汤姆与杰利原本是威廉‧汉纳和约瑟夫‧巴伯拉于1940年创作
这两人创作了17年后在1957年被米高梅开除
后来米高梅觉得他们需要汤姆与杰利才能获利
于是米高梅找了别人来制作汤姆与杰利
米高梅先找了吉尼戴奇，米高梅会看上吉尼戴奇不是随便乱找的
因为米高梅找吉尼戴奇的时候吉尼戴奇刚得了一座奥斯卡
可是吉尼戴奇作的汤姆与杰利在观众眼中评价很差
所以吉尼戴奇作了13集之后也米高梅踢走
就在此时查克‧琼斯被华纳开除，米高梅就找上查克‧琼斯
查克‧琼斯作了34集汤姆与杰利，这34集好不好看在观众眼中见仁见智
查克‧琼斯自己是觉得作得不好
查克‧琼斯是华纳兄弟动画部门的红人
猪小弟、兔宝宝和达菲鸭都是查克·琼斯作的 查克·琼斯还作过
威利狼与哔哔鸟 (Wile E. Coyote and the Road Runner)
那查克‧琼斯为什么作不好汤姆与杰利？这里有一篇外国文章讲了原因
现在转贴过来（附中译）
https://www.awn.com/animationworld/animation-critics-art-part-ix-mistakes-directing
https://reurl.cc/RYY91e
The Animation Critic's Art Part IX: Mistakes in Directing
动画评论家的艺术第九部分：导演中的错误
Martin "Dr. Toon" Goodman delves into bad directing… even from master
directors like Chuck Jones.
马丁“卡通博士”古德曼深入探讨了糟糕的导演手法……甚至是查克琼斯这样的大师级导
演。
By Martin Goodman | Monday, October 10, 2011 at 2:13pm
Animation directing is such a vital subject that I am devoting two
installments to the subject. Last month we broke down a well-directed cartoon
and examined it in terms of its components and as a whole. This month we will
be doing the same with a poorly directed cartoon in order to draw a contrast
between the two.
动画导演是一个非常重要的主题，因此我将用两篇文章来讨论这个主题。上个月，我们分
解了一部导演精良的动画片，并从各个部分和整体的角度对其进行了研究。本月，我们将
对一部导演拙劣的动画片进行同样的处理，以形成两者之间的对比。
Poor directing is generally a result of the following: Lack of imagination,
inability to pace, disconnect with the characters, inability to correct flaws
in the story, or in some cases, pure laziness and lack of effort. It can be
true that a penurious budget can affect the quality of a cartoon, but this is
not the case every time. In the end, the director (as we have seen) has the
ultimate responsibility for the finished cartoon.
导演水平低下通常是由于以下原因造成的：缺乏想像力、无法掌握节奏、与角色脱节、无
法纠正故事中的缺陷，或者在某些情况下纯粹是懒惰和缺乏努力。预算不足确实会影响卡
通的质量，但情况并非总是如此。最后，导演（如我们所见）对完成的动画片负有最终责
任。
Lack of imagination is seen in cliché devices that have become overused with
time. The most obvious is the character who runs on thin air until he
realizes it, then falls. More recent overused devices in animation include
the 360-degree rotating fight scene homage to The Matrix and a series of
three rapid jump cuts to successively longer shots while three shrill notes
are played over a character's sustained scream in homage to Psycho.
随着时间的推移，陈腔滥调的设备被过度使用，这表明人们缺乏想像。最明显的是，角色
在空中奔跑，直到他意识到这一点，然后摔倒。近期动画中过度使用的技巧包括向 《骇
客任务》 致敬的 360 度旋转打斗场景，以及一系列三个快速跳切到连续较长的镜头，同
时在角色持续的尖叫声中播放三个尖锐的音符，以向 《惊魂记》致敬。
Laziness and lack of effort are highlighted by reused gags in the same short,
reused animation, and long, held poses in which dialogue supersedes action.
Some of you may quibble that Waking Life was brilliant for the latter reason,
but Waking Life, in truth, was a live-action film in animated clothing.
在相同的短动画中重复使用笑料，长时间保持姿势（对话取代动作），凸显了懒惰和缺乏
努力 。 你们中的一些人可能会争辩说， 《梦醒人生》 之所以精彩是因为后者，但事实
上， 《梦醒人生》 是一部披着动画外衣的真人电影。
Recycling successful ideas previously used in other shorts and films is
another failing. There is one cartoon series extant (which I shall not name)
that is composed entirely of recycled ideas from older cartoon series. The
very title of the series is, in fact, a play on words borrowed from another
past series. I have yet to see one device or influence in this particular
show that I could not trace to other animated efforts, and originality
appears to be at a minimum.
