With the exception of a few managers (evolutionarily on the level of sphagnum moss) he is generous with praise to his co-workers and those he admires, including Chaplin, both Keatons, Woody Allen, etc.
A quick read, with drawings on every page, it's an entertaining voyage with some very funny people, real and animated.
A catalog of Jones cartoons includes classics that I never tire of watching;
Duck Dodgers in the 24 1/2 Century
Duck Amuck
Duck! Rabbit! Duck!
Bully for Bugs
The Scarlet Pumpernickel
I love the Roadrunner cartoons just as much, but I can't remember them by title.
Jones tell marvelous stories of his childhood and his working career. His tales of his cat, Johnson, who he credits with teaching him about characterization, are a hoot and he expands on the exploits of the crew at Schlesinger Productions (which the receptionist occasionally transposed to 'Pleasanter Seductions'), later Warner Brothers, that I read in "Bugs Bunny: Fifty Years and Only One Grey Hare"
With the exception of a few managers (evolutionarily on the level of sphagnum moss) he is generous with praise to his co-workers and those he admires, including Chaplin, both Keatons, Woody Allen, etc.
A quick read, with drawings on every page, it's an entertaining voyage with some very funny people, real and animated.
June 22, 2022
Snapshots from the life of the writer, producer, painter, cel cleaner and animator Charles Martin Jones or as he is known in the toon community - Chuck Jones.
From his youth through the years at various animation studios and as he learned about the rather complex process of creating a 6-minute cartoon. And it had to be exactly six minutes which meant the timing had to be perfect in order to get laughs from the cinema audience. There is even one chapter about all the people and/or jobs involved in making an animated cartoon from sound to voices to background artist, painter and far, far more.
Lavishly sprinkled with drawings of our favorite characters like Bugs and Daffy and Pepe - some still roughed out (initial lines as well as the finalized lines). Forgotten about Hassan Chop from Ali Baba Bunny. The flip adventure of Wily E. Coyote as he runs across the top of the pages and falls off - as he does so professionally - is a nice addition and example of basic animation construction. Also included are the so-called rules for various characters - Road Runner only says *beep beep* and does nothing to actually harm the coyote - it's all results of his own actions.
It's a fun look back at the cartoons that I watched as a child and even as an adult when many were released on video cassette and later DVD. Ah, nostalgia, and that left turn at Albuquerque that Bugs always seem to miss. . . .
2022-137
From his youth through the years at various animation studios and as he learned about the rather complex process of creating a 6-minute cartoon. And it had to be exactly six minutes which meant the timing had to be perfect in order to get laughs from the cinema audience. There is even one chapter about all the people and/or jobs involved in making an animated cartoon from sound to voices to background artist, painter and far, far more.
Lavishly sprinkled with drawings of our favorite characters like Bugs and Daffy and Pepe - some still roughed out (initial lines as well as the finalized lines). Forgotten about Hassan Chop from Ali Baba Bunny. The flip adventure of Wily E. Coyote as he runs across the top of the pages and falls off - as he does so professionally - is a nice addition and example of basic animation construction. Also included are the so-called rules for various characters - Road Runner only says *beep beep* and does nothing to actually harm the coyote - it's all results of his own actions.
It's a fun look back at the cartoons that I watched as a child and even as an adult when many were released on video cassette and later DVD. Ah, nostalgia, and that left turn at Albuquerque that Bugs always seem to miss. . . .
2022-137
August 31, 2023
Interesting to see how moments in his childhood came out in the iconic Looney tunes characters and cartoons.
January 21, 2020
Most surprising, and it shouldn't be, is how hilarious Chuck Jones' writing is. Wasn't expecting to LOL but yet, there it is. I kind of wanted it to stay fun and surface, oh here's the French skunk and here's how he came to be and here's some little Easter eggs from the cartoons...but it got way deep into the studio politics and daily happenings in that era in Hollywood. Fine.
Although, Chuck and I completely agree..."Bully for Bugs" is the best Looney Tunes short there is.
Although, Chuck and I completely agree..."Bully for Bugs" is the best Looney Tunes short there is.
