Chuck Jones - The Evolution of an Artist
-
0:07 - 0:10Merhaba, ben Tony,
ve programım Every Frame a Painting. -
0:10 - 0:13Eğer siz de benim gibi büyüdüyseniz
bir çok Looney Tunes izlemişsinizdir. -
0:14 - 0:15Eğer jeneriğe dikkat ettiyseniz
-
0:15 - 0:17Bu ismi hatırlayacaksınız
-
0:17 - 0:19-"Tam adım
Charles Martin Jones." -
0:19 - 0:21-"Gerçekte ait olduğum yer burası değil."
-
0:22 - 0:23-"Kameranın arkasına aidim."
-
0:28 - 0:30Chuck Jones tüm zamanların
görsel komedi ustalarından -
0:31 - 0:331938 ve 1962 arasında
200'den fazla -
0:34 - 0:36Warner Bros çizgi filmi yönetti.
-
0:36 - 0:38Yılda on, film başına 6 dakika
-
0:42 - 0:44Şaşırtıcı olan ise 50 yıldan fazladır
tutunmuş olmaları. -
0:45 - 0:48Bazıları ise yapılmış
en iyi kısa filmler. -
0:48 - 0:51Fakat hiç biri bir gecede olmadı
Hepsi uzun bir süreçti -
0:52 - 0:53İyi bir sanatçının büyük bir
-
0:56 - 0:59sanatçı oluşuna bir bakalım.
-
0:59 - 1:02-"Tamam.
Bu filmi başlatalım!" -
1:04 - 1:05-"Hayır! Hayır!"
-
1:06 - 1:08Chuck Jones çizgi filmlerinin
en meşhur yanı -
1:09 - 1:11(ve hatırladığınız yanı)
esprileri -
1:16 - 1:18yazan
Michael Maltese ve Tedd Pierce. -
1:19 - 1:22Neredeyse her espri
2 aşamadan oluşur -
1:22 - 1:23İlk aşama…
-
1:25 - 1:29sizi beklentiye iter.
İkinci aşama... -
1:31 - 1:32aksini ispatlar.
-
1:33 - 1:35Bu kadar. Beklenti:
-
1:39 - 1:41Gerçeklik.
-
1:41 - 1:43İlk dönem çizgi filmlerinde,
espriler çok fantastik -
1:43 - 1:45ve ardı ardına gerçekleşir.
-
1:48 - 1:51Ancak gerçek şu ki:
espriler sadece görünen yüzü. -
1:51 - 1:53Bu filmleri gerçekte ayıran
-
1:53 - 1:55bir karakter için
harcanan efor. -
1:55 - 1:57Ve uzun süren bir süreç.
-
1:57 - 1:59-"Tüm karakterler
bir öğrenme süreci." -
1:59 - 2:02-"Aktörleri izleyenler için
şunu anlaması zordur ki... -
2:03 - 2:08-"...aktörlerin hepsi bir yetenkle geliyor.
Hepsi bir kısmı oynuyor." -
2:08 - 2:09-"Selam."
-
2:09 - 2:11-"When you bring in a drawing,
all you have is a drawing." -
2:11 - 2:13-"And you have to put in the character."
-
2:13 - 2:15Consider the case of Daffy Duck.
-
2:15 - 2:17When he first started out…
-
2:20 - 2:22Daffy was more or less insane.
-
2:22 - 2:25-"Gosh what a screwy duck."
-
2:25 - 2:27But over the course of 15 years,
he changed -
2:28 - 2:31from being the one who laughs
to being the butt of the joke. -
2:35 - 2:38This Daffy is less crazy but
it’s easier to understand what he wants. -
2:39 - 2:40He wants money.
-
2:40 - 2:42He wants to be a star.
-
2:42 - 2:43In short, he wants glory.
-
2:44 - 2:46-"This looks like a job for...
-
2:48 - 2:50-"...The Masked Avenger!"
-
2:50 - 2:54In fact, all of Chuck Jones' characters
have very clearly defined wants. -
2:55 - 2:56This one wants a home.
-
2:57 - 2:58This one wants to daydream.
-
2:59 - 3:02And this one just wants
somebody to love. -
3:02 - 3:06-"Ah my little darling.
It is love at first sight, is it not?" -
3:06 - 3:08Notice that every desire here
is very simple. -
3:08 - 3:11And the simpler the desire,
the more vivid the character. -
3:14 - 3:16Once you know
what the character wants -
3:16 - 3:17you can figure out
the next question: -
3:17 - 3:20How does this
particular individual move? -
3:20 - 3:23-"Every action is dictated
by what goes on inside of you." -
3:23 - 3:26-"You have to be able to think
the way the character thinks." -
3:26 - 3:29-"If you can’t tell what’s happening
by the way the character moves..." -
3:29 - 3:29-"...you’re not animating."