重复使用其他短片和电影中曾经使用过的成功创意是另一个失败。有一部现存的动画片（
我不会说出它的名字）完全是由从旧动画片中回收的想法组成的。事实上，该系列的标题
就是藉用另一个过去系列的文字游戏。我还没有看到这部特别的节目中有任何一个技巧或
影响不能追溯到其他动画作品，而且原创性似乎最低。
Not everyone can be a brilliant director, but almost anyone can make poor
cartoon shorts. Chuck Jones, who spent the bulk of his career directing
cartoon shorts at the Warner studio, is widely regarded as one of animation's
most accomplished directors. Erudite, experienced, and possessing an uncanny
feel for his character's emotions, Jones carved a place for himself as an
animation immortal, having the satisfaction of hearing most of his accolades
before his passing in 2002. He duly conquered every challenge an animator and
director could face.
不是每个人都能成为出色的导演，但几乎任何人都可以制作出糟糕的动画短片。查克琼斯
（Chuck Jones）的职业生涯大部分时间都在华纳工作室执导动画短片，他被广泛认为是
动画界最有成就的导演之一。琼斯博学、经验丰富，对角色的情感有着不可思议的感知力
，他为自己赢得了动画界不朽的地位，在 2002 年去世之前，他已经满足于听到大部分赞
誉。他成功克服了动画师和导演可能面临的每一个挑战。
Until he ran into Tom and Jerry.
直到他遇见了汤姆和杰瑞。
In 1963 Jones was heading his own studio, SIB-Tower 12 Productions. When the
suits at MGM were less than satisfied with director Gene Deitch's Tom and
Jerry revival (1960-62), they handed the reins to Jones. In the process, MGM
bought out SIB-12, put Jones at the head of their new MGM Animation-Visual
Arts Department, and gave the Warner legend a budget of $42,000 per cartoon
short (a whopping amount at that time) to work his magic with. They were
sadly rewarded with four years of animated dross.
1963 年，琼斯创立了自己的工作室 SIB-Tower 12 Productions。当米高梅高层对导演吉
恩戴奇 (Gene Deitch) 执导的《猫与老鼠》复排版 (1960-62) 不太满意时，他们把导演
权交给了琼斯。在此过程中，米高梅收购了 SIB-12，任命琼斯为新成立的米高梅动画视
觉艺术部门负责人，并为这位华纳传奇人物提供了每部动画短片 42,000 美元的预算（在
当时是一笔巨款），让他施展魔法。可悲的是，他们四年来只制作了一部烂动画。
Jones never truly disagreed with this assessment. He admitted in a 1971
interview with Joe Adamson that he didn't understand the characters the way
that Bill Hanna and Joseph Barbera did, and that he was uncomfortable with
the level of violence in the original MGM series. Jones stated that, unable
to infuse Jerry with as much character as he wished to, Jones "just kind of
changed the characters to my own way of thinking." In a 1972 interview with
Greg Ford and Richard Thompson, Jones also related that he did not understand
the characters and voiced his frustrations about working with someone else's
creations. Jones' difficulty in working with Tom led him to tell his
interviewers, "I said to hell with him."
琼斯从未真正反对过这种评估。 1971 年接受乔·亚当森 (Joe Adamson) 采访时，他承
认自己并不像比尔·汉纳 (Bill Hanna) 和约瑟夫·巴伯拉 (Joseph Barbera) 那样理解
剧中角色，并且对米高梅原版剧集中的暴力程度感到不舒服。琼斯表示，由于无法按照自
己的意愿赋予杰瑞角色个性，琼斯“只是根据自己的思维方式改变了角色”。在 1972 年
接受格雷格福特和理查德汤普森采访时，琼斯也表示他不理解这些角色，并表达了他对与
他人创作的作品合作的沮丧。琼斯与汤姆合作时遇到的困难导致他告诉采访者，“我对他
说，让他见鬼去吧。”
Despite his frustration, this is a bit disingenuous on Jones' part: he had a
long history of successfully working with characters that he did not create,
producing updated roles and personalities for Daffy Duck and Porky Pig that
endure to this day. A viewing of How the Grinch Stole Christmas rather
disproves Jones' excuses. The Grinch was certainly not his character, yet
Jones created a cartoon classic.
