Category Archives: Chuck Jones Center for Creativity

What Will Your Photobomb Be?

This is a big month for the Chuck Jones Center for Creativity!

Along with our participation in this year’s Festival of Children—be sure to stop by on Saturday, September 9 between noon and 4 PM at the Carousel in South Coast Plaza—we’ll have a fun, easy creative activity in progress—we have a great opportunity to win a $50,000 grant from Festival of Children Foundation by participating in their NCAM Photobomb Challenge. But we need your help!

During September, you can upload your favorite photobomb photo or video to indi.com/2017ncamchallenge and select the Chuck Jones Center for Creativity. If we are the first charity to win an “Indi Buzz” score of 500,000 we will win the $50,000 grant to spread more CREATIVITY to the children who need it most.

SPREAD THE WORD! This is where you can help:

  1. Upload your favorite photobomb to indi.com/2017ncamchallenge and select Chuck Jones Center for Creativity.
  2. Create “Indi Buzz” around your photo or video by sharing on your social media. The more likes, comments, reposts, etc., the more the score will GROW!
  3. Want to get extra CREATIVE? Use the Looney Tunes characters and/or backgrounds shown below in this blog post to enhance your photobomb! Remember to include © Warner Bros. in your photo or video bomb if you do use these images.

You can share as many photobombs as you want. Use #NCAMCHALLENGE when sharing to stay connected.

We hope you’ll take advantage of this great opportunity to help the Chuck Jones Center for Creativity win $50,000 by exercising your genius! Thank you for helping us make a better, more productive and creative world.

Terri Hardin and Looney Tunes Fortune Tellers at Red Dot Auction!

The incomparable Terri Hardin, Disney Imagineer, sculptress, puppeteer, creator (you know those Foster Farm chickens, right? Terri created them) has designed the most amazing Looney Tunes Fortune Tellers EVER! She’ll be folding them on Saturday, May 6th for a donation to the Center. Add them to your “must have” list!

Tickets for the Red Dot Auction are available at www.ChuckJonesCenter.org/RedDot. Be there or be square!

 

The Linda Jones Clough Archive: Crier in the Wilderness by Chuck Jones, Part 3

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. We had a beautiful, big yellow tom cat named Passmore (yes, named after the street we lived on). One day I asked my parents, “If Passmore had kittens, could we have one?”  Of course, their answer was that Passmore was a tom cat and therefore could not have kittens. I said, “But IF he had kittens, could we have one?” With a knowing glance at each other, they agreed. I took them across the street to our neighbor’s black cat who had just had five adorable little yellow kittens…Yes, I got not only one, but two…I named them Rudy and Bennie…Here is Part III.

CJCC - Part III Illustration from Canyon Crier

[PART III] House with Long Haul 

I decided to employ logic. Even if I lost with Dottie, I might impress Linda. I indicated with patient yet pointed logic that the two miles to the nearest lady-ridge-resider ride-sharing intersection was Woodrow Wilson and Mulholland, while the nearest market was but a scant half mile from our home on Passmore Drive…and all down hill, including one hundred and eighty-seven steps connecting our street with steps connecting our street with the one below. Furthermore it would take a full day’s supply of gas in our gasping Oldsmobile to struggle up Woodrow Wilson to Mulholland and share in the economies of the ridge girls in their gay junkets to Finkle’s market at Highland and Franklin.

She had gained confidence through my maunderings and gently exhaling a fragrant cloud of rum, maple and tobacco, said that down-hill empty-handed became up-hill grocery laden, that the one hundred and eighty steps was a farce going down with gravity as a friend, but became an endless cement ladder going up, laden with salmon, Spam, short-ribs, and such. Furthermore the steps were dangerous; behind a fence paralleling the last fifty feet lived a psychotic Doberman Pinscher, a reject from the Canine Corps—who in being taught to bite enemy soldiers had carried instructions a step further and now bit anything. He had gnawed a head-sized hole out of his chain link fence, and travelers on the steps could only avoid the action of his garbage-disposal jaws by wading through a breast-high orchard of greasy poison oak opposite him. When Linda was with her, she had to carry her—and the groceries—over her (Dottie’s) head. All this she was willing to endure, she said, but in her illogical woman’s way she just couldn’t see what having poison oak, hydrophobia, and a weakened hearts was doing to further the war effort.

[Come back next week for part IV!]

15 Years

It’s hard to believe it has been 15 years and, at the same time, only 15 years since my Grandfather, Chuck Jones, passed away on February, 22, 2002.

Chuck Jones working on layout drawings for his 1975 television special, "The White Seal".

Chuck Jones working on layout drawings for his 1975 television special, “The White Seal”.

