History Creator / ChuckJones

* Curiosity Shop

On top of all that, with shorts ranging from "WesternAnimation/OneFroggyEvening" to "WesternAnimation/DuckAmuck," as well as other recurring characters like WesternAnimation/ElmerFudd,[[note]]after his transition from Avery's Egghead[[/note]] Hubie and Bertie, Charlie Dog, WesternAnimation/PepeLePew, Marvin the Martian, Ralph Wolf and Sam Sheepdog, Marc Antony and Pussyfoot, and the Three Bears, Jones created some of the best-loved shorts in the ''WesternAnimation/LooneyTunes'' series. His magnum opus for Warner Bros. (and possibly the short-form animation as a whole) was the epic Music/RichardWagner parody "WesternAnimation/WhatsOperaDoc" which condensed the entirety of Wagner's ''[[Theatre/TheRingOfTheNibelung Der Ring Des Nibelungen]]'' into six minutes AND provided an excellent deconstruction of the (by the time already clichéd) Bugs vs Elmer schtick.

Jones's later projects came less frequently. He produced several TV specials in the '70s and '80s (including three hailed adaptations of stories from Creator/RudyardKipling's ''Literature/TheJungleBook''), tried his hand at NewspaperComics with the short-lived daily strip ''Crawford'', storyboarded a bit for ''Film/WhoFramedRogerRabbit'', and helmed several '90s ''Looney Tunes'' revival shorts such as "Chariots of Fur" and "Superior Duck". He also started inking and painting collectible cels for sale at various venues. His absolute last project would be the UsefulNotes/AdobeFlash web series ''WebAnimation/TimberWolf'', hosted on the Warner Bros. official site.

Chuck's work as an animation director for WB in the 1950s took the elements Avery had laid out and stretched them to their most logical (illogical?) extremes. On the one hand, his most prolific original characters, the [[WesternAnimation/WileECoyoteAndTheRoadRunner Road Runner and Wile E. Coyote]], used no real dialogue, instead relying on expertly timed facial expressions and {{slapstick}} that even Film/TheThreeStooges might have envied. On the other end of the spectrum, Jones's work with WesternAnimation/BugsBunny and WesternAnimation/DaffyDuck, although not discarding the slapstick, brought comedic wordplay to a level not seen in animation up to that point. In addition, he refined their personalities, such as making Bugs a KarmicTrickster who'd generally bedevil people ''only'' after they'd threatened or mistreated him, and refashioning Daffy into a self-centered, insecure, and invariably unsuccessful pretender to Bugs' trickster throne. As Jones himself later put it:

On top of all that, with shorts ranging from "WesternAnimation/OneFroggyEvening" to "WesternAnimation/DuckAmuck," as well as other recurring characters like WesternAnimation/ElmerFudd,[[note]]after his transition from Avery's Egghead[[/note]] Hubie and Bertie, Charlie Dog, WesternAnimation/PepeLePew, Marvin the Martian, Ralph Wolf and Sam Sheepdog, Marc Antony and Pussyfoot, and the Three Bears, Jones created some of the best-loved shorts in the ''WesternAnimation/LooneyTunes'' series. His magnum opus for Warner Bros. (and possibly the short-form animation as a whole) was the epic Music/RichardWagner parody "WesternAnimation/WhatsOperaDoc" which condensed the entirety of Wagner's ''[[Theatre/TheRingOfTheNibelung Der Ring Des Nibelungen]]'' into six minutes AND provided an excellent deconstruction of the (by that point already clichéd) Bugs and Elmer formula.

