This is full of ideas.It's a scene animated by Izzy Ellis who had a primitive drawing style that was very angular. It works perfectly here.
Look at the difference between the way Daffy is drawn compared to Porky. Porky is very rounded, constructed, old-fashioned, conservative and "on-model", as opposed to Daffy's almost abstract angular poses.
Was this an "idea" specifically and consciously thought up to draw our attention to Daffy? Or was it merely a lucky accident. Either way, it took Clampett to encourage both fresh ideas and lucky accidents, both of which occur non-stop in his cartoons.
Another "idea": There is no background. How weird is that? Where are they? By this time in the cartoon, you don't even care. The whole story is so preposterous that by now, you're ready to accept anything.
The story idea at this point: Daffy has to sit on an egg to hatch it out, but he doesn't want to. It's too undignified for him. Everything about that is wrong, but again by this time, you just accept it.


Another idea: When Daffy turns around, the inbetween is a black sillhouette. It's only on for 1 frame, so why bother? because every frame is worth creativity. Clampett has millions of ideas - from the big picture of the whole story concept, all the way down to individual frames. He is an idea machine.
There are all kinds of weird cuts through the scene too - for no apparent reason, and they should be jump-cuts. We should notice them, but for some reason we don't until we actually still frame the scene.





This is only the beginning of the scene too. In the next post, the scene does something extra strange. It keeps switching from animator to animator. Clampett does this a lot too - he breaks up individual scenes into different animators. Supposedly to cast individual types of gags and actions according to who he thinks will do them best. Talk about picky control! But it sure works.
http://www.cartoonthrills.org/blog/Clampett/46BabyBottleneck/DaffyIzzyEgg.mov

It starts out with a pretty normal pan of a farm, but layed out with odd angles that make it move in a slightly creepy way.

Then it just cuts to Daffy walking. I always assumed he was part of the pan, but no, it's a jump cut that I never noticed till now.
This walk is rife with tension, animated by Izzy Ellis. It's a double bounce - which is usually used to make a character seem happy. Something about this walk though is anything but bubbly or happy.
When I saw this for the first time, an anticipation of dread gripped me, like Daffy was expecting the world to come to an end. I never had weird feelings like this watching cartoons before.
And Daffy looked so different than what I was used to. He was more angular, scrawny and his poses were dynamic and really communicated what he was feeling - new more specific feelings. He's waiting for something that must be more important than life itself. What was it?






More great poses!
I was astounded at how clear and stark his poses were. Like a caricature of the cartoon principles of silhouettes, line of action, anticipations etc. No timidity like the poses in a Friz cartoon.
He says "sufferin' succotash!" which I had only heard Sylvester say before. I wonder who said it first. Clampett said that when they recorded Mel Blanc's voice for Daffy, he liked the way it sounded better than after they sped it up, so when he created his first Sylvester cartoon he suggested using the same voice and not speeding it up.
I love this action that really accentuates the dialogue.
Mel and Carl Stalling are in top form in the cartoon. It's amazing how Clampett coordinated all his talents to contribute to the unique intense feelings you only feel in his cartoons.


"Why don't he get here?" Listen to how the voice and music work together perfectly here.




This head shake is great too.





My eyes were bugging out of my head watching these unapologetic poses.
Nice ass anticipation there...
I think this was the first time I noticed smears too and they work perfectly here.
Here's a nice jump cut to the mailbox in a different position. Clampett's camera angles add a lot of dynamic tension to his cartoons.

I think this is a different animator.




Man was I creeped out by these realistic 3 fingered man hands - which Mike Fontanelli told me are outlawed in Japan.
Yikes! It's hilarious but really sick. Like a mutant from Hell has come to violate Daffy's sacred mailbox.
Another bold jump cut
...to reveal Daffy's eyes sliding around the post like living breasts whose aching needs beg to be sated.
All this is just the beginning of the cartoon and it made me feel like I was seeing - not "seeing" but feeling something different in a cartoon. I was used to laughing at my favorite Chuck Jones or Tex Avery cartoons and admiring the artwork and animation, but this was my introduction to a kind of comedy that had the extra element of intense feeling and empathy for the character. I was sucked into Daffy's emotions and felt everything he felt, instead of just laughing at him from the outside world. Clampett has this way of sucking you into the screen by making the story come out of the characters' emotions, rather than just stuffing them into a neat and tidy preconceived plot.

The Great Piggy Bank Robbery was a great revelation to me. It completely changed how I thought about cartoons and entertainment.

I've made a bunch of clips from it and will share all my revelations about it. I just had another last week as I was studying it again for the millionth time.


This cartoon stars only 1 character! It's just Daffy. No foil in the cartoon, except himself against his own urges and imagination! It's not Bugs VS Elmer, or Peter Pan VS Captain Hook; it's just a single extremely emotional duck. Doesn't this break every rule of (or cliche) of storytelling? Somebody quote me some rules out a film school book about character.

Today you can't have a cartoon without 80 characters, each with no charisma or personality, but who have to all take their turns eating up screen time by saying their cringe-inducing catch phrases or making arbitrary references to other films and TV shows.

Under Clampett's supremely controlled direction, Daffy is so charismatic that he can carry a whole cartoon by himself on the strength of his personality.