0:00:07.042,0:00:09.870
Merhaba, ben Tony,[br]ve programım Every Frame a Painting.

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Eğer siz de benim gibi büyüdüyseniz[br]bir çok Looney Tunes izlemişsinizdir.

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Eğer jeneriğe dikkat ettiyseniz

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Bu ismi hatırlayacaksınız

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-"Tam adım[br]Charles Martin Jones."

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-"Gerçekte ait olduğum yer burası değil."

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-"Kameranın arkasına aidim."

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Chuck Jones tüm zamanların[br]görsel komedi ustalarından

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1938 ve 1962 arasında[br]200'den fazla

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Warner Bros çizgi filmi yönetti.

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Yılda on, film başına 6 dakika

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Şaşırtıcı olan ise 50 yıldan fazladır[br]tutunmuş olmaları.

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Bazıları ise yapılmış [br]en iyi kısa filmler.

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Fakat hiç biri bir gecede olmadı[br]Hepsi uzun bir süreçti

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İyi bir sanatçının büyük bir

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sanatçı oluşuna bir bakalım.

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-"Tamam.[br]Bu filmi başlatalım!"

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-"Hayır! Hayır!"

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Chuck Jones çizgi filmlerinin[br]en meşhur yanı

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(ve hatırladığınız yanı)[br]esprileri

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yazan[br]Michael Maltese ve Tedd Pierce.

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Neredeyse her espri[br]2 aşamadan oluşur

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İlk aşama…

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sizi beklentiye iter.[br]İkinci aşama...

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aksini ispatlar.

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Bu kadar. Beklenti:

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Gerçeklik.

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İlk dönem çizgi filmlerinde,[br]espriler çok fantastik

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ve ardı ardına gerçekleşir.

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Ancak gerçek şu ki:[br]espriler sadece görünen yüzü.

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Bu filmleri gerçekte ayıran

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bir karakter için[br]harcanan efor.

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Ve uzun süren bir süreç.

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-"Tüm karakterler[br]bir öğrenme süreci."

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-"Aktörleri izleyenler için [br]şunu anlaması zordur ki...

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-"...aktörlerin hepsi bir yetenkle geliyor. [br]Hepsi bir kısmı oynuyor."

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-"Selam."

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-"When you bring in a drawing,[br]all you have is a drawing."

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-"And you have to put in the character."

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Consider the case of Daffy Duck.

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When he first started out…

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Daffy was more or less insane.

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-"Gosh what a screwy duck."

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But over the course of 15 years,[br]he changed

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from being the one who laughs[br]to being the butt of the joke.

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This Daffy is less crazy but[br]it’s easier to understand what he wants.

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He wants money.

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He wants to be a star.

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In short, he wants glory.

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-"This looks like a job for...

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-"...The Masked Avenger!"

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In fact, all of Chuck Jones' characters[br]have very clearly defined wants.

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This one wants a home.

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This one wants to daydream.

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And this one just wants[br]somebody to love.

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-"Ah my little darling.[br]It is love at first sight, is it not?"

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Notice that every desire here[br]is very simple.

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And the simpler the desire,[br]the more vivid the character.

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Once you know[br]what the character wants

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you can figure out[br]the next question:

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How does this[br]particular individual move?

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-"Every action is dictated[br]by what goes on inside of you."

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-"You have to be able to think[br]the way the character thinks."

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-"If you can’t tell what’s happening[br]by the way the character moves..."

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-"...you’re not animating."

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-"I am a snake and[br]you have charmed me, no?"

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-"It helps to have the dialogue..."

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-"...but the dialogue is not[br]the thing that makes it work."

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-"The story should tell itself[br]by the way it moves."

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So let’s say you know[br]what the character wants

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and you know how they move to get it.

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What about the jokes?

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What happens to the assumption…

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and the reality?

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Well, now the assumption includes[br]the personality of the character.

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For instance, we know that[br]Daffy will always pick a fight

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because it’s part of[br]his desire for glory.

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-"Take over."

