Why doesn't Fox just wait for Bill O'Reilly to write Killing Boston, and just adapt that book?

There are loads more spoken lines in The Wall. The man who has to fend the young Pink away in the park. The schoolteacher berating Pink in class and making fun of his poems. Pink's friends calling out to him to get off the railway track. Pink's wife trying to get Pink's attention ("Hello? Hello? Is there anybody in…

…with Mads Mikkelsen as Miles Mayhem. It's the role his initials were born to play!

And the chimp's human buddy in Going Bananas.

More than anything, the reigning-in of Bugs and Daffy was probably due to Clampett's departure from Warners, leaving Jones and Freleng as the dominant forces. With Clampett gone, Warners' house style became far less manic and more codified; Bugs became more suave and elegant, and Daffy became an embittered, conniving,…

Who Framed Roger Rabbit was set in 1947, and I think the filmmakers made a point of the cartoon characters looking/acting like they did in 1947. So the less-conniving, more chaotic Daffy was contextually correct.

I don't what to think about all the cultural/historical knowledge and old-timey references I'd have missed out on had I never seen Looney Tunes, The Muppet Show, The Simpsons, etc.

You've just given me an excuse to bring up some WB cartoon/horror movie trivia… In the mid-1970s, John Landis was in London, working on the screenplay of The Spy Who Loved Me (!), and while he was there, he spent time in a cinema in Piccadilly Circus that screened gorgeous prints of classic Avery and Clampett WB…

Re: classic-era The Simpsons, the Looney Tuniest stuff was probably the "Treehouse of Horror" episodes, where the show was free to put the characters in more wacky one-off situations with more exaggerated "cartoony" visuals.

I feel like the closest thing to a successor Looney Tunes ever had was Ren and Stimpy. Director-driven cartoons, with the characters not grounded in any one locale or time zone put placed wherever and whenever the story required, with classical music and Raymond Scott cues for a soundtrack… Like the major WB cartoon…

Chuck was fond of saying that we look at Daffy as us, and we look at Bugs as who we want to be. Because of that statement, I've never been able to take seriously the moment in Nixon where Nixon stares at the portrait of Kennedy.

"…since for many years the Warner Brothers cartoon rights were split up into two separate tv packages ( PRE-1948 and POST-1948 ), those childhood memories are reflective of the more widely-seen post 1948 period."

I think my original reply got scragged for some reason… If so, here it is again.

I'm baffled as to why Rabbit of Seville wasn't included in The Bugs Bunny/Road Runner Movie. (All I can think of is, maybe with Long-Haired Hare and What's Opera, Doc?, Chuck figured the film had enough opera stuff.)

Christopher Lloyd also cited Leopold Stokowski as an influence on his portrayal of Dr Emmett Brown.

"See yon rich, unwary traveler? I'll rob him of his gold, and give it to some poor, unworthy slob. That'll prove that I'm Robin Hood. Hmm? Prithee, hmm?"

The bit right at the end, when Bugs swings his head around, glares at Giovanni Jones with the wrath of God in his eyes and raises his arm, is untouchably brilliant and hilarious.

"Rabbit Rampage" is OK but loses points for being a pretty blatant re-hash. Plus, Bugs being tormented isn't as funny as Daffy being tormented.

…and I'm pretty sure at an earlier stage of development the film was known as Orgy of the Blood Parasites.

It's a little surprising that Jennifer Jason Leigh starred in a Cronenberg film, given that Cronenberg is close friends with John Landis, and there's that whole Vic Morrow thing…