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At age 16, during World War I, he lied about his age to join the American Red Cross. He soon returned home, where he won a scholarship to the Kansas City Art Institute. There, he met a fellow animator, Ub Iwerks. The two soon set up their own company. In the early 20s, they made a series of animated shorts for the Newman theater chain, entitled "Newman's Laugh-O-Grams". Their company soon went bankrupt, however. The two then went to Hollywood in 1923. They started work on a new series, about a live-action little girl who journeys to a world of animated characters. Entitled the "Alice Comedies", they were distributed by M.J. Winkler (Margaret). Walt was backed up financially only by Winkler and his brother Roy O. Disney, who remained his business partner for the rest of his life. Hundreds of "Alice Comedies" were produced between 1923 and 1927, before they lost popularity. Walt then started work on a series around a new animated character, Oswald the Lucky Rabbit. This series was successful, but in 1928, Walt discovered that M.J. Winkler and her husband, Charles Mintz, had stolen the rights to the character away from him. They had also stolen all his animators, except for Ub Iwerks. While taking the train home, Walt started doodling on a piece of paper. The result of these doodles was a mouse named Mickey. With only Walt and Ub to animate, and Walt's wife Lillian Disney (Lilly) and Roy's wife Edna Disney to ink in the animation cells, three Mickey Mouse cartoons were quickly produced. The first two didn't sell, so Walt added synchronized sound to the last one, Steamboat Willie (1928), and it was immediately picked up. It became the first cartoon to use synchronized sound. With Walt as the voice of Mickey, it premiered to great success. Many more cartoons followed. Walt was now in the big time, but he didn't stop creating new ideas. In 1929, he created the 'Silly Symphonies', a cartoon series that didn't have a continuous character. They were another success. One of them, Flowers and Trees (1932), was the first cartoon to be produced in color and the first cartoon to win an Oscar; another, Three Little Pigs (1933), was so popular it was often billed above the feature films it accompanied. The Silly Symphonies stopped coming out in 1939, but Mickey and friends, (including Minnie Mouse, Donald Duck, Goofy, Pluto, and plenty more), were still going strong and still very popular. In 1934, Walt started work on another new idea: a cartoon that ran the length of a feature film. Everyone in Hollywood was calling it "Disney's Folly", but Snow White and the Seven Dwarfs (1937) was anything but, winning critical raves, the adoration of the public, and one big and seven little special Oscars for Walt. Now Walt listed animated features among his ever-growing list of accomplishments. While continuing to produce cartoon shorts, he also started producing more of the animated features. Pinocchio (1940), Dumbo (1941), and Bambi (1942) were all successes; not even a flop like Fantasia (1940) and a studio animators' strike in 1941 could stop Disney now. In the mid- 40s, he began producing "packaged features", essentially a group of shorts put together to run feature length, but by 1950 he was back with animated features that stuck to one story, with Cinderella (1950), Alice in Wonderland (1951), and Peter Pan (1953). In 1950, he also started producing live-action films, with Treasure Island (1950). These began taking on greater importance throughout the 50s and 60s, but Walt continued to produce animated features, including Lady and the Tramp (1955), Sleeping Beauty (1959), and 101 Dalmatians (1961). In 1955, he even opened a theme park in southern California: Disneyland. It was a place where children and their parents could take rides, just explore, and meet the familiar animated characters, all in a clean, safe environment. It was another great success.