March 7, 2012
By far the most entertaining, thought-provoking, and even educational autobiography I've ever read. If you like Looney Tunes and/or Chuck Jones, and you haven't read this book yet, then you are wasting your time with something else.
His writing style is straight to the point and always honest, and as he describes his childhood, his love for Mark Twain, and the atmosphere at "Termite Terrace," it's clear to see where his inspiration came from.
Not only does it provide great autobiographical stories and views on life and the world, but there are several hints at illustration and animation in here that I had no idea would be in an autobiography. That mixed in with some amazingly crystal-clear color photos, this book is definitely the complete package.
Honestly, what autobiography could be better than one that is also a flip book???
His writing style is straight to the point and always honest, and as he describes his childhood, his love for Mark Twain, and the atmosphere at "Termite Terrace," it's clear to see where his inspiration came from.
Not only does it provide great autobiographical stories and views on life and the world, but there are several hints at illustration and animation in here that I had no idea would be in an autobiography. That mixed in with some amazingly crystal-clear color photos, this book is definitely the complete package.
Honestly, what autobiography could be better than one that is also a flip book???
March 9, 2014
Sadly out of print, my search for this book was worth it. It gives a brief look into Chuck Jones' formative years, from which he manages to draw quite a few humorous anecdotes. Things then move on to the various animation units he worked for and then supervised, providing still more funny stories about his coworkers and very enlightening stories on the creation of Daffy Duck, the rules for a Wile E. Coyote & Roadrunner cartoon, and a host of other behind the scenes items that every Looney Tunes fan will enjoy. Later on, Mr. Jones gives a brief class on how cartoons were produced (I assume most everything is different now since almost everything is computer animated.) I thought I was quite the Chuck Jones aficionado, but I learned quite a bit and laughed all the way. If you can find it, this book is definitely worth the read.
May 4, 2012
I read rather a lot of auto-biographies (I find them very easy to read for some reason, I can normally finish them in one sitting), and this is probably my favourite ever. It helps that Chuck Jones is a hero of mine, and I think this book justifies my idolisation of him. Witty, thoughtful and written with a clear love of his colleagues and his art, Jones reveals the philosophy behind his work without ever sounding preachy. The sections where he describes the behaviour of his childhood pet cat Johnson and the hijinks of animators at the Warner Bros. Studio stand out as favourites, but really there are no low points. Beautifully wirtten and illustrated (obviously), if you can find a copy, read it.
March 21, 2013
Remember all those fantastic cartoons with Bugs Bunny, Daffy Duck, Pepe Le Pew, Road Runner, Wile Coyote and all the rest? Chuck Jones was one of the minds behind all that brilliance. This book was a fascinating and often hilarious look at Chuck's life and a glimpse behind the scenes at the making of many of those animated shorts. There were times I had to quit reading because I was laughing so hard I couldn't see the page. You should read it. It's just that good.
February 8, 2014
Chuck Jones tells a story with the same sense of whimsy that is in his cartoons. He goes into just enough technical detail so that the reader understands without being overwhelmed. He invites you behind the curtain with open arms and gentle smile. Once there, you find a world surprisingly similar to yours (albeit with more swordfish stranglers). Great book for any age and a fun read.
August 15, 2007
Hilarious book which I've read many times. Insight into the mind of Chuck Jones as well as behind the scenes antics at Warner Bros. during they're heyday creating Bugs Bunny cartoons. Be sure to read about his amazing cat who loved grapefruit.
January 6, 2023
It took a recent Fresh Air broadcast to get me to search for this 1989 book. Jones died back in 2002, but Terry Gross re-broadcast her 1989 interview with him in November 2022, on the same day as her celebration of Charles Schulz's 100th birthday. Both Jones and Schulz were comic geniuses (of very different kinds) whose masterful work marked my childhood. Both were wise, insightful, and humble in their interviews. Schulz reminded me of my father, with his gentle, faith-filled style on the radio as on the comics page. Jones grabbed my attention during his interview with a brief, eye-opening description of the rules governing the cartoons that delighted me throughout my youth. I found them in a few golden pages in his illustrated memoir Chuck Amuck, along with hundreds of less interesting pages.