-
3:30 - 3:34-"I am a snake and
you have charmed me, no?" -
3:35 - 3:37-"It helps to have the dialogue..."
-
3:37 - 3:38-"...but the dialogue is not
the thing that makes it work." -
3:39 - 3:41-"The story should tell itself
by the way it moves." -
3:43 - 3:45So let’s say you know
what the character wants -
3:45 - 3:47and you know how they move to get it.
-
3:47 - 3:48What about the jokes?
-
3:49 - 3:50What happens to the assumption…
-
3:52 - 3:53and the reality?
-
3:53 - 3:56Well, now the assumption includes
the personality of the character. -
3:56 - 3:59For instance, we know that
Daffy will always pick a fight -
4:01 - 4:03because it’s part of
his desire for glory. -
4:05 - 4:06-"Take over."
-
4:06 - 4:08Likewise, we know
the Coyote’s device will fail -
4:08 - 4:10so Jones can play this gag offscreen
-
4:10 - 4:12which ends up making it funnier.
-
4:19 - 4:21But there is a danger to this approach.
-
4:21 - 4:24If you just focus on great jokes
with the same well-defined characters -
4:24 - 4:26you can easily get trapped in a formula.
-
4:26 - 4:29-"Sometimes I feel
very sorry for the Coyote." -
4:30 - 4:33-"Sometimes I wish he’d catch him."
-
4:38 - 4:41-"If he caught him
there wouldn’t be any more Road Runner." -
4:41 - 4:43-"You wouldn’t like that, would you?"
-
4:43 - 4:46So to avoid this problem,
Jones did something. -
4:46 - 4:48This is one of the
defining aspects of his work. -
4:48 - 4:52It’s a word that he uses and
that other people use about him. -
4:52 - 4:53-"Beep Beep!"
-
4:53 - 4:57-"It also stands out as an example
of the kind of discipline..." -
4:57 - 5:00-"...Chuck Jones liked
to set for himself." -
5:00 - 5:02-"This is the vital factor in
all comedy or all drama." -
5:02 - 5:04-"What are your disciplines?"
-
5:04 - 5:08Discipline. The challenges and
restrictions you set for yourself. -
5:08 - 5:10Like designing a character
with no mouth. -
5:11 - 5:12Or no face.
-
5:13 - 5:16Or using no dialogue except for this.
-
5:17 - 5:22-"Hello my baby, hello my honey,
hello my ragtime gal." -
5:22 - 5:23Because animation lets you do anything
-
5:23 - 5:25you have to think about
what you won't do. -
5:26 - 5:28And in Jones’ case,
there were lots of rules -
5:28 - 5:31about the world, the characters
and their behavior. -
5:31 - 5:33For instance, Bugs Bunny
never picked a fight. -
5:33 - 5:34Somebody had to do this…
-
5:34 - 5:38-"Kill the wabbit! Kill the wabbit!
Kill the wabbit!" -
5:39 - 5:40...and only then would he fight back.
-
5:41 - 5:42-"Kill the wabbit?"
-
5:44 - 5:47-"Bugs Bunny is not just
an insane rabbit." -
5:48 - 5:51-"Somebody’s always trying to get him.
And he’s retaliating." -
5:51 - 5:52-"He has to be provoked.
And we learned that." -
5:53 - 5:54-"It was very important
that he be provoked." -
5:55 - 5:56-"Because otherwise,
he’d be a bully." -
5:58 - 6:01-"Of course you realize
this means war." -
6:02 - 6:05A similar restriction happened to
how the characters expressed themselves. -
6:05 - 6:08Early on, they tended to go through
a quick barrage of facial expressions. -
6:12 - 6:14But over time, these grew less and less.
-
6:14 - 6:17-"Particularly in the later films
Chuck became very fond..." -
6:19 - 6:22-"...of using the smallest
possible gestures..." -
6:24 - 6:26-"...facial gestures to get laughs."
-
6:32 - 6:34-"Chuck’s facial expressions
were the best in the business..." -
6:34 - 6:36-"...Because he was a minimalist."
-
6:43 - 6:45-"All humor grows from two things."
