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During UsefulNotes/TheGoldenAgeOfAnimation, Chuck began working as a cel washer for Creator/UbIwerks before working his way up the corporate ladder so to speak, being mentored by the likes of Creator/TexAvery and Creator/FrizFreleng and animating for Creator/BobClampett. In 1938, he finally received a shot at directing a cartoon, inheriting the crew of the recently departed Creator/FrankTashlin. His early work mirrored Creator/WaltDisney's ''Silly Symphonies'' in content and tone, heavy on childlike fantasy and completely lacking in comedy; many featured the ever-so-cute Sniffles the Mouse as the main character. After a few years at Warner Bros. he would eventually GrowTheBeard and adopt the more humorous and zany style of his contemporaries at Warner. Sniffles would become a bit of a cute ScrewySquirrel with an uncontrollable MotorMouth before Chuck ended his series and began writing for other characters, eventually inheriting Bugs, Daffy and the rest of the more famous ''WesternAnimation/LooneyTunes'' and ''Merrie Melodies'' characters.

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During UsefulNotes/TheGoldenAgeOfAnimation, Chuck began working as a cel washer for Creator/UbIwerks before working his way up the corporate ladder so to speak, being mentored by the likes of Creator/TexAvery and Creator/FrizFreleng and animating for Creator/BobClampett. In 1938, he finally received a shot at directing a cartoon, inheriting the crew of the recently departed Creator/FrankTashlin. His early work mirrored Creator/WaltDisney's ''Silly Symphonies'' in content and tone, heavy on childlike fantasy and completely lacking in comedy; many featured the ever-so-cute Sniffles the Mouse as the main character. After a few years at Warner Bros. , he would eventually GrowTheBeard and adopt the more humorous and zany style of his contemporaries at Warner. Sniffles would become a bit of a cute ScrewySquirrel with an uncontrollable MotorMouth before Chuck ended his series and began writing for other characters, eventually inheriting Bugs, Daffy and the rest of the more famous ''WesternAnimation/LooneyTunes'' and ''Merrie Melodies'' characters.



--> "In my dreams I am Bugs Bunny; when I wake up I find that I am Daffy Duck."

On top of all that, with shorts ranging from "WesternAnimation/OneFroggyEvening" to "WesternAnimation/DuckAmuck," as well as recurring characters like Charlie Dog, Wile E. Coyote and the Roadrunner, and WesternAnimation/PepeLePew, Jones created some of the best loved shorts in the ''WesternAnimation/LooneyTunes'' series.

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--> "In my dreams dreams, I am Bugs Bunny; when I wake up I find that I am Daffy Duck."

On top of all that, with shorts ranging from "WesternAnimation/OneFroggyEvening" to "WesternAnimation/DuckAmuck," as well as recurring characters like Charlie Dog, Wile E. Coyote and the Roadrunner, and WesternAnimation/PepeLePew, Jones created some of the best loved best-loved shorts in the ''WesternAnimation/LooneyTunes'' series.



* Elmer's Pet Rabbit: Jones' first use of the officially named WesternAnimation/BugsBunny character however, he still hadn't nailed Bugs's character, as he is portrayed as an extremely foul-tempered heckler here.
* Sniffles Bells the Cat: Eigth Sniffles short.

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* Elmer's Pet Rabbit: Jones' first use of the officially named WesternAnimation/BugsBunny character however, he still hadn't nailed Bugs's Bugs' character, as he is portrayed as an extremely foul-tempered heckler here.
* Sniffles Bells the Cat: Eigth Eighth Sniffles short.



* The Bird Came C.O.D.: Debut of Jones' short lived pantomime character Conrad Cat.

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* The Bird Came C.O.D.: Debut of Jones' short lived short-lived pantomime character Conrad Cat.



* The Draft Horse: A short that Jones considered a turning point in his career, when he started beginning to make funny cartoons.

