He would always remind the audience that they're watching a film and that this is fake. Tex Avery loved to deconstruct fairy tales and other types of films such as nature documentaries by subverting the expectations of the audience and the norms of traditional storytelling. Tell me about the distinctions in style between the big four legendary directors: Tex Avery, Chuck Jones, Friz Freleng, and Bob Clampett. It detaches us from the story and from some of the conventions of storytelling and allows us to just enjoy the violence and the timing of the gags for their own sake. So I guess people would call it Brechtian detachment. And we don't have to react to it in the same way that we would react to seeing something that happened to a live-action actor.
And that feeling that this is all not real, and we're not supposed to get too involved in it fits in with the style that says it doesn't matter if people get hurt, it doesn't matter if someone gets blown up. It's all about taking away the idea that we have to identify with a story or believe that it's real. We might see someone's silhouette if they get up to go to the bathroom. We are in a theater watching a movie and someone is operating a projector. Part of the point of Tex Avery's love of breaking the fourth wall which other directors took up was that it reminds us that people are not real. It tries to make us forget that we're watching a movie and make us think that these could be real people. The idea of talking to the audience, breaking the fourth wall, breaks the illusion that we're watching something that could be really happening. When Bugs would insult Elmer Fudd by speaking to us in the audience, I always felt he thought we were on his side. You write in the book about something I always enjoyed when I watched the cartoons as a child-breaking the fourth wall. For better and worse, "they will do anything for a laugh." In an interview, Weinman talked about the styles of the four primary directors, what Mel Blanc and composer Carl Stalling brought to the cartoons, and he confesses which Looney Tunes character is his favorite. The cartoons "suffer when judged by fictional storytelling," he says. There is no continuity and the laws of physical reality are joyfully ignored. The closest they come is the Sisyphean consequence of any serial storytelling-the perpetual failure to achieve success. Unlike some classic comedies, they make no pretense of profundity. He is also candid about their limitations. Nothing in the world of cultural criticism is more difficult than trying to explain humor, but Weinman is very good at showing us what it is that makes these cartoons so enduringly popular. He calls the classic-era cartoons "the greatest achievement of American film comedy in the sound era." So, yes, he is a fan, and an astute one. Coyote, Porky Pig, and many other iconic cartoon characters. Jaime Weinman calls his book, Anvils, Mallets & Dynamite "The Unauthorized Biography of Looney Tunes." It is an affectionate tribute and history of the home of Bugs Bunny, Daffy Duck, Elmer Fudd, Sylvester and Tweety Pie, Road Runner, Wile E.
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