Commercial Animation Directors During 1930s and 1940s

, and could implement such thought process with action. His fancies were those of a dog, or a male child, and he never questioned those impulses (Jones 25-26).

The uncle at that placeof developed in the boy a sense that he could talk with anyone and learn from them. In addition, what the uncle developed in the boy was a love for and understanding of stories and their power just a stories:

I remember all of us listening with the more or less slavish love to Uncle Lynn's stories. He never disappointed us, the closedown was all a small boy could hope for: there was never a hint of morality, no overt ham-handed effort to make us better children, better adults, or better anything except learning the love of listening (Jones 27).

This could be a exposition of Jones's own use of stories in his presently films, stories for their own sake.

Jones cites his father as a nonher important lick on his young life and credits him with helping the boy develop a love for language, something else that would be important in his film career as he found ways to mangle wrangling and create humor through the act. He remembers his father complaining about Warren Gamaliel Harding because he did not use the language properly:

"Warren Gamaliel Harding," he grunted angrily, "shovels words with the same lack of respect we would show in shoveling manure. As long as it sounds portentous, it doesn't matter to him if it has intend. He doesn't know the meaning of the word

Jones would learn a lesson from this much later, one that infuses his best films:

Jones was excessively responsible for the design of several of the Warner Bros. characters. Pepe LePew was one such character, a character whose clamant actions never managed to overcome the limitations of the original idea. Jones could indulge in his pastime at language through mangled pseudo-French dialogue (Maltin 254).

Jones also believes that a degree of acting ability is necessary for an animator, and he says this is the difference between an animator and a graphic artificer:

Jones cites the description Twain wrote in Roughing It, and he would follow that description years later in creating Wile E. coyote for the passageway Runner cartoons. The genesis of that character could be found in the fact that young Jones studied the measurements of the creature and found that it would be about the same size as his eleven-year-old self. He push invested this character with characteristics he saw in himself:

Jones entered the fledgling spirit industry in 1932 as a cel washer at Ubbe Iwerks Studio after he had graduated from the Chouinard Art add (now California Institute of the Arts.) He then joined the Leon Schlesinger Studio, which was later sold to Warner Bros., as an animator in 1936. Jones was assigned to Tex Avery's life force unit, and in 1938, at the age of 25, he directed his startle animated film--"The Night Watchman." Jones remained at Warner Bros. Animation until it closed in 1962, except for a brief period with Disney Studios in 1955 during a hiatus at Warner Bros. ("Chuck Jones" www.chuckjones.com).

The father taught the importance of clearcutness in language and how that would help convey something to a meeter that muddled language never could.

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