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* The Draft Horse: A short that Jones considered a turning point in his career, career when he started beginning to make funny cartoons.



* [[Literature/ThePhantomTollbooth The Phantom Tollbooth]]: The Live Action/Animation Film

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* [[Literature/ThePhantomTollbooth The Phantom Tollbooth]]: The Live Action/Animation Live-Action/Animation Film



* Mowgli's Brorthers

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* Mowgli's Brorthers
Brothers



** ''WesternAnimation/TheBearThatWasnt'' is based on the 1946 childrens book by Creator/FrankTashlin.

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** ''WesternAnimation/TheBearThatWasnt'' is based on the 1946 childrens children's book by Creator/FrankTashlin.



** ''The Phantom Tollbooth'', a feature length adaptation of the [[Literature/ThePhantomTollbooth 1961 book by Norton Juster.]]

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** ''The Phantom Tollbooth'', a feature length feature-length adaptation of the [[Literature/ThePhantomTollbooth 1961 book by Norton Juster.]]



* BlackComedy: Jones's shorts are often quite cynical and jaded in their humor; he was quite fond of portraying characters as hapless [[TheChewToy Chew Toys]] (such as Wile E. Coyote) and/or more nasty and flawed than the other directors (such as his iconic StrawLoser take on WesternAnimation/DaffyDuck, turning Bugs into a more vengeful, passive aggressive trickster with somewhat less playfulness, creating Marvin, an alien villain who wants to destroy the earth for blocking his view of Venus, etc.). Some of his one-shots, like "Fresh Airedale" and "Chow Hound" are some of the darkest cartoons in the Looney Tunes series.

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* BlackComedy: Jones's shorts are often quite cynical and jaded in their humor; he was quite fond of portraying characters as hapless [[TheChewToy Chew Toys]] (such as Wile E. Coyote) and/or more nasty and flawed than the other directors (such as his iconic StrawLoser take on WesternAnimation/DaffyDuck, turning Bugs into a more vengeful, passive aggressive passive-aggressive trickster with somewhat less playfulness, creating Marvin, an alien villain who wants to destroy the earth for blocking his view of Venus, etc.). Some of his one-shots, like "Fresh Airedale" and "Chow Hound" are some of the darkest cartoons in the Looney Tunes series.



* BookEnds: His first cartoon, "The Night Watchman" (1938) has the opening titles set to the overture to Tannhäuser. Almost two decades later, "What's Opera, Doc?" (1957), which he and many consider to be his greatest film, ends with the exact same music cue from the Tannhauser overture.

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* BookEnds: His first cartoon, "The Night Watchman" (1938) has the opening titles set to the overture to Tannhäuser. Almost two decades later, "What's Opera, Doc?" (1957), which he and many consider to be being his greatest film, ends with the exact same music cue from the Tannhauser overture.



* DisneyOwnsThisTrope: Chuck trademarked his own name, so that he could use it as a brand in his later years when he formed his own studio, Sib Tower 12.

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* DisneyOwnsThisTrope: Chuck trademarked his own name, name so that he could use it as a brand in his later years when he formed his own studio, Sib Tower 12.



** The rivalry with Clampett became decidedly less friendly when the two had [[WeUsedToBeFriends a personal falling-out]] in the late '70s, after Clampett gave an interview claiming to be the sole creator of Bugs Bunny ''and'' Sniffles The Mouse, the latter of which was famously Jones' creation (Sniffles may have been an OldShame to Jones, but the characters was ''his'' to disown). There's even a rumor that his dissatisfaction with the dueling pianos scene in ''Film/WhoFramedRogerRabbit'' was largely because the filmmakers used Clampet's "zany" version of Daffy Duck rather than his own "selfish jerk" version.

