They address the audience or show the artificiality of the very short they appear in. His cartoons also nodded to popular radio shows, advertisements, films and news events. This helped the Looney Tunes become extraordinarily popular with teenagers as well as adults. Between and Clampett worked in Avery's unit.
While Avery was timid, Clampett was very extravert. But they shared the same tremendous sense of comedy, imagination and experimental spirit. Both were willing to take risks to put their vision on the screen.
Avery had already given Friz Freleng's character Porky Pig a funnier personality. The insane duck constantly tricked Porky and did all kinds of impossible things, like jumping up and down on top of his head, while yelling "Woo Hoo!
This was an idea of Clampett, while the catchphrase itself was borrowed from comedian Hugh Herbert. Daffy's jumps soon became one of his trademarks. Another enduring gag by Clampett was the "beee-woop" sound effect heard at the end of each cartoon. He voiced it himself. Clampett additionally created the animated sequence in the live-action film 'When's Your Birthday?
Art for the aborted 'John Carter of Mars' project. The drawing appeared on the cover of Jim Steranko's Mediascene magazine 21 in He wanted to market it to an adult audience and therefore used a more realistic and dramatic animation style. Burroughs and his son John Coleman liked the idea, but suggested MGM's cartoon studio rather than Warners, because they had connections there.
However, the test footage failed to impress MGM's sales distributors. They were confident that people in the American Mid West wouldn't like science fiction and wanted to appeal to the entire country. Instead they suggested an animated series based on Burroughs' more famous literary creation 'Tarzan'.
The jungle hero had already proven to be a cash cow franchise both in Hollywood live-action movies, as well as the newspaper strip by Hal Foster and Burne Hogarth. The executives additionally wanted to keep everything child-oriented.
Burroughs and Clampett instantly rejected this alternative and thus 'John Carter' stranded. In hindsight it seems ironic that producers feared that audiences wouldn't like science fiction, since the 'Flash Gordon' film serial based on Alex Raymond 's SF comic later became a major success, even in the American Mid West and South. The same year John Coleman Burroughs adapted 'John Carter' into a newspaper comic strip, which also caught on effortlessly.
Schlesinger convinced him to stay and offered him his own unit, with complete creative control. From that moment on, Clampett was the sole director of all his cartoons. Only in , when he fell ill for a while, Norm McCabe completed direction for two unfinished cartoons 'The Timid Toreador' and 'Porky's Snooze Reel' , and received co-credit for them too.
Clampett also directed an incredibly short 'Porky Pig' cartoon in which the pig hits his thumb with a hammer and says "Son of a bitch! This intentional blooper was made for 'Breakdowns of ' , a compilation film of real bloopers which occured on the Warner Brothers film set that year.
More than 60 years later, the cartoon gained infamy in the Internet era. Still from: 'Porky in Wackyland'. The early Clampett cartoons already show some memorable wacky scenes, such as Porky's car in 'Porky's Badtime Story' driving through a garage and pulling it inside out. But it took until 'Porky in Wackyland' before he created his first masterpiece. The plot brings Porky to a strange country where he hopes to find "the last living example of the rare Do-Do Bird".
Yet Clampett actually topped Avery in madness. All scenes are highly illogical. It all made up for the most surreal Looney Tunes cartoon at that point. The original short was made in black-and-white, but Friz Freleng later released a colorized version with only a few details changed: 'Dough for the Do-Do' They developed a new, more sophisticated process for making stop-motion puppet films and considered adapting Clifford McBride 's comic strip 'Napoleon and Uncle Elby' to the big screen.
Their plans were thwarted by Schlesinger, who felt that their animated cartoons already preoccupied most of their work and his money. Companies using this brand name had existed since the late 19th century and chose the word mostly because it meant "the best" and started with the first letter of the alphabet, making it handy to find back in telephone guides and product catalogues.
In the Looney Tunes cartoons, of course, the products constantly fail or backfire. Yet the brand was already in vogue in Hollywood comedy films like Buster Keaton's 'Neighbors' and Harold Lloyd's 'Grandma's Boy' , making Acme not an entirely original Looney Tunes invention.
Nevertheless it later became one of the franchise's trademark jokes, which soon popped up in cartoons by other animated studios, until it became an overused joke in English-language comedy in general.
As a tribute, the man who produces cartoon props in the film 'Who Framed Roger Rabbit? Bugs instantly became Looney Tunes' major star and Clampett totally identified with his mischievous personality. Under his direction the rabbit became a gleeful, even quite nasty prankster.
Censors felt this way way too macabre and thus the scene was replaced with a different ending in which the dog pulls out a gun himself and commits suicide. Even in his grave he won't leave him alone and hands him a bomb, which explodes over the end credits. Clampett's take on Bugs is additionally interesting because he actually tried to avoid the formula where the character is practically invincible. Clampett directed a sequel to this cartoon, 'Tortoise Wins By A Hare' in which the rabbit tries a rematch and loses again.
