Word: friz
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...could pack a half-dozen insights into a 100-word sentence on Chuck Jones and the Warner cartoon crew - "Despite the various positions on humor (Tex Avery is a visual surrealist proving nothing is permanent, McKimson is a show-biz satirist with throw-away gags and celebrity spoofs, Friz Freleng is the least contorting, while Jones's specialty, comic character, is unusual for the chopping-up of motion and the surreal imposition: a Robin Hood duck, whose flattened beak springs out with each repeated faux pas as a reminder of the importance of his primary ineptness), the Warner cartoonists...
...Working mostly with the directors of Warner Bros. cartoons - Clampett, Chuck Jones, Friz Freleng, Frank Tashlin - Geisel dreamed up a series of 3-5 min. animated comedies that taught soldiers proper behavior by showing them the very improper behavior and attitude of a certain recalcitrant draftee. SNAFU was a cocky doofus who looked like one of the Seven Dwarfs in uniform (say, Grumpy crossed with Dopey) and spoke with Bugs Bunny's voice (courtesy Mel Blanc). His refusal to obey the rules gets him into awful scrapes - he often ends up dead - and threatens to compromise the war effort...
...Yankee Doodle Daffy,? ?Duck Amuck,? ?Wabbit Twouble,? ?Fast and Furry-ous,? ?Feed the Kitty.? These titles of Warner Bros. cartoon shorts from the 40s and 50s don?t sound like the names of enduring works of cinematic art. But they are, as surely as Chuck Jones, Bob Clampett and Friz Freleng were among the great comedy directors; as surely as Bugs Bunny and Daffy Duck are two of the deftest farceurs to grace the movie medium. Now, on a four-disc DVD set, ?Looney Tunes Golden Collection,? the magnificent menagerie lives again, pristinely restored. Any fan can argue with...
Cartoon directors are kids at heart, and the Warner aces (Jones, Avery, Friz Freleng, Bob Clampett) were brilliant kids, all in their 20s or early 30s, when they created Porky, Daffy and Bugs. Freleng was the anchor, making crisp vaudeville comedies. Clampett bent his stories and pummeled his characters into manic, surreal, endless inventive farce; his great period (1942-46) deserves a book of its own. Jones' films were about people--all right, barnyard critters, but human withal--who endured life's vithithitudes (as Daffy would say) with amazing grace and Charlie Chaplin's physical...
...seven-figure salary, consider the career of Parker Posey. At 28, she has ornamented more than a dozen American independent films. Yet to get to the set of Gregg Araki's The Doom Generation, where she played the leading lady's "eternal love slave" in a blond friz wig, Posey had to pay half her airfare. For Party Girl, in which she did a beguiling star turn as a club hopper with the improbable dream of being a librarian, she earned the sum of $75 a day. On another movie she lent the producers her credit card to charge rental...