Post-Warner, Jones still had a few tricks up his sleeve. He went to Creator/{{MGM}}, where he took over the ''WesternAnimation/TomAndJerry'' series for a time (although, because of a lower budget and Chuck's self-admitted lack of understanding of the characters, his ''T&J'' shorts are often criticized for not being up to either his own standards or those of [[Creator/HannaBarbera Bill Hanna and Joe Barbera]], who had originated the series – never mind that the Creator/GeneDeitch cartoons that came in between were ''{{deranged|Animation}}'' and far worse on a technical level than what Jones put out), while also creating a few memorable one-shot cartoons based on children's books, most notably the Oscar-winning "The Dot and the Line". Jones also found himself reuniting with Ted Geisel, a.k.a Creator/DrSeuss, and with the help of the voice of Creator/BorisKarloff, created the much-beloved television adaptation of ''WesternAnimation/HowTheGrinchStoleChristmas'', which is still rebroadcast every holiday season on Warner Media-owned networks. Jones is also famous for his well-animated version of ''Literature/ThePhantomTollbooth'', making him and Frank Tashlin the only ''WesternAnimation/LooneyTunes'' directors to direct a feature film that wasn't just a compilation of old shorts.

Jones's later projects came less frequently. He produced several TV specials in the '70s and '80s (including three hailed adaptations of stories from Creator/RudyardKipling's ''Literature/TheJungleBook''), tried his hand at NewspaperComics with the short-lived daily strip ''Crawford'', storyboarded a bit for ''Film/WhoFramedRogerRabbit'' (though he ended up [[CreatorBacklash hating the final product]]), and helmed several '90s ''Looney Tunes'' revival shorts such as "Chariots of Fur" and "Superior Duck". He also started inking and painting collectible cels for sale at various venues. His absolute last project would be the UsefulNotes/AdobeFlash web series ''WebAnimation/TimberWolf'', hosted on the Warner Bros. official site.

On top of all that, with shorts ranging from "WesternAnimation/OneFroggyEvening" to "WesternAnimation/DuckAmuck," as well as recurring characters like WesternAnimation/ElmerFudd,[[note]]after his transition from Avery's Egghead[[/note]] Hubie and Bertie, Charlie Dog, Wile E. Coyote and the Road Runner, WesternAnimation/PepeLePew, Marvin the Martian, Ralph Wolf and Sam Sheepdog, Marc Antony and Pussyfoot, and the Three Bears, Jones created some of the best-loved shorts in the ''WesternAnimation/LooneyTunes'' series. His magnum opus for Warner Bros. (and possibly the short-form animation as a whole) was the epic Music/RichardWagner parody "WesternAnimation/WhatsOperaDoc" which condensed the entirety of Wagner's ''[[Theatre/TheRingOfTheNibelung Der Ring Des Nibelungen]]'' into six minutes AND provided an excellent deconstruction of the (by that point already clichéd) Bugs and Elmer formula.

On top of all that, with shorts ranging from "WesternAnimation/OneFroggyEvening" to "WesternAnimation/DuckAmuck," as well as recurring characters like WesternAnimation/ElmerFudd,[[note]]after his transition from Avery's Egghead[[/note]] Hubie and Bertie, Charlie Dog, Wile E. Coyote and the Road Runner, WesternAnimation/PepeLePew, Marvin the Martian, Ralph Wolf and Sam Sheepdog, Marc Antony and Pussyfoot, and the Three Bears, Jones created some of the best-loved shorts in the ''WesternAnimation/LooneyTunes'' series. His magnum opus for Warner Bros. (and possibly the short-form animation as a whole) was the epic Music/RichardWagner parody "WesternAnimation/WhatsOperaDoc" which condensed the entirety of Wagner's ''[[Theatre/TheRingOfTheNibelung Der Ring Des Nibelungen]]'' into 6 minutes AND provided an excellent deconstruction of the by that point already cliché Bugs and Elmer formula.

Jones's later projects came less frequently. He produced several TV specials in the '70s and '80s (including three hailed adaptations of stories from Creator/RudyardKipling's ''Literature/TheJungleBook''), tried his hand at NewspaperComics with the short-lived daily strip ''Crawford'', storyboarded a bit for ''Film/WhoFramedRogerRabbit'' (though he ended up hating the final product), and helmed several '90s ''Looney Tunes'' revival shorts such as "Chariots of Fur" and "Superior Duck". He also started inking and painting collectible cels for sale at various venues. His absolute last project would be the UsefulNotes/AdobeFlash web series ''WebAnimation/TimberWolf'', hosted on the Warner Bros. official site.