In 'Falling Hare' the undefeatable rodent is outsmarted by a gremlin. Both cartoons are notable because Bugs gets uncharacteristically angry and frustrated. However, audiences didn't react well to these cartoons, since they preferred to see Bugs as a winner who is always in control. Only one cartoon had him lose again since, namely Chuck Jones ' 'Rabbit Rampage' Clampett himself is often regarded as a relatively rudimentary draftsman, and the success of his cartoons dependent upon the ways in which his animators, background and layout artists were able to interpret the extremes of his guiding illustrations and gag ideas.
He would get up and act out something; he was very descriptive. This enthusiasm extends over into his representation of specific characters, Daffy Duck in particular. Although Daffy has a greater density of character in the work of Chuck Jones, he is never more sympathetic or energetic than in the cartoons of Clampett.
An exuberance of character and cartoon meld into the shifting angular contortions that guide Daffy through such classics as Draftee Daffy and Baby Bottleneck His cartoons often mix together various genres, references to other cartoons and popular culture, diverse styles of animation, and a varied degree of allegiance to the chase formula that defines many Classical Hollywood cartoons. Classical norms of story and style may seem unnecessary requirements for animation, and yet the Hollywood cartoon was generally circumscribed by a set of limits — even of gravity and perspective — akin to its live-action counterpart.
As in some live-action comedy, this form stretched to incorporate direct address to the camera, blackout gags, and hyper-expressive performances, but was commonly contained within the causal, linear frameworks of classical narration, a rather regimented star system, and a series of genres often borrowed and parodied from live-action cinema.
It is only in the cartoons of Clampett and his great mentor Tex Avery that the promise and potential of animation is fully explored although after an initial series of deathly slow cartoons Jones did experiment with colour, forms of limited animation and speed in the early s. This is illustrated in such freewheeling cartoons as Baby Bottleneck , where the bodies of Porky and Daffy are almost liquid in nature, constantly reformulating, sharpening and flattening to demonstrate the emotional and physical extremes the characters are going through.
As a result, they are often pure, unfettered embodiments of these states. Thus, this character often brings a dynamic force to cartoons which unfortunately then just regress into manic chases. Of all the directors who worked for the Warners cartoon outfit Clampett was perhaps the key figure in shifting the studio toward a more frenetic, energetic and exaggerated style in the late s.
It also saw the emergence and consolidation of the team of animators, musicians particularly Carl Stalling who arrived from Disney in , voice artists Mel Blanc arrived in , background artists, and writers who were to make Warners the pre-eminent short animation studio in the s and s commercially and in terms of critical re-evaluation Coal Black is one of the clearest explorations and illustrations of this break with the Disney tradition.
It updates the Disney story to a contemporary war-time setting in which Queenie calls in Murder Inc. This is a cartoon widely regarded as a masterpiece in absentia , a seldom seen product of the sexual mores and ethnic stereotyping of its time. Nevertheless, many writers understandably go out of their way to both underline the ideological problems of the film — especially for contemporary audiences — and its extraordinary energy and vibrant style as a truly animated cartoon.
As Terry Lindvall and Ben Fraser suggest:. Norman F. Klein sees the emergence of the chase cartoon, and its pre-eminence at Warners by the late s, as essential to the development of the dynamism of the short Hollywood cartoon, and its transformation in the s.
He places significant emphasis on the increasing velocity of the best cartoons, regarding speed, rhythm and an increasing visual anarchy as the key contributions of Hollywood animation to the spirit of the times. As Klein suggests, Clampett is one of the instigators of this transformation and a key figure in accelerating the velocity of Hollywood animation.
In some respects it also illustrates the implied but sadistic violence of its source. The whimsical, singsong, somewhat cerebral source material offered by Dr. Features Stock Footage of Porky in Wackyland , but in color.
A parody of Disney's Fantasia. Fighting Tools : One of two Private Snafu shorts that he directed. Russian Rhapsody A Wartime Cartoon , with Adolf Hitler having an airplane encounter with a colony of singing gremlins.
Hare Ribbin' A Bugs Bunny short. Notable for having an infamous alternate ending, in which Bugs murders the dog that was chasing him. This footage was restored for Vol. Buckaroo Bugs The only short where Bugs Bunny is flat out portrayed as a villain, for the given value of a villain. Booby Traps : Second of two Private Snafu shorts that he directed.
Wagon Heels Color remake of "Injun Trouble. Tokyo Woes : A Mr. Hook cartoon that was only shown to military audiences. A ruthless parody of the "Things come to life in a store" genre of cartoons, and is cited as the short that put the final nail of the coffin of the already passe genre of cartoon. Baby Bottleneck A Porky and Daffy cartoon.
Bacall to Arms : A oneshot short started by Clampett, but finished by Art Davis both uncredited. The Big Snooze Last released Clampett cartoon. A Bugs Bunny short. For years it was lost until it resurfaced, along with storyboards and a pencil test, on Vol. Hide Show Director credits. Cartoons Video documentary short original material. Video documentary short original material. Show all 27 episodes. TV Series original material. Clampett, classic cartoon clips. Show all 19 episodes.
Short uncredited. Hide Show Animation department 48 credits. Is the Name Short animator - uncredited. Short animator - uncredited. Short animator. Hide Show Writer 31 credits. Show all 16 episodes. Hide Show Producer 12 credits. Show all 25 episodes. Hide Show Actor 13 credits.
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