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Dec 21, 2002 · Has anybody noticed that in Chuck Jones' Tom & Jerry shorts, that Tom is animated like the Grinch and Jerry like Max? (in Jones' 1966 version of How The Grinch Stole Christmas!, of course.) Their expressions are identical! Even Tom's eyes are yellow with heavy eyebrows like the Grinch.
Size: 12F. Price:$3500, unframed. Please contact your consultant for more details and availability. In a hurry? Please email us at clientservices@chuckjones.com for a shipping time estimate. For International inquiries, please contact clientservices@chuckjones.com. View the scene HERE. Reference: DCJ75-125-5.
- Grinch Art
- 3 lbs
- 12.5 × 10.5 in
- Sniffles and The Bookworm
- The Dover Boys at Pimento University Or The Rivals of Roquefort Hall
- Fast and Furry-ous
- Rabbit of Seville
- Duck Amuck
- Go Fly A Kit
- Louvre Come Back to Me!
- Gay Purr-ee
- The Unshrinkable Jerry Mouse
- How The Grinch Stole Christmas
Chuck Jones began his career with the Looney Tunes as an assistant animator in 1933. He was directing his own unit by 1938. In the intervening five years, the Looney Tunes were well on their way to their signature style. Walt Disney experimented with personality, believability, and production value, and the popularity of his work spawned legions of...
There’s a misconception about Jones’s work at Warners that he was only laboring on cutesy Sniffles cartoons before he learned to be funny with"The Dover Boys" (1942). At the same time Jones was working with Sniffles, he also made films like "Daffy Duck and the Dinosaur"(1939) and "Elmer’s Pet Rabbit"(1941). If these early Daffy and Bugs cartoons do...
After World War II, the style of humor in the Looney Tunes began to shift. The rapid-fire, a-gag-a-second sensibility that stressed all the impossible things animation could pull off gave way to more subtle humor driven by details, timing, and the personalities of the characters. Chuck Jones wasn’t the only artist at Warners who pushed things in th...
I know I can’t be the only person who was introduced to classical music through cartoons as a kid. Cartoon shorts like the Looney Tunes were also easy to come by on TV in those days, and they knew how to use classical music for comedic ends like no one’s business. As the old saying goes, steal from the best. Chuck Jones didn’t tap that well as ofte...
The Looney Tunes became more character-driven with time, and Jones’s take on those characters settled into very specific conceptions. His vision for Bugs Bunny developed over time and was broadly shared by fellow directors Freleng and Robert McKimson; they each had their own idiosyncrasies in their Bugs pictures, but they all stuck to the idea that...
There’s certainly a perception among Chuck Jones’s critics that his work began slipping as early as the mid-1950s. Among the accusations is a charge that Jones regressed back into his old weakness for sweetness. That may be true of Jones’s output by the 1970s. Still, I rather like many of the Looney Tunes shorts Jones directed in the late 50s and 1...
With the theatrical shorts market in its death throes by the 1960s, the budgets for the Looney Tunes took a heavy cut. This wasn’t only a problem at Warner Bros.; animation has always been expensive, and costs were such by the 1960s that even Disney was enforcing economies. Limited animation, popularized earlier by UPA, became ever more common at t...
All the entries on this list so far have come from Jones’s time at Warner Bros. While he did work elsewhere, Warners was where most of the notable work of his career happened. Jones had a contentious relationship with his employers. He disliked his first boss, Leon Schlesinger, and clashed frequently with successor producer Eddie Seltzer. For their...
After getting the boot from Warner Bros., Jones recruited most of his old unit to take over Sib Tower 12 Productions with producer Les Goldman. Almost immediately, they were offered a contract by MGM, the “Tiffany’s of film studios.” MGM had shuttered their own animation studio in the late 1950s, planning to coast on their backlog of shorts, but ha...
Jones didn’t seem to have much luck in working with characters he had no hand in creating or developing. Tom and Jerry didn’t work out. Walt Kelly despised what Jones did with Pogo. Author Norman Juster hated Jones’s adaptation of his novel The Phantom Tollbooth, despite the film’s good reviews, and Jones’s adaptation of fellow Looney Tunes directo...
- William Fischer
People also ask
Did Chuck Jones duplicate Tom & Jerry's art?
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Mar 18, 2019 · Chuck Jones taking on another artists creation was another thing indeed. Jones had carved out his own identity, and had his own POV. His art style was distinctive and personal. His crew was closely attuned to the facial nuances and unique poses Jones was now famous for. Applying that to Tom & Jerry didn’t quite fit.
Charles Martin "Chuck" Jones was an American animator, cartoon artist, screenwriter, producer, and director of animated films. He directed 34 theatrical Tom and Jerry cartoons for Metro-Goldwyn-Mayer while working at Sib Tower 12 Productions (later MGM Animation/Visual Arts). Jones was the second & final main director of the post Hanna-Barbera Tom and Jerry cartoon shorts, following Gene ...
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Add To Cart. Original Production Drawing of the Grinch from Grinch Grinches the Cat in the Hat (1982) Dr Seuss Animation Art Production Drawing. Price: $75.00. Add To Cart. Original Layout Drawing of Bugs Bunny from Compressed Hare (1961) Chuck Jones Animation Art Production Drawing. Price: $7,800.00. Add To Cart.
Rabbit, Duck! (1951–1953). After his career at Warner Bros. ended in 1962, Jones started Sib Tower 12 Productions and began producing cartoons for Metro-Goldwyn-Mayer, including a new series of Tom and Jerry shorts and the television adaptation of Dr. Seuss' How the Grinch Stole Christmas!.