In the warning that opens his book, Jones accurately admits that it is "a fond catchall, a remembrance of events and people" (10) -- what one of my colleagues used to call "anecdotage." Along the way the gifted draftsman, director, and "cel washer" admits his role in shaping such Warner cartoon stars as Bugs and Daffy and Porky and Elmer Fudd, and in creating Marvin the Martian, Pepe Le Pew, Road Runner and Wile E. Coyote (302). Mainly he seems intent to recreate the mood of mayhem that marked his early days among the Mad Men of the cartoon business. In the midst of his unending flow of stories, sketches, and tributes to colleagues long gone, Jones offers what seem to me the Looney Tunes version of the Ten Commandments - the implicit rules governing the behavior of Bugs, Daffy and the Coyote.
Jones credits Tex Avery as the directorial genius from whom he learned the unspoken rules for "all humor and all character animation:"
"1. You must love what you caricature. . .
2. You must learn to respect that golden atom, that single frame of action, that 1/24 of a second. . .
3. You must respect the impulsive thought and try to implement it. . . you must depend on the flash of inspiration that you do not expect and do not already know.
4. You must remember always that only man, of all creatures, can blush, or needs to. . .
5. Remember always that character is all that matters in the making of great comedians, in animation, and in live action.
6. Keep always in your mind, your heart, and your hand that timing is the essence, the spine, and the electrical magic of humor - and of animation." (99-101)
Jones explains that his Bugs was not Avery's wild hare, since "I could not animate a character I could laugh at but could not understand." His Golden Rule for this rabbit? "Bugs must always be provoked. In every film, someone must have designs upon his person: gastronomic, as a trophy, as a good-luck piece, as an unwilling participant in a scientific experiment. Without such threats, Bugs is far too capable a rabbit to evoke the necessary sympathy" (211-2). And sympathy is the key.
If Bugs is Jones's most admirable, capable creation, Daffy is the one "with whom I most clearly associate and whose behavior I most clearly recognize and for whom I have the greatest affinity and understanding." Daffy wants to be the hero but knows he's a coward; he talks too much, tries to hard, knows what success looks like but cannot ever quite attain it. "Daffy gallantly and publicly represents all the character traits that the rest of us try to keep subdued. . . To achieve his ends, he cheerfully and always rationally chews up moral codes by the yard. . . . Daffy is just like all of us, only more so." (239-40)
By the time he gets to the famous pair Coyote-Road Runner he actually codifies the rules:
"1. The Road Runner cannot harm the coyote except by going 'Beep-beep!'
2. No outside force can harm the coyote - only his own ineptitude or the failure of the Acme products.
3. The coyote could stop anytime - if he were not a fanatic.
4. No dialogue ever, except 'Beep-beep!'
5. The road runner must stay on the road - otherwise, logically, he would not be called Road Runner.
6. All action must be confined to the natural environment of the two characters - the southwest American desert.
7. All materials, tools, weapons, or mechanical conveniences must be obtained from the Acme Corporation.
8. Whenever possible, make gravity the coyote's greatest enemy.
9. The coyote is always more humiliated than harmed by his failures." (225)
Any veteran cartoon viewer can at once recognize these principles as familiar. It is Jones's genius as a animator that created them and as a writer that spells them out for the rest of us. What a gift to have them captured on celluloid and paper.
In the warning that opens his book, Jones accurately admits that it is "a fond catchall, a remembrance of events and people" (10) -- what one of my colleagues used to call "anecdotage." Along the way the gifted draftsman, director, and "cel washer" admits his role in shaping such Warner cartoon stars as Bugs and Daffy and Porky and Elmer Fudd, and in creating Marvin the Martian, Pepe Le Pew, Road Runner and Wile E. Coyote (302). Mainly he seems intent to recreate the mood of mayhem that marked his early days among the Mad Men of the cartoon business. In the midst of his unending flow of stories, sketches, and tributes to colleagues long gone, Jones offers what seem to me the Looney Tunes version of the Ten Commandments - the implicit rules governing the behavior of Bugs, Daffy and the Coyote.