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** The rivalry with Clampett became decidedly less friendly when the two had [[WeUsedToBeFriends a personal falling-out]] in the late '70s, after Clampett gave an interview claiming to be the sole creator of Bugs Bunny ''and'' Sniffles The Mouse, the latter of which was famously Jones' creation (Sniffles may have been an OldShame to Jones, but the characters character was ''his'' to disown). There's even a rumor that his dissatisfaction with the dueling pianos scene in ''Film/WhoFramedRogerRabbit'' was largely because the filmmakers used Clampet's "zany" version of Daffy Duck rather than his own "selfish jerk" version.



* LetsSeeYouDoBetter: Jones apparently created the Road Runner series as an AffectionateParody of chase cartoons such as ''WesternAnimation/TomAndJerry'', mocking the simplistic formula and slapstick. A couple decades later, MGM actually hired Jones to work on the ''T&J'' series itself, which he admitted was more complex to get down pat than he had expected.
* LighterAndSofter: His pre-Dover Boys shorts compared to the cartoons Tex Avery and Bob Clampett were making around the same time. His later cartoons downplayed the BlackComedy present in his 40s and 50s cartoons, and tended to be much more sentimental in tone.
* LimitedAnimation: A pioneer of minimalist, heavily stylized cartoon animation, beginning with ''WesternAnimation/TheDoverBoys''' use of [[MotionBlur smear drawings]] and continuing into many of his more famous works, both for theatrical shorts and TV. He was also closely associated with the early works of Creator/{{UPA}}, a studio who famously boiled animation down to it's bare essentials and who's films were heavily influenced by the minimalism of modern graphic design. However, Jones was vocally adamant about how the practice was used in TV animation as a monetary shortcut, famously calling Creator/HannaBarbera cartoons "illustrated radio," and, when forced to rely on it himself, always made sure the drawings could carry the story as well as the dialogue.

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* LetsSeeYouDoBetter: Jones apparently created the Road Runner series as an AffectionateParody of chase cartoons such as ''WesternAnimation/TomAndJerry'', mocking the simplistic formula and slapstick. A couple of decades later, MGM actually hired Jones to work on the ''T&J'' series itself, which he admitted was more complex to get down pat than he had expected.
* LighterAndSofter: His pre-Dover Boys shorts compared to the cartoons Tex Avery and Bob Clampett were making around the same time. His later cartoons downplayed the BlackComedy present in his 40s '40s and 50s cartoons, '50s cartoons and tended to be much more sentimental in tone.
* LimitedAnimation: A pioneer of minimalist, heavily stylized cartoon animation, beginning with ''WesternAnimation/TheDoverBoys''' use of [[MotionBlur smear drawings]] and continuing into many of his more famous works, both for theatrical shorts and TV. He was also closely associated with the early works of Creator/{{UPA}}, a studio who famously boiled animation down to it's its bare essentials and who's whose films were heavily influenced by the minimalism of modern graphic design. However, Jones was vocally adamant about how the practice was used in TV animation as a monetary shortcut, famously calling Creator/HannaBarbera cartoons "illustrated radio," and, when forced to rely on it himself, always made sure the drawings could carry the story as well as the dialogue.



->"Fish cannot be caricatured. Nature has already imagined every funny-looking personality. The skate family, for example, anticipated [[Creator/PabloPicasso Picasso]] by millions of years. Although these flatfish spend their lives cruising around on their side, they are born upright, with eyes on each side of the head like any other fish. Gradually one eye crawls over to join the other, so that a diver staring down at the ocean floor sees a mouth in profile and two eyes on the same side--just like a Picasso portrait. This arrangement lets the fish look up for enemies, and if he wants food, he just flips over."

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->"Fish -->"Fish cannot be caricatured. Nature has already imagined every funny-looking personality. The skate family, for example, anticipated [[Creator/PabloPicasso Picasso]] by millions of years. Although these flatfish spend their lives cruising around on their side, they are born upright, with eyes on each side of the head like any other fish. Gradually one eye crawls over to join the other, other so that a diver staring down at the ocean floor sees a mouth in profile and two eyes on the same side--just like a Picasso portrait. This arrangement lets the fish look up for enemies, and if he wants food, he just flips over."