-
6:44 - 6:47-"All humor, I believe, comes from
human behavior and logic." -
6:48 - 6:49-"If it’s not logical
it’s not gonna be funny... -
6:50 - 6:51-"...And if it doesn’t come from
human behavior..." -
6:52 - 6:53-"...how the hell
do you know it’s funny?" -
6:53 - 6:55Think of it this way:
this is human behavior. -
6:56 - 6:57-"Ha ha! Now!"
-
7:01 - 7:02That was logic.
-
7:02 - 7:04And the logic is something
you improve at over time. -
7:06 - 7:07But what about human behavior?
-
7:08 - 7:10How do you improve at
understanding that? -
7:11 - 7:13The truth is, there’s only one way.
-
7:13 - 7:14And it’s not by watching films.
-
7:19 - 7:21-"When you talk to Chuck,
he is always encouraging you..." -
7:21 - 7:24-...to go to the source:
to study real life, to study art..." -
7:25 - 7:28-"...and apply that to your animation.
It’s not just drawing funny faces." -
7:34 - 7:37Jones believed it wasn’t enough
to just watch movies. -
7:36 - 7:37You had to have interests
outside of film. -
7:38 - 7:39You had to study real life.
-
7:40 - 7:41Most of all, he encouraged this:
-
7:43 - 7:45-"Reading. Read Everything."
-
7:45 - 7:46-"It doesn’t do you
much good to draw..." -
7:47 - 7:48-"...unless you have
something to draw..." -
7:48 - 7:49-"...and the only place
you can get anything to draw..." -
7:50 - 7:51-"...is from out of that head."
-
7:52 - 7:54-"And the only way that
you can exercise the mind..." -
7:54 - 7:55-"...is by bringing new ideas to it..."
-
7:56 - 7:57-"...So it’ll be surprised."
-
8:01 - 8:02-"And say 'God I didn’t know that.'"
-
8:03 - 8:04-"That’s the greatest thing
in the world..." -
8:05 - 8:08-"...that 'Gee I didn’t know that.'
And there you are, you know?" -
8:09 - 8:11There you are.
It’s not just about gags. -
8:12 - 8:13Not just about characters.
-
8:13 - 8:14Not just about discipline.
-
8:15 - 8:17It’s about studying the real world
and learning something new. -
8:18 - 8:20Then putting that back into the work.
-
8:20 - 8:21In other words, inspiration.
-
8:25 - 8:26And the great thing about
this kind of inspiration? -
8:27 - 8:30-"You can find it anyplace.
You can find it anyplace."
- Title:
- Chuck Jones - The Evolution of an Artist
- Description:
-
If you grew up watching Looney Tunes, then you know Chuck Jones, one of all-time masters of visual comedy. Normally I would talk about his ingenious framing and timing, but not today. Instead, I’d like to explore the evolution of his sensibilities as an artist. To see the names of the films, press the CC button and select “Movie Titles.”
For educational purposes only. You can donate to support the channel at
Patreon: http://www.patreon.com/everyframeapaintingAnd follow me here:
Twitter: https://twitter.com/tonyszhou
Facebook: https://www.facebook.com/everyframeapaintingMusic:
Raymond Scott - “Powerhouse," "Minuet in Jazz,” “Twilight in Turkey,” “The Toy Trumpet"
Carl Stalling - "Scentimental Romeo," "Guided Muscle,” "Feline Frame-Up,” “Rabbit Seasoning," “Duck! Rabbit, Duck!”
Milt Franklyn - “One Froggy Evening,” "Robin Hood Daffy,” “What’s Opera, Doc?"Interview Clips (from Looney Tunes Platinum Collection Vol 1):
Chuck Jones Interview: EmmyTVLegends.org (http://bit.ly/1J2ZXuW)
Chuck Jones: Extremes & In-Betweens (http://bit.ly/1SpUb7i)
A Chuck Jones Tutorial: Tricks of the Cartoon Trade (http://bit.ly/1HxxRG5)
It Hopped One Night: A Look at “One Froggy Evening” (http://bit.ly/1RC3plV)Recommended Reading:
9 Rules of the Coyote and the Road Runner (http://bit.ly/1LdfN8d)
Chuck Amuck: The Life and Times of an Animated Cartoonist (http://amzn.com/0374526206)
The Noble Approach: Maurice Noble and the Zen of Animation Design (http://amzn.com/1452102945) - Video Language:
- English, British
- Duration:
- 08:54
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Koray KIRCAOĞLU edited Turkish subtitles for Chuck Jones - The Evolution of an Artist | |
![]() |
Koray KIRCAOĞLU edited Turkish subtitles for Chuck Jones - The Evolution of an Artist |