Jones credits Tex Avery as the directorial genius from whom he learned the unspoken rules for "all humor and all character animation:"
"1. You must love what you caricature. . .
2. You must learn to respect that golden atom, that single frame of action, that 1/24 of a second. . .
3. You must respect the impulsive thought and try to implement it. . . you must depend on the flash of inspiration that you do not expect and do not already know.
4. You must remember always that only man, of all creatures, can blush, or needs to. . .
5. Remember always that character is all that matters in the making of great comedians, in animation, and in live action.
6. Keep always in your mind, your heart, and your hand that timing is the essence, the spine, and the electrical magic of humor - and of animation." (99-101)
Jones explains that his Bugs was not Avery's wild hare, since "I could not animate a character I could laugh at but could not understand." His Golden Rule for this rabbit? "Bugs must always be provoked. In every film, someone must have designs upon his person: gastronomic, as a trophy, as a good-luck piece, as an unwilling participant in a scientific experiment. Without such threats, Bugs is far too capable a rabbit to evoke the necessary sympathy" (211-2). And sympathy is the key.
If Bugs is Jones's most admirable, capable creation, Daffy is the one "with whom I most clearly associate and whose behavior I most clearly recognize and for whom I have the greatest affinity and understanding." Daffy wants to be the hero but knows he's a coward; he talks too much, tries to hard, knows what success looks like but cannot ever quite attain it. "Daffy gallantly and publicly represents all the character traits that the rest of us try to keep subdued. . . To achieve his ends, he cheerfully and always rationally chews up moral codes by the yard. . . . Daffy is just like all of us, only more so." (239-40)
By the time he gets to the famous pair Coyote-Road Runner he actually codifies the rules:
"1. The Road Runner cannot harm the coyote except by going 'Beep-beep!'
2. No outside force can harm the coyote - only his own ineptitude or the failure of the Acme products.
3. The coyote could stop anytime - if he were not a fanatic.
4. No dialogue ever, except 'Beep-beep!'
5. The road runner must stay on the road - otherwise, logically, he would not be called Road Runner.
6. All action must be confined to the natural environment of the two characters - the southwest American desert.
7. All materials, tools, weapons, or mechanical conveniences must be obtained from the Acme Corporation.
8. Whenever possible, make gravity the coyote's greatest enemy.
9. The coyote is always more humiliated than harmed by his failures." (225)
Any veteran cartoon viewer can at once recognize these principles as familiar. It is Jones's genius as a animator that created them and as a writer that spells them out for the rest of us. What a gift to have them captured on celluloid and paper.
January 13, 2018
My childhood ambition was to become an animator. I drew all the time, created a bunch of characters, and watched cartoons all the time. I noted the different styles, and watched the credits to learn who was responsible for what. Attached to many of my favorites was the title "Directed by Chuck Jones." I was mad for his style in the 50s/60s. I loved the crisp lines, brilliant colors, abstract backgrounds, and the exaggerated yet realistic motions of the animals in his work. I loved the stuff he did with Warner Bros, his longer films like the Grinch, and Gay Purr-ee, but his Tom & Jerry pieces sent me into orbit. The lack of dialogue, the swingin' be-bop, and the slink hip attitude that they all had--ZOWIE! I went to college to follow the dream that he partially inspired. I learned how hard it was to make my silly drawings come to life, got crippled by self-doubt, and my dream crashed and burned. I continue to cook up animated works that I want to do in my head, but it safe to say they'll never exist. Reading this book, my love for what Chuck Jones did was fully revived. In writing about his legacy he comes across as a keen intellect, humble, hilarious, and inspiring. He gives a detailed insight into the process of animation, and shares charming anecdotes about the environment and creative people who brought such memorable pieces of my childhood to life. Reading this book put me right into the studio with all these talented folks. It's probably the closest I'll get experiencing my lost ambition.
