The Extras
The Extras
More Cartoons From the Vault: Looney Tunes Collector's Vault V1 Disc 2 Reviews
We continue our deep dive into the Looney Tunes Collector's Vault Volume 1 Blu-ray with animation historian Jerry Beck and Warner Archive's George Feltenstein, exploring the treasures of Disc 2 and the evolution of iconic characters.
• Disc 2 features beloved characters and fan favorites, contrasting with Disc 1's more collector-focused rarities
• The 1937 "Porky's Duck Hunt" introduced the world to Daffy Duck and marked the beginning of Warner's irreverent cartoon style
• Daffy Duck cartoons like "Birth of a Notion" showcase the character at his screwiest, paired with a terrifying Peter Lorre caricature
• Warner Brothers cartoons broke the fourth wall and created an interactive experience unlike Disney's more polished approach
• First appearances of beloved characters like Speedy Gonzales and Yosemite Sam are included in this collection
• Warner Archive hints at potential for a Volume 2 release depending on the commercial success of Volume 1
Purchase Links: Looney Tunes Collector's Vault Vol. 1
Also available: Looney Tunes Platinum Collection Vol. 1 (Blu-ray)
Looney Tunes Platinum Collection Vol. 2 (Blu-ray)
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Hello and welcome to the Extras. I'm Tim Millard, your host, and this is part two of my ongoing discussion with animation historian Jerry Beck and George Feltenstein of the Warner Archive. As we talk about the recently released Looney Tunes Collector's Vault Volume 1 Blu-ray. Well, we've been dabbling in Disc 2 cartoons here. But let's turn the page to Disc 2. Absolutely.
Tim Millard:You know that if disc one is definitely for collectors default, you know, uh, this too is is got all of the characters that people know. Yeah, I shouldn't say all the characters, but so many characters that people know and love and enjoy and some of the all-time favorites. Um, you've got obviously a lot of bugs bunny cartoons on here and there weren't really too many in the collector's choice releases because a lot of them have been released so, um, so there's going to be a lot here that we can talk about that are fan favorites, um, and then you also have speedy gonzalez and pepe lepew in this, uh, this release as well. But I thought we could start with those notable Daffy Duck cartoons that you previewed, porky's Duck Hunt from 1937, tex Avery as well.
Audio clip:Hey, that wasn't in the script. Don't let it worry you, skipper, I'm just a crazy darn fool duck.
Tim Millard:Daffy is totally crazy and some amazing gags in this one. I really enjoyed this one.
Jerry Beck:Yeah, that's what put the character on the map. They learned early on around this time that the Porky Pig goes hunting motif as a scenario was working with audiences. They didn't know whether it was the wacky zany character he was chasing or if it was Porky himself and his reactions or just the premise that it was hunting. Maybe they actually believed at one point there that it was the situation of hunting that was the thing that was driving it and making it funny and popular. So they made many, many, as you note, if you go back in that period, they made many, many hunting cartoons, whether it was Porky or Egghead or whatever.
Jerry Beck:That was what they thought was the thing. But soon they learned it was the character, the crazy character, whether it was Daffy Duck or the rabbit, whatever. And then they realized that and they went off from there. But the hunting aspect and of course hunting was a big deal, a bigger deal than I think it might be today Back then it was a rite of passage for people, for the young men in particular, and so it was a thing people could relate to and imagine. A screwball duck, you know, in the middle of the marsh, you know, that's where it comes from.
Tim Millard:Well, there's another Daffy one the next year, 1938, daffy Duck and Egghead. Yeah, and I thought that was highly notable as well. Again, just to continue, and this is we're talking about them out of order from where how they play on the on the uh disc. But it starts with that very funny disclaimer. You know, characters portrayed or not, you know there's a disclaimer at the beginning and it just gets crazier from there.
Jerry Beck:Uh right, just that's the beginning of the emergence of the Warner Brothers cartoon style of humor, the style absolutely Before that, as George has mentioned, the cartoons were, you know, based around a song and were pretty much of that three act, you know, introduce a character and their family danger and then the resolution to the danger. Pretty much many, many cartoons had that scenario. This was the beginning of new ideas, new thinking, I think remind me, but Daffy, duck and Egghead, even as the classic bit of talking back to the audience, not just breaking the fourth wall but a person standing up, I believe you know, and I mean this was brand new. I always try to explain this to the classes I teach, because to us it's, it's, we grew up with this. But to be in a theater where, where they're talking to somebody in the audience and the silhouette of the character several rows ahead of you, oh my God, it was an interactive experience and it was also not the kind of thing disney would ever do.
Jerry Beck:It was just not what people were used to. Disney was the high watermark, the class. Uh, what a cartoon was. Warner's was the reflection of that. Warner's was the saturday saturday night live skit of it. You, you know the Mad Magazine parody of that and this was the beginning. Right there, right there, the beginning of that style happens, right there.
George Feltenstein:Well, introducing irreverent anarchy. Anti-establishment, if you will. I mean establishment, if you will, I mean they just were young, creative, talented innovators and that's why their cartoons in my mind, along with Avery when he went to MGM, and Tom and Jerry. Nobody made funnier cartoons and some companies made cartoons that were beautiful to look at and had no humor at all. Warner brothers really takes the cake when it comes to comedy and, of course, when tex havery left he brought his own anarchy over to mgm and, uh, I think that even influenced tom and jerry termite terrorists.