* StrictlyFormula: Was notable for making iconic formulas for many recurring characters who had previously interchanged into endless random scenarios and personas throughout their evolution. He was largely responsible for reinventing Bugs as a KarmicTrickster who brought fantastic retribution to a foe bullying him at the start of each short, while reinventing Daffy as a hero wannabe who walked into endless beatings against an obviously outmatching foe. His Road Runner shorts perhaps exist as the most formulaic cartoon series ever made, to the point you could interchange gags and scenes between shorts with little effect on the story whatsoever (with ArtEvolution and AnimationBump as the only way you can tell the cartoons apart, if you're an especially eagle-eyed cartoon viewer).
* TakeThat: In his later years, Chuck became known for his broadsides against made-for-TV animation, believing it did nothing but bring down the struggling art form of full animation (when Bart Simpson was voted one of the greatest cartoon characters ever by TV Guide, a livid Jones mailed a protest letter "signed" by hundreds of his animation colleagues, both alive and dead. He did make exception to Creator/RalphBakshi's ''WesternAnimation/MightyMouseTheNewAdventures'', which he liked for its biting satire), and was extremely critical of the direction of the ''Looney Tunes'' series and its spinoffs from the late 80's and on, referring to shows like ''Tiny Toons'' as a "retarded step child" of the original series in a talk show, and ripped so hard into ''Space Jam'' at a Warner Bros. studio dinner held in his honor that it got him escorted off of the studio lot.

to:

* StrictlyFormula: Was notable for making iconic formulas for many recurring characters who had previously interchanged into endless random scenarios and personas throughout their evolution. He was largely responsible for reinventing Bugs as a KarmicTrickster who brought fantastic retribution to a foe bullying him at the start of each short, short while reinventing Daffy as a hero wannabe who walked into endless beatings against an obviously outmatching foe. His Road Runner shorts perhaps exist as the most formulaic cartoon series ever made, to the point you could interchange gags and scenes between shorts with little effect on the story whatsoever (with ArtEvolution and AnimationBump as the only way you can tell the cartoons apart, apart if you're an especially eagle-eyed cartoon viewer).
* TakeThat: In his later years, Chuck became known for his broadsides against made-for-TV animation, believing it did nothing but bring down the struggling art form of full animation (when Bart Simpson was voted one of the greatest cartoon characters ever by TV Guide, a livid Jones mailed a protest letter "signed" by hundreds of his animation colleagues, both alive and dead. He did make exception to Creator/RalphBakshi's ''WesternAnimation/MightyMouseTheNewAdventures'', which he liked for its biting satire), and was extremely critical of the direction of the ''Looney Tunes'' series and its spinoffs from the late 80's '80s and on, referring to shows like ''Tiny Toons'' as a "retarded step child" stepchild" of the original series in a talk show, and ripped so hard into ''Space Jam'' at a Warner Bros. studio dinner held in his honor that it got him escorted off of the studio lot.


->"Fish cannot be caricatured. Nature has already imagined every funny-looking personality. The skate family, for example, anticipated Creator/{{Picasso}} by millions of years. Although these flatfish spend their lives cruising around on their side, they are born upright, with eyes on each side of the head like any other fish. Gradually one eye crawls over to join the other, so that a diver staring down at the ocean floor sees a mouth in profile and two eyes on the same side--just like a Picasso portrait. This arrangement lets the fish look up for enemies, and if he wants food, he just flips over."

to:

->"Fish cannot be caricatured. Nature has already imagined every funny-looking personality. The skate family, for example, anticipated Creator/{{Picasso}} [[Creator/PabloPicasso Picasso]] by millions of years. Although these flatfish spend their lives cruising around on their side, they are born upright, with eyes on each side of the head like any other fish. Gradually one eye crawls over to join the other, so that a diver staring down at the ocean floor sees a mouth in profile and two eyes on the same side--just like a Picasso portrait. This arrangement lets the fish look up for enemies, and if he wants food, he just flips over."