June 11, 2020
this was delightful! absolutely delightful.
it's a strange idea my childhood is filled with animation from the 30s, 40s, and 50s even though i was born in the late 80s. and it continues to be absolutely fantastic.
has everything aged well? of course not. but hearing where the characters come from changes some ideas i previously once had of them. most notably, Pepé Le Pew. would he be made today, no. but neither would George Castanza or Michael Scott, but that doesn't change that they were perfect in their era.
two quotes have stuck with me:
1. [the difference between Bugs and Daffy]: "...both Bugs and Daffy are talkers, but Daffy talks too much—Daffy's vanity is disastrous. Bugs stands back from a situation, analyzes it, and makes his move; Daffy becomes emotionally involved, loses his distance, and blows it... Bugs is a strong, more traditional American hero—Daffy is much more complicated. he's a coward, he claims, but a live coward—he feels a preemptive necessity to set someone else (Bugs) up for the destruction he knows is stalking him."
2. [On Ray Bradbury's 55th birthday, he was asked, "What do you want to be when you grow up?" He replied,] "I want to be fourteen like Chuck Jones." (at this point Chuck is 63 years of age :))
it's a strange idea my childhood is filled with animation from the 30s, 40s, and 50s even though i was born in the late 80s. and it continues to be absolutely fantastic.
has everything aged well? of course not. but hearing where the characters come from changes some ideas i previously once had of them. most notably, Pepé Le Pew. would he be made today, no. but neither would George Castanza or Michael Scott, but that doesn't change that they were perfect in their era.
two quotes have stuck with me:
1. [the difference between Bugs and Daffy]: "...both Bugs and Daffy are talkers, but Daffy talks too much—Daffy's vanity is disastrous. Bugs stands back from a situation, analyzes it, and makes his move; Daffy becomes emotionally involved, loses his distance, and blows it... Bugs is a strong, more traditional American hero—Daffy is much more complicated. he's a coward, he claims, but a live coward—he feels a preemptive necessity to set someone else (Bugs) up for the destruction he knows is stalking him."
2. [On Ray Bradbury's 55th birthday, he was asked, "What do you want to be when you grow up?" He replied,] "I want to be fourteen like Chuck Jones." (at this point Chuck is 63 years of age :))
January 1, 2019
I thoroughly enjoyed reading about Chuck Jones life as an animator. It flows more like a memoir of his years working with Warner Brothers, than as a standard autobio.
Chuck Jones mentions a few times his appreciation for the writings of Mark Twain, and the influence shows. Jones and Twain both share that same brand of homespun, humorous storytelling, with splashes of sarcasm and the ridiculous, to keep you on your toes.
For the most part, it is about the Warner Bros. years; funny antics of his colleagues, horrible producers, and general shenanigans and hijinks of himself and his coworkers. Stories flow fluidly from one topic to the next, as if you are having a conversation with him at his kitchen table, over coffee. He throws in an explanation of the animation process, and a little bit of his philosophies regarding what makes good characters, the nature of comedy, the appeal of animation, and of art in general.
A valuable read for anyone interested in animation/illustration in general, and the life of one of the most iconic animators of all time, and creator of indelible characters such as Bugs Bunny, Road Runner, and Pepe le Pew.
Chuck Jones mentions a few times his appreciation for the writings of Mark Twain, and the influence shows. Jones and Twain both share that same brand of homespun, humorous storytelling, with splashes of sarcasm and the ridiculous, to keep you on your toes.
For the most part, it is about the Warner Bros. years; funny antics of his colleagues, horrible producers, and general shenanigans and hijinks of himself and his coworkers. Stories flow fluidly from one topic to the next, as if you are having a conversation with him at his kitchen table, over coffee. He throws in an explanation of the animation process, and a little bit of his philosophies regarding what makes good characters, the nature of comedy, the appeal of animation, and of art in general.
A valuable read for anyone interested in animation/illustration in general, and the life of one of the most iconic animators of all time, and creator of indelible characters such as Bugs Bunny, Road Runner, and Pepe le Pew.