尽管琼斯感到沮丧，但他的这种做法还是有点不诚实：他曾长期成功地与自己未创造的角
色合作，为达菲鸭和猪小弟创造了更新的角色和个性，并一直延续到今天。观看 《圣诞
怪杰》后， 琼斯的借口被推翻了。格林奇当然不是琼斯的角色，但琼斯却创造了一部经
典的卡通人物。
Tom and Jerry were even mute characters; anyone watching the Road
Runner/Coyote faceoffs could see how expertly Jones could work sans dialogue
In watching the Jones T&J cartoons today, it seems more that the director
wanted to make Chuck Jones cartoons more than he wanted to make Tom and Jerry
cartoons, and that was the crux of the problem.
汤姆和杰瑞甚至是哑巴角色；任何观看 Road Runner/Coyote 对决的人都可以看到琼斯在
没有对话的情况下如何熟练地工作。在今天观看琼斯 T&J 动画片时，似乎导演更想制作
查克琼斯动画片而不是汤姆和杰瑞动画片，这就是问题的关键。
A typical misfire can be observed in the Jones cartoon short Much Ado About
Mousing (1964). This cartoon, as mentioned, had a high budget as well as many
of Warners' former top talent on board. Jones had longtime story man Mike
Maltese aboard, as well as master animators Ken Harris and Ben Washam. Yet,
all of Jones' failings and little of his talent came through.
我们可以在琼斯的卡通短片 《无事生非捕鼠》 （1964 年）中看到一次典型的失败。如
前所述，这部动画片的预算很高，并且有许多华纳兄弟的前顶尖人才参与其中。琼斯的团
队由资深故事作者 Mike Maltese 以及动画大师 Ken Harris 和 Ben Washam 组成。然而
，琼斯的所有缺点和才华都显露出来。
To begin with, there is no gag in the cartoon until a fishing gag pops up at
1:45. To have a gag this late in a cartoon that only runs 6:38 is the first
mistake. We see Tom posing and making various canny expressions as he
prepares to cast a fishing line, but little else. That's far too much time to
set up a gag. At 2:20 Jerry takes refuge in a huge bulldog's mouth. Tom
fishes out the bulldog's tongue, making the canine more than a bit unhappy.
From 2:36 until 3:03 we get nothing but poses and expressions between the
bulldog and Tom that essentially freeze the cartoon dead. Note especially
Tom's facial expression at 2:39: this is either Jones at his laziest or more
likely, lost. This is the set-up for a fairly good gag in which the bulldog
rolls Tom up like a bowling ball and careens him through a ten-pin
arrangement of trashcans. Tom rolls off the dock and emerges with a crab on
his tail (3:03 to 3:30). That's over a minute to pull off one gag!
首先，卡通中没有任何笑料，直到 1:45 出现了一个钓鱼的笑料。在一部长达 6 分 38
秒的动画片中这么晚才加入笑料是第一个错误。我们看到汤姆在准备抛出钓鱼线时摆出各
种姿势并做出各种精明的表情，但仅此而已。为制造笑话而花费的时间实在是太多了。
2 分 20 秒，杰瑞躲进了一只巨大的斗牛犬的嘴里。汤姆拿出了斗牛犬的舌头，这让斗牛
犬非常不高兴。从 2:36 到 3:03，我们只看到斗牛犬和汤姆之间的姿势和表情，这基本
上让卡通画面定格了。特别注意汤姆在 2:39 时的面部表情：这要么是琼斯最懒惰的时候
，更有可能是迷失了。这是一个相当不错的噱头，斗牛犬把汤姆像保龄球一样卷起来，然
后把他推过一排排的垃圾桶。汤姆从码头滚下来，出来时身后跟着一只螃蟹（3:03 到
3:30）。完成一个笑话需要一分多钟！
From 3:31 to 4:16 we have the bulldog caught by a dogcatcher and freed by
Jerry: the dog gives Jerry a whistle to blow whenever Tom threatens. For
shame. This is the same set-up from the 1944 Tom and Jerry short The
Bodyguard as well as a pale echo of Tex Avery's 1949 short Bad Luck Blackie.
It gets worse: the whistle-blowing results in an exact reuse (minus a few
frames) of the bowling-ball-and-crab-gag used earlier. The animation, is, in
fact, reused. This is the use to which $42,000 was put?