* FriendlyRivalry: With his fellow WB animation directors, most notably Creator/BobClampett. The rivalry with Clampett became decidedly less friendly when the two had a personal falling-out in the late '70s, after Clampett gave an interview claiming to be the sole creator of Bugs Bunny. (Clampett had reportedly claimed credit for Sniffles the Mouse too-- and while Chuck definitely considered Sniffles an OldShame, nonetheless it was ''his'' creation.)
** FandomRivalry: Fans of Clampett find Jones's work too controlled, while fans of Jones find Clampett's to be too anarchistic.
** Jones clearly regarded Creator/WaltDisney highly, being influenced by the man and working at [[Franchise/DisneyAnimatedCanon Disney Animation]] and ''Disney/SleepingBeauty'' for four months before he was convinced to return to Warner; he would work with Disney a second time on the famous "Dueling Pianos" sequence in ''Film/WhoFramedRogerRabbit'', though he was far from fond of this result. Disney also appointed him as one of the 12 founding heads of the Alumni Association at [=CalArts=] in 1965.

to:

* FriendlyRivalry: With his fellow WB animation directors, most notably Creator/BobClampett. Creator/BobClampett.
**
The rivalry with Clampett became decidedly less friendly when the two had [[WeUsedToBeFriends a personal falling-out falling-out]] in the late '70s, after Clampett gave an interview claiming to be the sole creator of Bugs Bunny. (Clampett had reportedly claimed credit for Bunny ''and'' Sniffles The Mouse, the Mouse too-- and while Chuck definitely considered Sniffles latter of which was famously Jones' creation (Sniffles may have been an OldShame, nonetheless it OldShame to Jones, but the characters was ''his'' creation.)
** FandomRivalry: Fans
to disown). There's even a rumor that his dissatisfaction with the dueling pianos scene in ''Film/WhoFramedRogerRabbit'' was largely because the filmmakers used Clampet's "zany" version of Clampett find Jones's work too controlled, while fans of Jones find Clampett's to be too anarchistic.
Daffy Duck rather than his own "selfish jerk" version.
** Jones clearly regarded Creator/WaltDisney highly, being influenced by the man and working at [[Franchise/DisneyAnimatedCanon Disney Animation]] and ''Disney/SleepingBeauty'' for four months before he was convinced to return to Warner; he Warner, politely telling Walt "The only job I really want here is yours." Jones would work with Disney a second time on the famous "Dueling Pianos" sequence in ''Film/WhoFramedRogerRabbit'', though he was far from fond of this result. Disney also appointed him as one of the 12 founding heads of the Alumni Association at [=CalArts=] in 1965.



* LimitedAnimation: Chuck was ''not'' a fan of this, at least not the way it was used as a blatant monetary shortcut in TV cartoons like Hanna-Barbera that played up dialogue over strong visual storytelling and performance. When Chuck himself was forced to rely on it, he always made a point of making sure the drawings could carry the story as well as the dialogue.

to:

* LimitedAnimation: Chuck A pioneer of minimalist, heavily stylized cartoon animation, beginning with ''WesternAnimation/TheDoverBoys''' use of [[MotionBlur smear drawings]] and continuing into many of his more famous works, both for theatrical shorts and TV. He was ''not'' a fan of this, at least not also closely associated with the way it early works of Creator/{{UPA}}, a studio who famously boiled animation down to it's bare essentials and who's films were heavily influenced by the minimalism of modern graphic design. However, Jones was vocally adamant about how the practice was used in TV animation as a blatant monetary shortcut in TV shortcut, famously calling Creator/HannaBarbera cartoons like Hanna-Barbera that played up dialogue over strong visual storytelling and performance. When Chuck himself was "illustrated radio," and, when forced to rely on it, he it himself, always made a point of making sure the drawings could carry the story as well as the dialogue.