January 18, 2020
A wonderful autobiographical tale that Chuck tells (and illustrates) along the way. It's all told with charisma so you don't mind the early childhood stuff, though the real meat of the tale being his work on cartoons and creating characters like Wile E Coyote and Pepe Le Pew doesn't behind until roughly a third in.
I would have liked to had more on the design part of their philosophy and more artwork - but at the end of the book you discover he has out all this aside for his second book that he was working on at the time (Chuck Reducks).
I found the last quarter of the book at little slow and slightly repetitive - it's what he went on to do after the Bugs Bunny stuff and he admits he then chose to reject a lot of work. He also spends a lot of time listing various accomplishments and then (weakly) downplaying them: "and then I was given an honorary degree from Oxford University, heavens knows why, then I was chosen for a retrospective piece at the Museum if the Moving Image, I don't even know why that was.." etc. False modesty is either unknown to him or he needs a better editor. It's a small part of the book however and should not put you off enjoying it as a whole.
I would have liked to had more on the design part of their philosophy and more artwork - but at the end of the book you discover he has out all this aside for his second book that he was working on at the time (Chuck Reducks).
I found the last quarter of the book at little slow and slightly repetitive - it's what he went on to do after the Bugs Bunny stuff and he admits he then chose to reject a lot of work. He also spends a lot of time listing various accomplishments and then (weakly) downplaying them: "and then I was given an honorary degree from Oxford University, heavens knows why, then I was chosen for a retrospective piece at the Museum if the Moving Image, I don't even know why that was.." etc. False modesty is either unknown to him or he needs a better editor. It's a small part of the book however and should not put you off enjoying it as a whole.
March 31, 2019
I was given this wonderful memoir by the owner of an animation art gallery 25 years ago, but never got around to taking Chuck Amuck off my bookshelf and reading it until now. This is surprising as I grew up loving Looney Tunes, delightedly passing on my passion for Bugs and Daffy to my own children (and anyone who would listen). Chuck Jones, who died in 2012, was probably my favourite of the Warner Bros. directors, at the helm of What's Opera Doc, One Froggy Evening and Rabbit Seasoning, with its brilliant banter and the immortal observation "pronoun trouble."
This history of a magical time in animation is a treasure trove of trivia/memories about amazing six-minute films (cartoons for the rest of us) and the whip-smart talented artists who made my Saturday morning cartoons remain alive all through the week. Yet what I've gained by reading Chuck Amuck in 2019 are amazing lessons in creativity, story structure and creating believable strong characters. Loved it.
This history of a magical time in animation is a treasure trove of trivia/memories about amazing six-minute films (cartoons for the rest of us) and the whip-smart talented artists who made my Saturday morning cartoons remain alive all through the week. Yet what I've gained by reading Chuck Amuck in 2019 are amazing lessons in creativity, story structure and creating believable strong characters. Loved it.
January 29, 2022
Such a fun book! Chuck Jones waxes poetic about his life and accompanies the stories with his impeccable sketches. I especially loved the stories and drawings of his cat Johnson. There is, of course, a lot of Looney Tunes talk with great insight into how he views the characters and how they relate to his personality. Great stories of life in the Warner Brothers’ “Termite Terrace” and of the wild ways they ran the studio in opposition to all of their executives. His fun, self deprecating tone keeps the stories light but anyone who knows Chuck Jones knows that he was a true master of his craft. He leaves his ego out of this, always deferring credit to the team around him. The book isn’t chronological and bounces all over the place but there is a tight quick appendix for those who just want to reference the facts. I thoroughly enjoyed it and I’m happy to have it in my library for future reference.
September 3, 2020
I rarely use the word delightful to describe anything, but I can't think of any other word that describes my experience reading Chuck Jones' autobiography. This man was *funny*. Not just funny in the usual sense, but funny on a deep and sneaky level. The scenes he weaves into the story of his journey into animation are poignant and meaningful, some even bringing a few tears amid the out-loud laughter. This is one of those rare autobiographies I've read where I wish I'd had a chance to meet the author. Chuck seems like the kind of guy who'd gladly sit and spin yarns for hours.