* Literature/HortonHearsAWho

** ''Literature/HortonHearsAWho'': Another made-for-TV adaptation of a Dr Seuss story.

On top of all that, with shorts ranging from "WesternAnimation/OneFroggyEvening" to "WesternAnimation/DuckAmuck," as well as recurring characters like WesternAnimation/ElmerFudd,[[note]]after his transition from Avery's Egghead[[/note]] Hubie and Bertie, Charlie Dog, Wile E. Coyote and the Road Runner, WesternAnimation/PepeLePew, Marvin the Martian, Ralph Wolf and Sam Sheepdog, Marc Antony and Pussyfoot, and the Three Bears, Jones created some of the best-loved shorts in the ''WesternAnimation/LooneyTunes'' series.

* BreakingTheFourthWall: Happens regularly in his work, most notably in "WesternAnimation/DuckAmuck" and its less successful sequel, "Rabbit Rampage".

Post-Warner, Jones still had a few tricks up his sleeve. He went to Creator/{{MGM}} and took over the ''WesternAnimation/TomAndJerry'' franchise for a time (although, because of a lower budget and Chuck's self-admitted lack of understanding of the characters, his ''T&J'' shorts are often criticized for not being up to either his own standards or those of [[Creator/HannaBarbera Bill Hanna and Joe Barbera]], who had originated the series – never mind that the Creator/GeneDeitch cartoons that came in between were ''{{deranged|Animation}}'' and far worse on a technical level than what Jones put out), while also creating a few memorable one-shot cartoons based on children's books, most notably the Oscar-winning "The Dot and the Line". Jones also found himself reuniting with Ted Geisel, a.k.a Creator/DrSeuss, and with the help of the voice of Creator/BorisKarloff, created the much-beloved television adaptation of ''WesternAnimation/HowTheGrinchStoleChristmas'', which is still rebroadcast every holiday season on Warner Media-owned networks. Jones is also famous for his well-animated version of ''Literature/ThePhantomTollbooth'', making him and Frank Tashlin the only ''WesternAnimation/LooneyTunes'' directors to direct a feature film that wasn't just a compilation of old shorts.

* TastesLikeDiabetes: His early shorts are very saccharine, most notably those staring Sniffles the Mouse and the Curious Puppies. It's telling he immediately retired the Puppies once he switched to his new style of direction; he gave Sniffles a few more attempts with a {{Retool}}ed personality that made him a MotorMouth character, but even he was quickly retired after Jones realized there was no comedic potential for the character.

Chuck's work as an animation director for WB in the 1950s took the elements Avery had laid out and stretched them to their most logical (illogical?) extremes. On the one hand, his most prolific original characters, the [[WesternAnimation/WileECoyoteAndTheRoadRunner Road Runner and Wile E. Coyote]], used no real dialogue, instead relying on expertly timed facial expressions and {{slapstick}} that even Film/TheThreeStooges might have envied. On the other end of the spectrum, Jones's work with WesternAnimation/BugsBunny and WesternAnimation/DaffyDuck, although not discarding the slapstick, brought comedic wordplay to a level not seen in animation up to that point. In addition, he refined their personalities, such as making Bugs a KarmicTrickster who'd generally bedevil people ''only'' after they threatened or mistreated him, and refashioning Daffy into a self-centered, insecure, and unlucky pretender to Bugs' trickster throne. As Jones himself later put it:

Chuck's work as an animation director for WB in the 1950s took the elements Avery had laid out and stretched them to their most logical (illogical?) extremes. On the one hand, his most prolific original characters, the [[WesternAnimation/WileECoyoteAndTheRoadRunner Road Runner and Wile E. Coyote]], used no real dialogue, instead relying on expertly timed facial expressions and {{slapstick}} that even Film/TheThreeStooges might have envied. On the other end of the spectrum, Jones' work with WesternAnimation/BugsBunny and WesternAnimation/DaffyDuck, while not discarding the slapstick, brought comedic wordplay to a level not seen in animation up to that point. In addition, he refined their personalities, such as making Bugs a KarmicTrickster who'd generally bedevil people ''only'' after they threatened or mistreated him, and reimagining Daffy as a self-centered, insecure pretender to Bugs' trickster throne. As Jones himself later put it:

Jones' time at Warner Bros. ended rather abruptly, after it was discovered that he had violated his exclusive contract – a violation that was discovered when he left his name on an independent project that was subsequently shopped to the studio for distribution, that being the [[Creator/ColumbiaCartoons UPA]] feature ''WesternAnimation/GayPurree''. (Earlier, during Warner's temporary shutdown of its cartoon studio in 1953 as it hopped on the UsefulNotes/ThreeDMovie fad, Jones spent four months at Creator/{{Disney}}, where he chafed under that studio's rigidly hierarchical structure and made no real contributions save for some minor uncredited work on ''WesternAnimation/SleepingBeauty''.)

Chuck's work as an animation director for WB in the 1950s took the elements Avery had laid out and stretched them to their most logical (illogical?) extremes. On the one hand, his most prolific original characters, the [[WesternAnimation/WileECoyoteAndTheRoadRunner Road Runner and Wile E. Coyote]], used no real dialogue, instead relying on expertly timed facial expressions and {{slapstick}} that even Film/TheThreeStooges might have envied. On the other end of the spectrum, Jones' work with WesternAnimation/BugsBunny and WesternAnimation/DaffyDuck, while not discarding the slapstick, brought comedic wordplay to a level not seen in animation up to that point. In addition, he deepened their personalities such as making Bugs generally bedevil people ''only'' after they've threatened or mistreated him: a classic KarmicTrickster. Daffy is made an insecure pretender to Bugs' trickster throne.

On top of all that, with shorts ranging from "WesternAnimation/OneFroggyEvening" to "WesternAnimation/DuckAmuck," as well as recurring characters like WesternAnimation/ElmerFudd,[[note]]after his transition from Avery's Egghead[[/note]] Charlie Dog, Wile E. Coyote and the Road Runner, WesternAnimation/PepeLePew, Marvin the Martian, Ralph Wolf and Sam Sheepdog, Marc Antony and Pussyfoot, and the Three Bears, Jones created some of the best-loved shorts in the ''WesternAnimation/LooneyTunes'' series.

On top of all that, with shorts ranging from "WesternAnimation/OneFroggyEvening" to "WesternAnimation/DuckAmuck," as well as recurring characters like WesternAnimation/ElmerFudd[[note]]after his transition from Avery's Egghead[[/note]], Charlie Dog, Wile E. Coyote and the Road Runner, WesternAnimation/PepeLePew, Marvin the Martian, Ralph Wolf and Sam Sheepdog, Marc Antony and Pussyfoot, and the Three Bears, Jones created some of the best-loved shorts in the ''WesternAnimation/LooneyTunes'' series.

Jones' time at Warner Bros. ended rather abruptly after it was discovered that he had violated his exclusive contract – a violation that was discovered when he left his name on an independent project that was subsequently shopped to the studio for distribution, that being the [[Creator/ColumbiaCartoons UPA]] feature ''WesternAnimation/GayPurree''. (Earlier, during Warner's temporary shutdown of its cartoon studio in 1953 as it hopped on the UsefulNotes/ThreeDMovie fad, Jones spent four months at Creator/{{Disney}}, where he chafed under that studio's rigidly hierarchical structure and made no real contributions save for some minor uncredited work on ''WesternAnimation/SleepingBeauty''.)