Added DiffLines:

* NoCartoonFish: He had an interesting observation about why this is used, quoted in his second biography ''Chuck Reducks'':
->"Fish cannot be caricatured. Nature has already imagined every funny-looking personality. The skate family, for example, anticipated Creator/{{Picasso}} by millions of years. Although these flatfish spend their lives cruising around on their side, they are born upright, with eyes on each side of the head like any other fish. Gradually one eye crawls over to join the other, so that a diver staring down at the ocean floor sees a mouth in profile and two eyes on the same side--just like a Picasso portrait. This arrangement lets the fish look up for enemies, and if he wants food, he just flips over."


* TakeThat: In his later years, Chuck became known for his broadsides against made-for-TV animation, believing it did nothing but bring down the struggling art form of full animation (when Bart Simpson was voted one of the greatest cartoon characters ever by TV Guide, a livid Jones mailed a protest letter "signed" by hundreds of his animation colleagues, both alive and dead), and was extremely critical of the direction of the ''Looney Tunes'' series and its spinoffs from the late 80's and on, referring to shows like ''Tiny Toons'' as a "retarded step child" of the original series in a talk show, and ripped so hard into ''Space Jam'' at a Warner Bros. studio dinner held in his honor that it got him escorted off of the studio lot.

to:

* TakeThat: In his later years, Chuck became known for his broadsides against made-for-TV animation, believing it did nothing but bring down the struggling art form of full animation (when Bart Simpson was voted one of the greatest cartoon characters ever by TV Guide, a livid Jones mailed a protest letter "signed" by hundreds of his animation colleagues, both alive and dead), dead. He did make exception to Creator/RalphBakshi's ''WesternAnimation/MightyMouseTheNewAdventures'', which he liked for its biting satire), and was extremely critical of the direction of the ''Looney Tunes'' series and its spinoffs from the late 80's and on, referring to shows like ''Tiny Toons'' as a "retarded step child" of the original series in a talk show, and ripped so hard into ''Space Jam'' at a Warner Bros. studio dinner held in his honor that it got him escorted off of the studio lot.


Jones's later projects came less frequently. He produced several TV specials in the '70s such as three hailed adaptations of stories from Creator/RudyardKipling's ''Literature/TheJungleBook'', tried his hand at NewspaperComics with the short-lived strip ''Crawford'', storyboarded a bit for ''Film/WhoFramedRogerRabbit'' (though he ended up hating the final product), and helmed several ''Looney Tunes'' revival shorts such as ''Chariots of Fur" and "Superior Duck''. He started inking and painting cels as collectibles and sold at various venues. His absolute last project would be the UsefulNotes/AdobeFlash web series ''WebAnimation/TimberWolf'', hosted on the Warner Bros. official site.

to:

Jones's later projects came less frequently. He produced several TV specials in the '70s such as three hailed adaptations of stories from Creator/RudyardKipling's ''Literature/TheJungleBook'', tried his hand at NewspaperComics with the short-lived strip ''Crawford'', storyboarded a bit for ''Film/WhoFramedRogerRabbit'' (though he ended up hating the final product), and helmed several ''Looney Tunes'' revival shorts such as ''Chariots "Chariots of Fur" and "Superior Duck''.Duck". He started inking and painting cels as collectibles and sold at various venues. His absolute last project would be the UsefulNotes/AdobeFlash web series ''WebAnimation/TimberWolf'', hosted on the Warner Bros. official site.

