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Two of the biggest cartoon characters ever interacting with each other? Tell me that's not awesome!

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  • Eddie Valiant killing the weasels by doing nothing but act like a Toon — that is, doing silly dances, rhyming, and abusing himself. Hell, the entire climax probably counts as a CMoA.
  • Eddie solves the location of the will with just these pieces of largely circumstantial evidence:
    • Roger telling him, categorically, that he found a blank sheet of paper in Jessica's changing room and wrote on it.
    • Jessica explaining that while Acme said he was giving her the will, the paper she was handed was blank. "A joker to the end!"
    • Marvin Acme sprayed him with his fountain pen, causing a small ink stain that disappeared.
      • Due to that, he had the key piece of evidence, the "love letter," and also a small bit of less important evidence, namely that Marvin Acme had special ink in his pen.
  • Eddie tricking Roger into drinking alcohol (making him scream hard enough to repel Doom), battling shortly the weasels, and catching Roger right before he falls in the dip.
    • Smart Ass also deserves mention for being the only weasel who puts up a decent fight against Eddie, even though their fight was short-lived.
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  • The chase between Benny the cab, the cops and the Toon patrol.
  • Just before he heads into Toontown, Eddie takes out a cartoon revolver that Yosemite Sam gave him as a thank you gift years ago and uncovers six cartoon bullets.
    Bullet 1: Eddie Valiant! You're a sight for sore eyes!
    Bullet 2: I ain't seen you for nigh onto five years!
    Bullet 1: Where ya been?
    Eddie: ...Drunk. You feelin' frisky tonight, fellas?
    Bullets: Yeah!
    Eddie: (clicks open the gun cylinder) Let's go.
    Bullets: (hoot and holler as they jump into the chambers)
    • Right after this, Eddie — an admitted heavy drinker — pulls out his bottle, looks at it for a moment, and then pours the remaining alcohol out onto the street. Then he tosses the bottle in the air and takes a practice shot with the gun. The cartoon bullet demolishes it.
  • The fact that Mickey Mouse and Bugs Bunny evidently go parachuting together in their spare time.
  • "I'm not bad. I'm just drawn that way."
  • Even if it didn't work out, Roger barging into the Acme warehouse with a gun to try and save Jessica and Eddie from Doom's clutches is pretty impressive. Considering he knew full well that Doom wanted to kill him, that took guts.
  • Doom gets one of his own:
    Doom: The rabbit says one way or another he and his wife are gonna be happy. Is that true?
    Eddie: Pal, what do I look like? A stenographer?
    Lt. Santino: Shut your yap, Eddie. The man's a judge.
    Doom: That's alright, Lieutenant. From the smell of him, I'd say it was the booze talking.
    (Eddie glares at him)
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    • Eddie manages to get back at him good though with the good ol' handbuzzer.
  • Judge Doom deserves a mention too. He is probably the only villain (well, other than Invader Zim and anyone voiced by Chris Latta) who can pull off a high pitched squeaky voice and make it sound legitimately threatening.
  • When Eddie and Jessica are held as prisoners by Doom and the Toon Patrol, one of the weasels, Greasy, decides to sexually harass Jessica by putting his hand in her breast to "check for weapons". Too bad, Jessica had a bear trap in place which causes the perverted weasel the karmic pain he richly deserves.
    Eddie: Nice booby trap.
  • Judge Doom's New Era Speech about the freeway's construction. Thanks to Christopher Lloyd's very convincing performance it's both terrifying and amazing.

Meta

  • Bob Hoskins deserves some major props for his phenomenal acting. He's TALKING TO AIR for about 95% of the time, but you honestly believe that the cartoons are there with him. A crowning example is Eddie walking through the Maroon Cartoons lot, pausing to observe all of the cartoon antics going on around him. None of which is actually there and you can't tell.
    • What's even more amazing is how he straddles the line between realism and cartoonish exaggeration, which is a testament to his skill and the wisdom of casting him in the first place.
  • Another star of the movie is simply the Visual Effects of Awesome. Never before has animation been so convincingly and brilliantly fused with live-action footage (hardly any computers, mind you) making cartoons actually look like they physically occupy space in reality. It really set the bar for live-action/animation hybrid films even today.
    • The filming of the car chase alone deserves mention. It was filmed with Bob Hoskins inside of a custom built vehicle resembling a go-kart. The wheel Bob had was made of rubber and bendable to make it cartoony, while the kart itself was driven by a second driver sitting below him and close to the road; all of which was drawn over later. For certain shots Bob was replaced by a drawn counterpart, but they go by so fast you would never know unless you freeze frame them (Such as when they're in the alley and Roger spins the car the other way).
    • The scene where Eddie is trying to saw off the handcuffs keeping Roger attached to him is another standout example. The cuff that's supposed to be attached to Roger is being held up via a mechanism inside the box that can be shifted as Roger "moves" and when Roger slips in and out of the cuff, you can see it animated for only a very brief moment. When Roger holds the box still for Eddie, it's either Hoskins himself or something else holding it in place.
    • That cuff scene is more important for another element. The Running Gag of that scene is that Eddie keeps banging his head against an overhead lamp as he and Roger struggle against each other. The swing lamp causes the light to keep shifting and casting light all over the room throughout the entire scene, meaning the animators had to match up the light and shadows on and around Roger when they add him later. Most people in the audience wouldn't notice, and no other collection of artists would have likely cared to put in such a minor, inconsequential, agony-inducing detail, but this team did it anyway. Such dedication and attention and care to detail has an unofficial name: Bumping the Lamp.
  • If you know anything about the legal nightmare of Disney and WB allowing their characters to be used in the film, it's a clear miracle that the movie was made at all. In particular, the two companies' properties had to share exactly the same amount of screen time, which is so smoothly integrated that you'd never notice unless you're looking for it.
  • The film's audio commentary reveals a delicious point: Never do you see Doom blink. Christopher Lloyd came up with the idea and they loved it as it turns out Doom's "eyes" are just fakes to cover up his Toon form. Just try to go several minutes without blinking and see how hard it is.
  • Hats off to the film for kickstarting the The Renaissance Age of Animation, and saving animation in general as we know it. Without this film, any cartoon released after 1988 probably wouldn't have existed.

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