Chuck Amuck: The Life and Times of an Animated Cartoonist by Chuck Jones  (12)
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Editorial Reviews
From Publishers Weekly
Now 84, Jones (Chuck Amuck) has been an animator and a director of animated features for more than 60 years and has created such cartoon figures as Bugs Bunny, Daffy Duck, Elmer Fudd, Wile E. Coyote and Pepe le Pew. He also worked with Dr. Seuss on TV versions of How the Grinch Stole Christmas and Horton Hears a Who, in the course of a career during which he made more than 250 films and won three Oscars. Jones's advice here on how to draw and, more specifically, how to draw animals engaging in various activities will prove valuable to aspiring artists; and his portraits of people he has known?from his captivating Uncle Lynn with his surrealistic view of the world to the monsters who ran the Warner Brothers animation department in the 1930s and '40s?are memorable. The book also includes sidebars with quotes, some by Jones himself and others by writers from Thurber to Emerson. There's some filler here, notably pointless lists of unused titles for innumerable shorts and analyses of numerous minor cartoon characters, but Jones, an American original, is good company?if not quite as engaging as his wascally wabbit. Illustrations not seen by PW.
Copyright 1996 Reed Business Information, Inc.
From Library Journal
Jones is famous for having refined the characters of Bugs and Daffy, among others, and perfected the art of the six-minute animation short. Like his preceding memoir, Chuck Amuck (LJ 3/15/90), this book consists of reminiscences, informative sidebars, and occasional non sequiturs. His career-oriented anecdotes are more mesmerizing than his familial ones, and much similar territory is covered in Chuck Amuck. Aphorisms abound (e.g., never write down to anybody), and some platitudinous asides are just plain patronizing. Yet Jones ultimately communicates a philosophy about his iconoclastic art that is insightful and unpretentious. Less comprehensive than his first memoir where his early career is concerned, this volume is more of a companion piece than a sequel. Nevertheless, for the new illustrations it promises (not seen), for the chapter on Jones's collaboration with Theodor Geisel (Dr. Seuss) on How the Grinch Stole Christmas!, and for what it reveals about the creative process, this is a necessary addition to any film or art collection.?Jayne Plymale-Jackson, Univ. of Georgia Libs., Athens
Copyright 1996 Reed Business Information, Inc.
See all Editorial Reviews
Now 84, Jones (Chuck Amuck) has been an animator and a director of animated features for more than 60 years and has created such cartoon figures as Bugs Bunny, Daffy Duck, Elmer Fudd, Wile E. Coyote and Pepe le Pew. He also worked with Dr. Seuss on TV versions of How the Grinch Stole Christmas and Horton Hears a Who, in the course of a career during which he made more than 250 films and won three Oscars. Jones's advice here on how to draw and, more specifically, how to draw animals engaging in various activities will prove valuable to aspiring artists; and his portraits of people he has known?from his captivating Uncle Lynn with his surrealistic view of the world to the monsters who ran the Warner Brothers animation department in the 1930s and '40s?are memorable. The book also includes sidebars with quotes, some by Jones himself and others by writers from Thurber to Emerson. There's some filler here, notably pointless lists of unused titles for innumerable shorts and analyses of numerous minor cartoon characters, but Jones, an American original, is good company?if not quite as engaging as his wascally wabbit. Illustrations not seen by PW.
Copyright 1996 Reed Business Information, Inc.
From Library Journal
Jones is famous for having refined the characters of Bugs and Daffy, among others, and perfected the art of the six-minute animation short. Like his preceding memoir, Chuck Amuck (LJ 3/15/90), this book consists of reminiscences, informative sidebars, and occasional non sequiturs. His career-oriented anecdotes are more mesmerizing than his familial ones, and much similar territory is covered in Chuck Amuck. Aphorisms abound (e.g., never write down to anybody), and some platitudinous asides are just plain patronizing. Yet Jones ultimately communicates a philosophy about his iconoclastic art that is insightful and unpretentious. Less comprehensive than his first memoir where his early career is concerned, this volume is more of a companion piece than a sequel. Nevertheless, for the new illustrations it promises (not seen), for the chapter on Jones's collaboration with Theodor Geisel (Dr. Seuss) on How the Grinch Stole Christmas!, and for what it reveals about the creative process, this is a necessary addition to any film or art collection.?Jayne Plymale-Jackson, Univ. of Georgia Libs., Athens
Copyright 1996 Reed Business Information, Inc.
See all Editorial Reviews
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Citations
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6
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cite this book:
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- Tunes for 'Toons: Music and the Hollywood Cartoon by Daniel Goldmark in Back Matter (1), Back Matter (2), and Back Matter (3)
- Producing Animation (Focal Press Visual Effects and Animation) (Focal Press Visual Effects and Animation) by Catherine Winder in Back Matter
- Serious Play: How the World's Best Companies Simulate to Innovate by Michael Schrage in Back Matter
- The Cartoon Music Book by Daniel Goldmark in Back Matter
- Chuck Jones: Conversations (Conversations With Comic Artists Series) by Maureen Furniss in Front Matter
See all 6 books citing this book
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