Added DiffLines:

* TakeThat: In his later years, Chuck became known for his broadsides against made-for-TV animation, believing it did nothing but bring down the struggling art form of full animation (when Bart Simpson was voted one of the greatest cartoon characters ever by TV Guide, a livid Jones mailed a protest letter "signed" by hundreds of his animation colleagues, both alive and dead), and was extremely critical of the direction of the ''Looney Tunes'' series and its spinoffs from the late 80's and on, referring to shows like ''Tiny Toons'' as a "retarded step child" of the original series in a talk show, and ripped so hard into ''Space Jam'' at a Warner Bros. studio dinner held in his honor that it got him escorted off of the studio lot.


* FriendlyRivalry: With his fellow WB animation directors, most notably Creator/BobClampett.

to:

* FriendlyRivalry: With his fellow WB animation directors, most notably Creator/BobClampett. The rivalry with Clampett became decidedly less friendly when the two had a personal falling-out in the late '70s, after Clampett gave an interview claiming to be the sole creator of Bugs Bunny. (Clampett had reportedly claimed credit for Sniffles the Mouse too-- and while Chuck definitely considered Sniffles an OldShame, nonetheless it was ''his'' creation.)



** The rivalry with Clampett became decidedly less friendly when the two had a personal falling-out in the late '70s, after Clampett gave an interview claiming to be the sole creator of Bugs Bunny.



* UnPerson: Due to his deep seated hatred of Creator/BobClampett, he went out of his way to avoid mentioning him in his biographies (to the point where he refused to even acknowledge that he briefly animated for Bob in his filmography), interviewers were explicitly barred from bringing him up, and he refused to talk to any media that associated with him.

to:

* UnPerson: Due to his deep seated hatred of distaste for Creator/BobClampett, he went out of his way to avoid mentioning gives him in his biographies (to only the point where he refused to even acknowledge that he briefly animated for Bob briefest of mentions in his filmography), the biography ''Chuck Amuck'', interviewers were explicitly barred from bringing him up, and he refused to talk to any media that associated with him.


* Baby Buggy Bunny

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* Baby Buggy Bunny
WesternAnimation/BabyBuggyBunny


* Gold-Diggers of '49: Animated for Creator/TexAvery on the short.

to:

* Gold-Diggers of '49: WesternAnimation/GoldDiggersOf49: Animated for Creator/TexAvery on the short.



* Porky & Gabby: Co-directed with Creator/BobClampett, although Creator/UbIwerks was credited for direction.

to:

* Porky & Gabby: WesternAnimation/PorkyAndGabby: Co-directed with Creator/BobClampett, although Creator/UbIwerks was credited for direction.



* Porky's Badtime Story

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* Porky's Badtime StoryWesternAnimation/PorkysBadtimeStory



* Porky & Daffy: Animated the Pelican in the film, with rumor being that he based the pelican's flappy chin off of Clampett's own testicles.
* The Night Watchman: Directorial debut.

to:

* Porky & Daffy: WesternAnimation/PorkyAndDaffy: Animated the Pelican in the film, with rumor being that he based the pelican's flappy chin off of Clampett's own testicles.
film.
* The Night Watchman: WesternAnimation/TheNightWatchman: Directorial debut.


* To Beep or Not to Beep

to:

* To Beep or Not to BeepWesternAnimation/ToBeepOrNotToBeep


* Barbary Coast Bunny: Only Bugs Bunny short where he appears with Nasty Canasta.
* Rocket-Bye Baby: One of Literature/The100GreatestLooneyTunes.

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* Barbary Coast Bunny: WesternAnimation/BarbaryCoastBunny: Only Bugs Bunny short where he appears with Nasty Canasta.
* Rocket-Bye Baby: WesternAnimation/RocketByeBaby: One of Literature/The100GreatestLooneyTunes.


* Really Scent

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* Really ScentWesternAnimation/ReallyScent


* Rabbit Rampage: A sequel to WesternAnimation/DuckAmuck, but with Bugs Bunny being the victim.

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* Rabbit Rampage: WesternAnimation/RabbitRampage: A sequel to WesternAnimation/DuckAmuck, but with Bugs Bunny being the victim.

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