Walt also became one of the first producers of films to venture into television, with his series "Walt Disney's Wonderful World of Color" (1954) which he began in 1954 to promote his theme park. He also produced "The Mickey Mouse Club" (1955) and "Zorro" (1957). To top it all off, Walt came out with the lavish musical fantasy Mary Poppins (1964), which mixed live-action with animation. It is considered by many to be his magnum opus. Even after that, Walt continued to forge onward, with plans to build a new theme park and an experimental prototype city in Florida. He never did finish those plans, however; in 1966, he contracted lung cancer. He died in December at age 65. But not even his death, it seemed, could stop him. Roy carried on plans to build the Florida theme park, and it premiered in 1971 under the name Walt Disney World. What's more, his company continues to flourish, still producing animated and live-action films and overseeing the still- growing empire started by one man: Walt Disney, who will never be forgotten.Charles Martin "Chuck" Jones (September 21, 1912 – February 22, 2002) was an animator, cartoon artist, screenwriter, producer, and director of animated films, most memorably of Looney Tunes and Merrie Melodies shorts for the Warner Bros. Cartoons studio. He directed many of the classic short animated cartoons starring Bugs Bunny, Daffy Duck, the Road Runner and Wile E. Coyote, Sylvester, Pepé Le Pew and a slew of other Warner characters. Three of these shorts (Duck Amuck, One Froggy Evening and What's Opera, Doc?) were later inducted into the National Film Registry. Chief among Jones' other works was the famous "Hunting Trilogy" of Rabbit Fire, Rabbit Seasoning, and Duck! Rabbit, Duck! (1951–1953).
After his extraordinary career at Warner Bros. ended in 1962, Jones started Sib Tower 12 Productions and began producing memorable cartoons for Metro-Goldwyn-Mayer, including a new series of Tom and Jerry shorts and the television adaptation of Dr. Seuss' How the Grinch Stole Christmas! He later started his own studio, Chuck Jones Productions, which created several one-shot specials, and periodically worked on Looney Tunes related works.
Film historian Leonard Maltin has praised Jones' work at Warner Bros., MGM and Chuck Jones Productions. He also noted that the "feud" that there may have been between Jones and colleague Bob Clampett was mainly because they were so different from each other. Chuck Jones' character styles were more controlled and calmed down, while Bob Clampett's were crazy, wacky and insane.
Jones was born in Spokane, Washington on September 21, 1912. He later moved with his parents and three siblings to the Los Angeles, California area.
In his autobiography, Chuck Amuck, Jones credits his artistic bent to circumstances surrounding his father, who was an unsuccessful businessman in California in the 1920s. His father, Jones recounts, would start every new business venture by purchasing new stationery and new pencils with the company name on them. When the business failed, his father would quietly turn the huge stacks of useless stationery and pencils over to his children, requiring them to use up all the material as fast as possible. Armed with an endless supply of high-quality paper and pencils, the children drew constantly. Later, in one art school class, the professor gravely informed the students that they each had 100,000 bad drawings in them that they must first get past before they could possibly draw anything worthwhile. Jones recounted years later that this pronouncement came as a great relief to him, as he was well past the 200,000 mark, having used up all that stationery. Jones and several of his siblings went on to artistic careers.
After graduating from Chouinard Art Institute, Jones held a number of low-ranking jobs in the animation industry, including washing cels at the Ub Iwerks studio and assistant animator at the Walter Lantz studio. While at Iwerks, he met a cel painter named Dorothy Webster, who would later become his first wife.
Chuck Jones joined Leon Schlesinger Productions, the independent studio that produced Looney Tunes and Merrie Melodies for Warner Bros., in 1933 as an assistant animator. In 1935, he was promoted to animator, and assigned to work with new Schlesinger director Tex Avery. There was no room for the new Avery unit in Schlesinger's small studio, so Avery, Jones, and fellow animators Bob Clampett, Virgil Ross, and Sid Sutherland were moved into a small adjacent building they dubbed "Termite Terrace". When Clampett was promoted to director in 1937, Jones was assigned to his unit; the Clampett unit was briefly assigned to work with Jones' old employer, Ub Iwerks, when Iwerks subcontracted four cartoons to Schlesinger in 1937. Jones became a director (or "supervisor", the original title for an animation director in the studio) himself in 1938 when Frank Tashlin left the studio. Jones' first cartoon was The Night Watchman, which featured a cute kitten who would later evolve into Sniffles the mouse.