On the one hand, I still have instantaneous thoughts of calling him to ask about this or that during my day to day activities. It feels like he is still actively involved in the world, at least in my world, because so many people continue to talk about him, continue to study his vast creations, and continue to use his guidance and principles to shape their creative careers.  And I personally continue to unearth answers from him to new questions that arise from his writings, scribbled notes, an obscure interview, or a story that someone relays to me about him in a happenstance conversation.

On the other hand, the world seems to have so dramatically changed since he died in 2002, certainly my world has, that it feels like an eternity since then.

I suppose that these instantaneously contradicting perspectives of time illustrate one of his most often quoted philosophies.  Although it is apparent that the mechanics of animation is an illusion created one moment at a time, he profoundly observed that “Animation isn’t the illusion of Life; it is Life.”  Perhaps this contradiction of illusion and not illusion points to a piece of why he and his films, philosophies, and teachings are so timeless.

I miss him but fortunately he is timelessly with me always. –Craig Kausen

Craig Kausen, Chuck Jones's grandson, at the Huntsville Museum of Art's Smithsonian exhibition, "What's Up, Doc? The Animated Art of Chuck Jones", 2016.

Craig Kausen, Chuck Jones’s grandson, at the Huntsville Museum of Art’s Smithsonian exhibition, “What’s Up, Doc? The Animated Art of Chuck Jones”, 2016.

The Linda Jones Archive: Crier in the Wilderness by Chuck Jones, Part 2

CJCC - CJ illustration for Canyon Crier article #2_400px
CRIER IN THE WILDERNESS by Chuck Jones

Part II

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. We had a live-in mother’s helper named Mary. Mary was a junior at USC and had been born and raised in Los Angeles. Mary was my bestest friend…and I was heartbroken when she (and her parents) were taken to the Internment Camp for Japanese citizens…Here is Part II of the Canyon Crier article started last week.

 [PART II] – Wifely Wiles

The fact that my wife was not working, an activity usually associated with car-pools, did not really constitute an incongruity in my mind. She already owned a rapier, a euphonium and a suit of formal riding attire, even though she had no interest in swordsmanship (“buttons”), tuba-class instruments, or fox-hunting (‘driving a tack with a sledge hammer”). She simply liked these articles for themselves, and I found it quite believable that she would join a car-pool just to drive out to Cal-ship, wrap bandages, and read Dickens in the back of the car all day, and ride back with the boys at night.

“I read about it in ‘The Canyon Crier’”, she said, producing this miniscule yet action-provoking sheet from behind a package of RUM ‘N MAPLE cigarettes. (Why was it always possible during the war to obtain cartons of RUM ‘N MAPLE cigarettes, when less exotic brands where available only in butt form?)

“The girls up on the ridge do their marketing together on a car-sharing basis,” her lip quivered, “eye wan tu-tu.”

“Eye wan tu-tu?”

She pursed her eye-lids. “I want to, too. I want to car-share, too. I want to ride with the girls and market with the girls. Other wives get to, why not me? I’ll plan a plan so I’ll get it all done at once.”

She was about to offer to hold her breath and turn blue if I refused to listen.

I felt this might be a poor example to our daughter Linda, whose seven-year-old blue-eyed naiveté concealed only too well a jaundiced cynicism toward our ostensible maturity.

[Part III next week!]

The Linda Jones Archive: Crier in the Wilderness by Chuck Jones

The "Canyon Crier" masthead drawn and designed by Chuck Jones, a long-time resident of the Hollywood Hills.

The “Canyon Crier” masthead drawn and designed by Chuck Jones, a long-time resident of the Hollywood Hills.

Crier in the Wilderness by Chuck Jones

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. I was in the second grade at Valley View School, to which I walked each day…actually uphill (and downhill) both ways! There were 72 steps from the street to our front door. My father’s studio was a room over the garage, which was only 40 steps from the street, but 32 steps down from the front door. I called this the “castle house” and from what I can see of it these days, it looks very much the same as it did in the early forties when we lived there.  —   I have decided to publish this article in six parts, along with the illustrations that accompanied the article at that time. Here is Part I.

[PART I]

The first time I knew that there was such a publication as the “Canyon Crier” was that night during the war when my wife began to make whimpering noises and little dog-like running motions in her sleep. This type of restlessness always presages a complaint or new statement of policy at the following breakfast table, so I was as prepared—to use the term so loosely as to be idiotic—when she gave her first post-orange juice cough. This then was going to be a statement of policy, a new venture or something current on Linda’s up-bringing from Ribble, Ilg, Gesell or Spock, known as RIGS in our household. If it was going to be a complaint, she would have cleared her throat rather than coughing. Thus do we survive through understanding the delicate code of marital communication.

“I’m going to join a car pool,” she said, smearing a quarter pat of butter on a heel of raisin bread toast. (Why is raisin bread so easy to come by during war-time?” The time necessary to chew up and swallow a rag of raisin bread toast was the time allotted me to consider a spate of short-handish thoughts: “Car-pool? Why? Where? Who? How? Huh?”