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Likewise, we know[br]the Coyote’s device will fail

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so Jones can play this gag offscreen

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which ends up making it funnier.

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But there is a danger to this approach.

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If you just focus on great jokes[br]with the same well-defined characters

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you can easily get trapped in a formula.

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-"Sometimes I feel[br]very sorry for the Coyote."

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-"Sometimes I wish he’d catch him."

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-"If he caught him[br]there wouldn’t be any more Road Runner."

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-"You wouldn’t like that, would you?"

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So to avoid this problem,[br]Jones did something.

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This is one of the[br]defining aspects of his work.

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It’s a word that he uses and[br]that other people use about him.

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-"Beep Beep!"

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-"It also stands out as an example[br]of the kind of discipline..."

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-"...Chuck Jones liked[br]to set for himself."

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-"This is the vital factor in[br]all comedy or all drama."

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-"What are your disciplines?"

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Discipline. The challenges and[br]restrictions you set for yourself.

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Like designing a character[br]with no mouth.

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Or no face.

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Or using no dialogue except for this.

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-"Hello my baby, hello my honey,[br]hello my ragtime gal."

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Because animation lets you do anything

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you have to think about[br]what you won't do.

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And in Jones’ case,[br]there were lots of rules

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about the world, the characters[br]and their behavior.

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For instance, Bugs Bunny[br]never picked a fight.

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Somebody had to do this…

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-"Kill the wabbit! Kill the wabbit![br]Kill the wabbit!"

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...and only then would he fight back.

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-"Kill the wabbit?"

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-"Bugs Bunny is not just[br]an insane rabbit."

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-"Somebody’s always trying to get him.[br]And he’s retaliating."

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-"He has to be provoked.[br]And we learned that."

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-"It was very important[br]that he be provoked."

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-"Because otherwise,[br]he’d be a bully."

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-"Of course you realize[br]this means war."

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A similar restriction happened to[br]how the characters expressed themselves.

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Early on, they tended to go through[br]a quick barrage of facial expressions.

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But over time, these grew less and less.

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-"Particularly in the later films[br]Chuck became very fond..."

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-"...of using the smallest[br]possible gestures..."

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-"...facial gestures to get laughs."

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-"Chuck’s facial expressions[br]were the best in the business..."

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-"...Because he was a minimalist."

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-"All humor grows from two things."

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-"All humor, I believe, comes from[br]human behavior and logic."

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-"If it’s not logical[br]it’s not gonna be funny...

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-"...And if it doesn’t come from[br]human behavior..."

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-"...how the hell[br]do you know it’s funny?"

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Think of it this way:[br]this is human behavior.

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-"Ha ha! Now!"

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That was logic.

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And the logic is something[br]you improve at over time.

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But what about human behavior?

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How do you improve at[br]understanding that?

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The truth is, there’s only one way.

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And it’s not by watching films.

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-"When you talk to Chuck,[br]he is always encouraging you..."

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-...to go to the source:[br]to study real life, to study art..."

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-"...and apply that to your animation.[br]It’s not just drawing funny faces."

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Jones believed it wasn’t enough[br]to just watch movies.

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You had to have interests[br]outside of film.

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You had to study real life.

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Most of all, he encouraged this:

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-"Reading. Read Everything."

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-"It doesn’t do you[br]much good to draw..."

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-"...unless you have[br]something to draw..."

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-"...and the only place[br]you can get anything to draw..."

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-"...is from out of that head."

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-"And the only way that[br]you can exercise the mind..."

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-"...is by bringing new ideas to it..."

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-"...So it’ll be surprised."

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-"And say 'God I didn’t know that.'"

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-"That’s the greatest thing[br]in the world..."

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-"...that 'Gee I didn’t know that.'[br]And there you are, you know?"

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There you are.[br]It’s not just about gags.

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Not just about characters.

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Not just about discipline.

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It’s about studying the real world[br]and learning something new.

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Then putting that back into the work.

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In other words, inspiration.

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And the great thing about[br]this kind of inspiration?

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-"You can find it anyplace.[br]You can find it anyplace."