Tag Archives: Hollywood

Newly Discovered Photographs of Chuck Jones

As we prepare for the opening of the Chuck Jones Experience at Circus Circus in Las Vegas, we've been going through the archive and have recently discovered some really wonderful photographs of Chuck Jones that haven't been published before and we thought it would be fun to share them with you.


A corner of Chuck's home studio, circa 1980s.  Please note that creativity does not take a holiday.

Untitled-25 (Large) copy
Chuck Jones holds a leopard cub at the San Diego Zoo, circa 1960s.  He loved going to the zoo with his sketch book and would oftentimes get a "back of the zoo" tour to get up close and personal with the animals.  

CJ TOWER 12 2 (Large) copy
Publicity photo of Chuck Jones at Tower 12 in Hollywood, circa 1960s.  This is the office with the sign on the front door that read: Chuck Jones Productions, We Make Fine Acmes.

The Hollywood Christmas Parade–1966

In 1966 The Hollywood Christmas Parade featured a large green Santa Claus.  Constructed from wire and papier maché and made by ink & paint maven Auril Thompson (pictured below), the Grinch rode in the back seat of a convertible Cadillac down the parade route (via Hollywood & Sunset Blvds.)  Keeping the myth alive, his whereabouts after the parade are unknown, but we do know his spirit lives on every year when the Chuck Jones-directed and produced "Dr. Seuss' How the Grinch Stole Christmas" airs on television in homes around the globe.  


The slightly blurry photo to the right is of Lloyd Vaughan, an animator of much distinction, who worked in Chuck's unit at Warner Bros. beginning in the early 1940s and continued to work with Jones throughout the MGM years and beyond.  Mr. Vaughan died at the age of 79 in 1988.


Dr. Seuss characters, names and all related indicia are trademarks of the 1984 Ted Geisel Trust and © Turner Entertainment, Inc. 2010.

Image of the Day: Chuck Jones at Home on Tareco Drive

CJ Photo-1 72 dpi

Although Chuck Jones’ film credits identified him for more
than six decades as a director of Warner Bros. animated pictures, his stature
as a graphic artist is little recognized by the public.  In addition to the trying requirements of any
director unifying story, layouts, animation, music, dialogue, etc. into a
finished pictured, he was also personally instrumental in the graphic styling
of his pictures. 

CJ Photo-2 72 dpi 

Dedicated as he was to animation as the new graphic medium
of his time, Jones had never forgotten that drawing the land and people around
him was imperative to assure new ideas as to shape and color and design.  For many years, he drew and painted the human
figure and the landscape in search for new gesture and new expression.  This study is reflected in the freshness of
his professional work.

Steeped in an awareness of the importance of dramatics,
humor, action and rhythm in telling an animated story, he managed to instill
into his still drawings and paintings these same qualities.

CJ Photo-3 72 dpi 

Although many artists skilled in making still drawings have
enriched animation, seldom has an expert in animation contributed so much to
the great tradition of the still drawing. 
Here, caricature, an essential factor in all great art, has been exploited
on a high level.  Penetrating observation
reveals new and daring aspects of ordinary people and their actions.  Each drawing is a statement of an experience
and a venture into new graphic structure. 
Here, content and form are balanced to insure the intrinsic value of
each drawing and painting as a work of art.

CJ Photo-4 72 dpi 

As a classically trained artist at Chouinard Art Institute
in Los Angeles, Chuck Jones studied numerous techniques from graphite to oil
paint.  Throughout his life he continued
his classic arts education with drawing and painting masters classes; each
contributing to the evolution of his craft. 
He was passionate about drawing and painting, whether it be of the
famous characters he created and loved or a landscape, street scene, or
beautiful rendition of man, woman, or child. 

CJ Photo-5 72 dpi 

In the late 1950’s and early 1960s he had opportunity to
travel Europe with his wife Dorothy. 
During these visits he captured street scenes, whimsical anecdotes, and
memorable experiences through his mastery of the watercolor technique that
stand as some of the most remarkable creations of his extensive career.

CJ Photo-6 72 dpi

These photographs were taken at Chuck Jones' home on Tareco Drive in the Hollywood Hills, circa 1960.  To view art from the Chuck Jones Incognito collection, please click here.  

Image of the Day: The Kid


"The Kid" hand-painted cel art edition by Chuck Jones

"I was raised in Hollywood when the great comedians were at the top of their power, and I soon realized that–just like our temporarily demented cat Othello–what they looked like had nothing to do with what they were.  It was how they moved that made them what they were…

"From 1918 to 1920, the Jones clan lived in an orange grove directly across the street from Hollywood High School on Sunset Boulevard.  if I thought about the matter at all, I would not have considered myslf privileged. 

"And, as far as I knew, any other boy in the self-same world could, by walking two blocks to Charlie Chaplin's studio at La Brea Avenue and looking through an open-link fence, watch Chaplin at work, which, I am sorry to say, I often found deadly dull.  I loved his films; so easy, so natural, so appealing to my sense of rebelliousness and anarchy, they were a complete contrast to the endless repetition of the filming itself, which I found almost unbearably tiresome.

"One evening I lost faith in both my father and Chaplin when my father came home to tell us that he had seen Chaplin shoot a single fifteen-second scene 132 times.  He was trying to perfect the little choppy run he used when he was being chased around a corner.  To simulate running on ice, he put down an oilcloth and oiled it, but his feet kept going out from under him–131 times!  Either my father was lying (a possibility I could not ignore) or Chaplin didn't know what he was doing (another possibility, which observation had taught me I could not ignore either.)

"Why," I asked myself, "not do it right in the first place?  Can't he learn how to do it by watching his own movies?"  Everything was always right the first time in the movies!"  — Chuck Jones writing in Chuck Reducks, Drawing from the Fun Side of Life