Jones' time at Warner Bros. ended rather abruptly after it was discovered that he had violated his exclusive contract – a violation that was discovered by him leaving his name on an independent project that was subsequently shopped to the studio for distribution, that being the [[Creator/ColumbiaCartoons UPA]] feature ''WesternAnimation/GayPurree''. (Earlier, during Warner's temporary shutdown of its cartoon studio in 1953 as it hopped on the UsefulNotes/ThreeDMovie fad, Jones spent four months at Creator/{{Disney}}, where he chafed under that studio's rigidly hierarchical structure and made no real contributions apart from some minor, uncredited work on ''WesternAnimation/SleepingBeauty''.)

Jones' time at Warner Bros. ended rather abruptly when it was discovered he had violated his exclusive contract – a violation that was discovered by him leaving his name on an independent project that was subsequently shopped to the studio for distribution, that being the [[Creator/ColumbiaCartoons UPA]] feature ''WesternAnimation/GayPurree''. (Earlier, during Warner's temporary shutdown of its cartoon studio in 1953 as it hopped on the UsefulNotes/ThreeDMovie fad, Jones spent four months at Creator/{{Disney}}, where he chafed under that studio's rigidly hierarchical structure and made no real contributions save for some minor uncredited work on ''WesternAnimation/SleepingBeauty''.)

Post-Warner, Jones still had a few tricks up his sleeve. He went to Creator/{{MGM}} and took over the ''WesternAnimation/TomAndJerry'' franchise for a time (although, because of a lower budget and Chuck's self-admitted lack of understanding of the characters, his ''T&J'' shorts are often criticized for not being up to either his own standards or those of [[Creator/HannaBarbera Bill Hanna and Joe Barbera]], who had originated the series – never mind that the Creator/GeneDeitch cartoons that came in between were ''{{deranged|Animation}}'' and far worse on a technical level than what Jones put out), while also creating a few memorable one-shot cartoons based on children's books, most notably the Oscar-winning "The Dot and the Line". Jones also found himself reuniting with Ted Geisel, a.k.a Creator/DrSeuss, and with the help of the voice of Creator/BorisKarloff, created the much-beloved television adaptation of ''WesternAnimation/HowTheGrinchStoleChristmas'', which is still rebroadcast every holiday season on Warner Media-owned networks. Jones is also famous for his well-animated version of ''Literature/ThePhantomTollbooth'', making him and Frank Tashlin the only ''WesternAnimation/LooneyTunes'' directors to direct a feature film that wasn't a compilation of old shorts.

Post-Warner, Jones still had a few tricks up his sleeve. He went to Creator/{{MGM}} and took over the ''WesternAnimation/TomAndJerry'' franchise for a time (although, because of a lower budget and Chuck's self-admitted lack of understanding of the characters, his ''T&J'' shorts are often criticized for not being up to either his own standards or those of [[Creator/HannaBarbera Bill Hanna and Joe Barbera]], who had originated the series – never mind that the Creator/GeneDeitch cartoons that came in between were ''{{deranged|Animation}}'' and far worse on a technical level than what Jones put out), while also creating a few memorable one-shot cartoons based on children's books, most notably the Oscar-winning "The Dot and the Line". Jones also found himself reuniting with Ted Geisel, a.k.a Creator/DrSeuss, and with the help of the voice of Creator/BorisKarloff, created the much-beloved television adaptation of ''WesternAnimation/HowTheGrinchStoleChristmas'', which is still rebroadcast every holiday season on Warner Media-owned networks. He is also famous for his well-animated version of ''Literature/ThePhantomTollbooth'', making him and Frank Tashlin the only ''WesternAnimation/LooneyTunes'' directors to direct a feature film that wasn't a compilation of old shorts.

