Chuck Jones’ Rules for Writing “Road Runner” Cartoons

Received this email yesterday from longtime GITS follower filmmaker Amos Posner:

I just tweeted something I realize I should have sent you: Chuck Jones’ rules for the Coyote and Roadrunner. I snapped a picture at the Museum of the Moving Image. It’s an incredible lesson in simple rules establishing characters and a world. Thought you’d enjoy.

Here is the picture:

Turns out Amos didn’t need my help in spreading the word as his tweet became part of yesterday’s social media tsunami. I got in touch with Amos asking him his thoughts re Jones’ rules and here is what he had to say:

I took the picture a couple of months ago at the Museum of the Moving Image in New York (which I am told now might not have been allowed), and was reminded of it the other day when I met with an actress friend about a web series for which she had written half a dozen episodes. Her scripts were funny and charming and had a great concept, but something was just a little off. In talking to her, I realized the problem: She hadn’t quite decided on the rules of the show, so the concept didn’t feel consistent from episode to episode. I brought up Jones’ rules as an example. In just nine very concise thoughts, he gets right to the core of what those characters were and why they worked. Almost like an outline of a character or premise, instead of just plot.

A larger lesson of that exhibit is what an omnivore Jones was when it came to influences. Comedians like Buster Keaton were obvious influences, but some of the fine art influences were just as important — like seeing how Degas dancers influenced Bugs Bunny’s posture and movements. Stuff we never would have noticed as kids, but which had major effects.

Re-posted the picture today, and people seem to be really responding to it. Not shocking. These concepts are so simple, but cut so deep. I can’t tell whether the rest of us are over-thinking or under-thinking things.

We may be doing both. We under-think when we don’t perceive our story’s physical environment as a character. It has its own personality and tone which includes its physics. The narrative benefits when we are proactive on this front and really think through the specifics and nature of our story universe.

On the other hand, we can get so wrapped up in the complexities of a story universe, we lose sight of the basics. In that regard, Amos’ point about Jones is prescriptive: “In just nine very concise thoughts, he gets right to the core of what those characters were and why they worked.”

As example of hitting the notes just right, here is a taste of “Road Runner”:

Thanks, Amos, for providing this bit of storytelling enlightenment.

Amos has a movie coming out: B-Side which is rolling out in April. Here is the movie’s website. Be sure to check it out.

Twitter: @AmosPosner.

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