从 3:31 到 4:16，我们看到斗牛犬被捕狗人抓住，然后被杰瑞释放：每当汤姆威胁时，
这只狗就会让杰瑞吹口哨。真丢脸。这与 1944 年《猫与老鼠》短片 《保镳》 的设定相
同，也与 Tex Avery 1949 年的短片 《倒楣小黑》有些相似。 情况变得更糟：举报导致
之前使用的保龄球和螃蟹插科打诨被完全重复使用（少了几帧）。事实上，动画被重复使
用了。 42,000 美元就这么用了吗？
Tom attempts to put a set of blue earmuffs on the bulldog, perhaps the most
engaging animation in the cartoon. He then celebrates and goes to confront
Jerry. From 5:43 to 5:52, we get nothing but poses reminiscent of Delsarte
acting technique. At 5:52 Jerry produces a pair of blue earmuffs; they are
not actually the pair on the dog, but Tom does not know this. How did Jerry
know there were blue earmuffs on the dog? He was nowhere in sight when Tom
did the deed. The result is that bowling-ball-and-crab gag is used, with a
minor variation, a third time, with the exception that a terrified Tom rolls
himself into the ball and launches himself off the dock. He grabs a nearby
crab and puts it on his own tail (5:58 to 6:16). Jerry lies down beside the
dog, puts his own set of earmuffs on, and enjoys a snooze with his pal. The
end.
汤姆试着给斗牛犬戴上一副蓝色耳罩，这也许是卡通中最引人入胜的动画。然后他庆祝并
去找杰瑞对峙。从 5:43 到 5:52，我们只看到让人联想到德尔萨特表演技巧的姿势。
5:52 杰瑞拿出一副蓝色耳套；它们其实不是狗身上的那对，但汤姆不知道这一点。杰瑞
怎么知道狗戴着蓝色耳罩？当汤姆做这件事时，他却不见踪影。结果是，保龄球和螃蟹的
噱头第三次被使用，略有变化，不同之处在于，受惊的汤姆将自己滚入球里，然后从码头
上跳了下去。他抓住附近的一只螃蟹并将其放在自己的尾巴上（5:58 到 6:16）。杰瑞躺
在狗旁边，戴上自己的耳罩，和他的朋友一起打盹。完结。
So, we have gags that take too long to set up, are repeated too often, there
are instances of reused animation, poses and cutesy expressions take the
place of action, and the result is six-and-a half minutes of animation that,
well, take up six-and-a-half-minutes. Nearly every mistake that a director
can make was made in this cartoon, and there is good reason for Jones, in his
later years, to view his own Tom and Jerry cartoons with disdain.
因此，我们的笑话设定时间太长，重复次数太多，有重复使用动画的例子，姿势和可爱的
表情代替了动作，结果是六分半钟的动画，嗯，占用了六分半钟。这部动画片几乎犯了导
演可能犯下的所有错误，琼斯在晚年对自己的《猫和老鼠》动画片不屑一顾是有充分理由
的。
An argument can be made that no one ever recaptured the verve, charm, and
mayhem of the original Hanna-Barbera cartoons, but it's not a strong one. A
good director exploits the material given to its best advantage. When Walter
Lantz assigned Tex Avery to make Chilly Willy cartoons, Avery took a
character who was thinner than cheap wallpaper and exploited the comic
situations in the cartoons until they were funny shorts. Chilly Willy should
have been a one-shot character at best; Tom and Jerry had decades of rich
history before Jones took them over, and his cartoons failed.
有人可能会说，没有人能够重现汉纳巴伯拉原版动画片的活力、魅力和混乱，但这种说法
并不站得住脚。优秀的导演会最大限度地利用素材。当沃尔特·兰兹 (Walter Lantz) 指
派特克斯·艾弗里 (Tex Avery) 制作《奇利威利》 (Chilly Willy) 动画片时，艾弗里
选取了一个比廉价墙纸还瘦的角色，并利用动画片中的喜剧情节，直到将它们制作成有趣
的短片。 Chilly Willy 最多只能算是一次性的角色；在琼斯接手之前，汤姆和杰瑞已经
有几十年的丰富历史，但琼斯的动画片失败了。
Jones' talent is unquestioned; in the sad case of Tom and Jerry, it seemed to
be more the case that the desire to make these cartoons was not there. And
thus we come to a crucial point about directing a short cartoon: without
sufficient motivation, technical expertise and experience can easily count
for nothing.
琼斯的才华毋庸置疑；在《汤姆和杰瑞》这个悲伤的案例中，似乎更多的情况是，人们并
没有想要制作这些动画片。因此，我们得出了导演短片漫画的一个关键点：如果没有足够
的动力，技术专长和经验很容易变得毫无意义。

1940年代的 放到现在还是超好看

这版真的无聊

https://youtu.be/GCt_EWNGk0c 最棒的版本

1963版的世界观比较广 有时候挺有趣的 但角色互动生硬了点