* WesternAnimation/{{Hare-Way to the Stars}}

* The Blow Out

* Fresh Airedale
* Hare Tonic

* Get Rich Quick Porky

Chuck's work as an animation director for WB in the 1950s took the elements Avery had laid out and stretched them to their most logical (illogical?) extremes. On the one hand, his most prolific original characters, the [[WesternAnimation/WileECoyoteAndTheRoadRunner Road Runner and Wile E. Coyote]], used next to no dialogue, instead relying on expertly timed facial expressions and {{slapstick}} that even Film/TheThreeStooges might have envied. On the other end of the spectrum, Jones' work with WesternAnimation/BugsBunny and WesternAnimation/DaffyDuck, while not discarding the slapstick, brought comedic wordplay to a level not seen in animation up to that point. In addition, he deepened their personalities such as making Bugs generally bedevil people ''only'' after they've threatened or mistreated him: a classic KarmicTrickster. Daffy is made an insecure pretender to Bugs' trickster throne.

Post-Warner, Jones still had a few tricks up his sleeve. He went to Creator/{{MGM}} and took over the ''WesternAnimation/TomAndJerry'' franchise for a time (although, due to a lower budget and Chuck's self-admitted lack of understanding of the characters, his ''T&J'' shorts are often criticized for not being up to either his own standards or those of [[Creator/HannaBarbera Bill Hanna and Joe Barbera]], who had originated the series – never mind that the Creator/GeneDeitch cartoons that came in between were ''{{deranged|Animation}}'' and far worse on a technical level than what Jones put out), while also creating a few memorable one-shot cartoons based on children's books, most notably the Oscar-winning "The Dot and the Line". Jones also found himself reuniting with Ted Geisel, a.k.a Creator/DrSeuss, and with the help of the voice of Creator/BorisKarloff, created the much-beloved television adaptation of ''WesternAnimation/HowTheGrinchStoleChristmas'', which is still rebroadcast every holiday season on Warner Media-owned networks. He is also famous for his well-animated version of ''Literature/ThePhantomTollbooth'', making him and Frank Tashlin the only ''WesternAnimation/LooneyTunes'' directors to direct a feature film that wasn't a compilation of old shorts.

If Creator/TexAvery -- hypothetically put forward as the original animation gag man -- was the {{Trope Maker|s}}, then Chuck Jones could well have been the TropeCodifier of much of what we consider cartoon comedy on the WesternAnimation side of the fence. During his tenure with Creator/WarnerBros, he directed an impressive 207 ''WesternAnimation/LooneyTunes'' and ''[[WesternAnimation/LooneyTunes Merrie Melodies]]'' shorts (220 if you count his WesternAnimation/PrivateSnafu work), four ''Looney Tunes'' TV specials, the feature-length compilation ''The Bugs Bunny[=/=]Road Runner Movie'', and seven modern ''Looney Tunes'' shorts.

* Duel Personality

Jones' time at Warner Bros. ended rather abruptly when it was discovered he had violated his exclusive contract – a violation that was discovered by him leaving his name on an independent project that was subsequently shopped to the studio for distribution, that being the [[Creator/ColumbiaCartoons UPA]] feature ''WesternAnimation/GayPurree''. (Earlier, during Warner's temporary shutdown of its cartoon studio in 1953 as it hopped on the UsefulNotes/ThreeDMovie fad, Jones had spent four months at Creator/{{Disney}}, where he chafed under that studio's rigidly hierarchical structure and made no real contributions save for some minor uncredited work on ''WesternAnimation/SleepingBeauty''.)

* ArtEvolution: While always having a strong visual style, Jones' cartoons looked strikingly different depending on the era: His early cartoons (1938-1942) had a strong Disney influence, especially prominent in ''Old Glory'' and ''Kiddie Hunters'', the latter having backgrounds painted by cartoonist/illustrator Jimmy Swinnerton. Between 1942 and 1948 he took a more modernistic approach, predating the UPA style by a few years. After 1948 he began to develop what would become his signature style, once again drawing inspiration from Disney, which in turn had changed its style to resemble that of the Looney Tunes.