September 5, 2021
The endlessly entertaining, hilariously frank and delightfully insightful memoirs of one of the greatest humorists western animation has ever known. The man responsible for Wile E. Coyote & the Road-Runner, one of many responsible for unleashing Bugs Bunny and Daffy Duck onto the world, one of the most expressive and truly, enduringly funny animators there's ever been. God bless Chuck Jones, and we're all blessed to have his thoughts and insight on the industry and career he made his own in this book.
February 15, 2024
I received Chuck Amuck book from Chuck Jones granddaughter, Valerie Jones Kausen in 1990. I was working as a photojournalist with a TV station in Milwaukee, Wisconsin and interviewed Valerie who was promoting the book.
His life as an animator, writer and director offered insights into how the characters came together. Everyone has always enjoyed Bugs Bunny, Daffy Duck, the Roadrunner and Wile E. Coyote, Elmer Fudd, Porky Pig, Etc. Chuck Jones writes about their beginnings to how they developed over the years.
It was a great book to read because I enjoyed cartoons as a child and still do.
His life as an animator, writer and director offered insights into how the characters came together. Everyone has always enjoyed Bugs Bunny, Daffy Duck, the Roadrunner and Wile E. Coyote, Elmer Fudd, Porky Pig, Etc. Chuck Jones writes about their beginnings to how they developed over the years.
It was a great book to read because I enjoyed cartoons as a child and still do.
April 26, 2020
So my rating is based on remembering that I really liked this, years and years and years ago. Maybe I'll re-read it and review it properly.
Maybe not.
I do remember that this book helped me figure out why I enjoyed Jones' WB cartoons more than Avery's or Freleng's. And now that I'm poking around, apparently Dr. Seuss was one of their storyboard artists/writers, and Ub Iwerks was one of their directors! I definitely want to see if I can find those.
Maybe not.
I do remember that this book helped me figure out why I enjoyed Jones' WB cartoons more than Avery's or Freleng's. And now that I'm poking around, apparently Dr. Seuss was one of their storyboard artists/writers, and Ub Iwerks was one of their directors! I definitely want to see if I can find those.
January 2, 2022
Chuck Jones was behind a lot of the great cartoons and cartoon characters. Entertaining and funny history. Love the story of how they would have lights that they activated when higher ups would show up. One guy would be drinking coffee, another reading a newspaper and the suits didn’t know what to say. When they came back again they found the cartoonists doing the exact same thing they were doing when they were there last. Great book by a great director and cartoonist.
May 28, 2024
The is an excellent autobiography by one of the great minds of all time. If you love Bugs Bunny, Daffy Duck, or Marvin the Martian, this is the book for you. It was really interesting to read about the origin story of many of my favorite cartoons. Saturday morning cartoons was the best. This book got on my reading list because it was mentioned in Wild Minds: The Artists and Rivalries That Inspired the Golden Age of Animation by Reid Mitenbuler.
April 15, 2021
Very informative, and shows not only the life of Chuck Jones, but if his contemporaries at Warner Brothers and beyond.
Beyond the fun stories and interesting history, Chuck has a real warmth and humor to his writing, and his writing is so charming I'd have read another 100 pages on animation by him gladly
Beyond the fun stories and interesting history, Chuck has a real warmth and humor to his writing, and his writing is so charming I'd have read another 100 pages on animation by him gladly
May 12, 2023
I think may main disappointment is that I expected other than what the author intended to give. I would have liked a more linear biographical outline, but the author intends this to be a smattering of stories through his life and the development of the animated characters that he's created. This is a good book if that's the expectation you enter with.
March 5, 2019
The Master
Did you ever wonder why the Warner Brothers cartoons were funnier once you grew up? Read this book and find out, while discovering and trying to imagine what it would be like to have the perfect job, as those animators had back in the "golden age" of cartoons.I
Did you ever wonder why the Warner Brothers cartoons were funnier once you grew up? Read this book and find out, while discovering and trying to imagine what it would be like to have the perfect job, as those animators had back in the "golden age" of cartoons.I
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