Many of Jones' cartoons of the 1930s and early 1940s were lavishly animated, but audiences and fellow Schlesinger staff members found them lacking in genuine humor. Often slow-moving and overbearing with "cuteness", Jones' early cartoons were an attempt to follow in the footsteps of Walt Disney's shorts (especially with such cartoons as Tom Thumb in Trouble and the Sniffles cartoons). Jones finally left traditional animation conventions with the cartoon The Dover Boys in 1942. Jones credits this cartoon as the film where he "learned how to be funny." The Dover Boys is also one of the first uses of stylized animation in American film, breaking away from the more realistic animation styles influenced by the Disney Studio. This was also the period where Jones created many of his lesser-known characters, including Charlie Dog, Hubie and Bertie, and The Three Bears. Jones' shorts from this period starring these characters represent some of his earliest classics that were strictly intended to be funny.
The Outpost', Private Snafu cartoon directed by Chuck Jones in 1944
During the World War II years, Jones worked closely with Theodor Geisel, better known as Dr. Seuss, to create the Private Snafu series of Army educational cartoons. Private Snafu comically educated soldiers on topics like spies and laziness in a more risque way than general audiences would have been used to at the time. Jones would later collaborate with Seuss on a number of adaptations of Seuss' books to animated form, most importantly How the Grinch Stole Christmas! in 1966.
During World War II, Jones directed such shorts as The Weakly Reporter, a 1944 short that related to shortages and rationing on the home front. During the same year, he directed Hell-Bent for Election, a campaign film for Franklin D. Roosevelt. He also directed the less-widely known Angel Puss. This cartoon contains portrayals of African-Americans that are now considered offensive. It is no longer available in any authorized release and is among the group of controversial cartoons known to animation buffs as the Censored Eleven.
A still from What's Opera, Doc?.
Jones hit his stride in the late 1940s, and continued to make his best-regarded works through the 1950s. Jones-created characters from this period includes Claude Cat, Marc Antony and Pussyfoot, Charlie Dog, Michigan J. Frog, and his three most popular creations, Marvin the Martian, Pepe LePew, the Road Runner, and Wile E. Coyote. The Road Runner cartoons, in addition to the cartoons that are considered his masterpieces (all written and conceived by Michael Maltese), Duck Amuck, One Froggy Evening, and What's Opera, Doc? are today hailed by critics as some of the best cartoons ever made.
The staff of the Jones' Unit A were as important to the success of these cartoons as Jones himself. Key members included writer Maltese, layout artist/background designer/co-director Maurice Noble, animator and co-director Abe Levitow, and animators Ken Harris and Ben Washam.
In 1950, Jones and Maltese began working on Rabbit Fire, a short that has changed Daffy Duck's personality forever. They decided to make him a totally different character; instead of the wacky, comic relief character he had been, they turned Daffy into a vain, egomaniacal prima donna wanting to steal the spotlight from Bugs Bunny. Of his versions of Bugs and Daffy, Chuck Jones has said, "Bugs is who we want to be. Daffy is who we are."
Jones remained at Warner Bros. throughout the 1950s, except for a brief period in 1953 when Warner closed the animation studio. During this interim, Jones found employment at Walt Disney Pictures, where he teamed with Ward Kimball for a four month period of uncredited work on Sleeping Beauty (1959). Upon the reopening of the Warner animation department, Jones was rehired and reunited with most of his unit.
In the early-1960s, Jones and his wife Dorothy wrote the screenplay for the animated feature Gay Purr-ee. The finished film would feature the voices of Judy Garland, Robert Goulet and Red Buttons as cats in Paris, France. The feature was produced by UPA, and directed by his former Warner collaborator, Abe Levitow. Jones moonlighted to work on the film, since he had an exclusive contract with Warner Bros. UPA completed the film and made it available for distribution in 1962; it was picked up by Warner Bros. When Warner discovered that Jones had violated his exclusive contract with them, they terminated him.[1] Jones' former animation unit was laid off after completing the final cartoon in their pipeline, The Iceman Ducketh, and the rest of the Warner Bros. Cartoons studio was closed in early 1963.[1] (Jones frequently claimed, including in the aforementioned autobiography, that this happened because Warner finally learned they weren't making Mickey Mouse cartoons).