[Stay tuned…more next week!]

Did You Ever Wonder What an Animation Director Made in 1944?

Chuck Jones’s pay stub for the week ending December 9, 1944. At the time, he was directing animated short films for Leon Schlesinger Studios.

12_9_1944_CJ_paystub_400px

On January 6, 1945, just a month after the pay stub, Chuck Jones’s famous skunk, Pepe le Pew, made his debut in “Odor-able Kitty”, which had originally been titled, “Forever Ambushed”.

GICLEE110_A_400px

The model sheets were drawn by Chuck Jones and used by the animators to stay “on model” during the drawing of the cartoon.

GICLEE110_B_400px

Side note: “Forever Ambushed” is a take-off on the title of bestselling romance novel of 1944, titled, “Forever Amber”. The book was eventually made into a film in 1947 by 20th Century Fox. The Chuck Jones pay stub is from the Linda Jones Clough archive.

The Linda Jones Clough Archive: Ode to the Washam Wedding

Chuck Jones’s daughter, Linda Jones Clough, will be posting weekly, material from her personal archive of writings and ephemera created by her father over the course of his lifetime. Today, she presents “Ode the Washam Wedding” a poem Chuck Jones wrote celebrating the wedding anniversary of his friend and colleague, Ben Washam. It is important to note that Chuck was intimate friends with his animators throughout his career.

Linda recounted that as a four-year old, Ben Washam’s wife, Eddie, was one of her favorite visitors–always ready with a lap and a kind word.

From: Chuck Jones

To: Ben and Eddie Washam

Re: Eighth wedding anniversary, October 1942

ODE TO THE WASHAM WEDDING

Happy wedding anniversary to the Washams. I.E.: to Benny and Eddie,

Who apparently have gone together for a long time. Steady.

From where I sit it looks like you have been married since nineteen

thirty-four. To be exact, in October.

Were you sober?

Or were you drunk with love or liquor.

And so woke up the next morning with a screaming headache thinking

you had never felt worse or been sicquor?

Eight years is a good long time to have been married.

Some people I know quite well would rather be hari-karied.

But I want you to know that marriage is a thing that I spend a good deal

of time endorsing.

It’s better than horsing

And being a general gadabout,

Even though some irresponsible wolves may be madabout

You.

Pew!

Just remember that when you’re a hundred and nine years old and not

married and not pretty.

It’s pretty s—-y.

(That line is only dirty if you make it so.

I might have meant ‘sweaty’ if you pronounced ‘pretty’ ‘pretty’

instead of ‘pritty’, or I might have meant ‘sweety’ if you

pronounced ‘pretty’ ‘preety’ like Mexicans do, no?)

Well, anyway, you dirty-minded little couple you, Happy Birthday to

the inception of your connubial bliss.

Do you realize this:

For twenty-nine hundred and nineteen nights Benny has been saying:

“Beddie?”

And Eddie answers, “Ready.”

Ben Washam, contemporary to the poem. Alas, no photo of Eddie Washam to share.

Ben Washam, contemporary to the poem. Alas, no photo of Eddie Washam to share.

 

 

 

 

 

 

Save

Save

Save

Chuck Jones’s Grandson to Speak at Colorado Springs Fine Art Center Exhibition

On Saturday, December 3rd at noon, Craig Kausen, the grandson of animator and Oscar-winning director Chuck Jones, will give a special presentation in the Music Room of the Colorado Springs Fine Art Center where he will discuss his grandfather’s work.

This original production cel from "Dr. Seuss' How the Grinch Stole Christmas" and many others are on display at the Colorado Springs Fine Art Center through January 8, 2017.

This original production cel from “Dr. Seuss’ How the Grinch Stole Christmas” and many others are on display at the Colorado Springs Fine Art Center through January 8, 2017.

During the “Golden Age” of animation, Chuck Jones helped bring to life many of Warner Bros.’ most famous characters and created characters such as Road Runner, Wile E. Coyote, Marvin Martian, Pepe le Pew, and many others. Jones also directed the 1966 television special, How the Grinch Stole Christmas. After the talk, join collector Bill Heeter in the galleries to learn more about his private collection of original animation cels and ephemera. Please RSVP for this event, as there is limited seating, by emailing boxoffice@csfineartscenter.org or calling 719.477.4310. For more information about the exhibit and the Colorado Springs Fine Art Center, click here.

…be counted on to stand up.

1961

Although this quote by Chuck Jones was written  in January of 1961, it is particularly pertinent to today.

“Today, we cannot envisage a protected world that does not include them all, and so [my] hope this year to all people everywhere is for a future–sheltered by the stars, sweetened by clean air, and above all fostering a climate in which no man can be commanded to stand up and be counted–but where every man can be counted on to stand up.” –Chuck Jones