Jerry Beck:Sorry, as much as we love the MGM cartoons and we do and we love Avery, but there's something about the Warner Brothers cartoons and that something is I've said this before it's like the Beatles. I use that as an analogy because it's these people, meaning the Warner Brothers crew of artists, the people who became the directors Frank Tashlin, you know, Bob Clampett, their particular point of view, their skewed, you know POV. But it was also the facilities of the studio had first class compared to other studios like walter lance. They had, you know, they had a level budgets for these. They had talent, they had the music, they had carl stalling, they had mel blank, they had. It was a combination of these factors that makes the warner cartoon great and uh, and this and this collection, it really does personify that.
Tim Millard:Yeah, well, I want to go now back to the one you mentioned earlier, jerry Birth, of a Notion from 1947. You know, daffy's looking for a winter home and he's trying to ingratiate himself to this dog. And then there's this scientist. Yeah, peter Lorre needs a wishbone, a duck wishbone, for his experiment. This is a wacky awesome cartoon.
Jerry Beck:This is one of the first ones that I think McKimson did, and he animates on a lot of these things. He was like their best animator. As a kid I actually was scared by this cartoon. Even though it's so, it's wonderful. It's the Peter Lorre caricature. As a kid I actually was scared by this cartoon. Even though it's so, it's wonderful.
Jerry Beck:The Peter Lorre caricature is so real-looking to me and he's so evil and he's so versus Daffy at maybe his screwiest, really crazy slapping him, punching him, doing things to the protagonist that we normally don't even see but that they do, uh and uh it works. It's these two. It's the two extremes at their most extreme in in the cartoon world, in my opinion. Uh, and that's part of what makes it especially interesting yeah, yeah, I well said these three daffies.
Tim Millard:I mean it's fantastic, um, I just thought.
George Feltenstein:So there are so many good daffies on this disc. Yes, there are some great bugs cartoons, yep, some of my favorites, um, I mean every character is served well by the whole 50 film set.
Tim Millard:Yeah.
George Feltenstein:You know, with obviously some of the cartoons not having central characters, but everybody gets a little bit of their screen time here, yeah Right.
Tim Millard:Well, why don't we talk about one of those that hasn't been on any of the collector's choice releases, that's Speedy Gonzales? You have two on here.
Jerry Beck:You've got cat tails for two from 1983, the first one yes, some might say we only have one on here, because in that first one, uh, he's really kind of a little different than he. His character design is different and they had they. This was. It was a one-off again, what they would do is I love that they did this they would have to do X number of Bugs Bunnies. They'd have to do a Porky and a Daffy or some of the other Foghorns, some of the other characters that now became famous.
Jerry Beck:But they always allowed themselves one or two each year, just miscellaneous subjects, the kind of thing that brings us One Froggy Evening or the Ralph Phillips cartoons or whatever. They would experiment with a new idea, new character. That's what Cat Tales for Two is. None of these are ever meant to be anything beyond a one-off, but the idea of Speedy Gonzalez grabbed them, and the next year McKimson didn't just keep that character, he kind of shared it with Frizz Freeling. Frizz said let me have a whack at that idea and redesigned the character, made him a little more appealing.
George Feltenstein:And got an Oscar.
Jerry Beck:And got an Oscar right, and that was the beginning of that series. Probably the last, I would say, without just doing this really quick in my head, but that's probably the last great character. Uh, that was a regular, you know. They developed a few other characters later, but this might have been the latest one. You know the roadrunner was came about earlier. Um, even the tasmanian devil, which mckimpson came up with, I think, comes out, you know, earlier, before Speedy, the first Speedy Gonzalez cartoon. So this is kind of the last of the great characters from the studio.
Tim Millard:And then you have the. The second one on there is the Gonzalez Tamales from 57.
Jerry Beck:Yeah.
George Feltenstein:What's that After the Oscar.
Tim Millard:Yes, after the Oscar, and this one has all the town mice, hire Sylvester to get Speedy and I think it's so good.
Jerry Beck:You know they always had to come up with that's the thing I'll tell you. Other studios, other studios, lesser studios. They come up with some idea for the character premise and then they just repeat it over and over again. You characters like not to put them down. George knows I love these characters, but Casper sorry characters like Casper or Maddie Mouse or something it's really the same cartoon over and over again. At Warner's they'd come up with a character and, with some very rare exceptions, they would always try to make the next cartoon different. It's just the character is the same, the scenario is a little different, or a lot different in some cases, and that's again another one of the things that makes these cartoons repeatable and enjoyable. You can do a binge watch of a bunch of that one character because they're different. Each cartoon has a different story.
Tim Millard:Yeah, well, I wanted to go back to one you mentioned earlier, jerry, and that's that Banty Raids from 1963.
Audio clip:Oh yeah, how about that the pads patrolled with a real jazzy plan. I can like storm the gates, dig this, get up, man. It's the most sick, man, sick.
Speaker 5:Sick man, sick. What in the name of Jesse James, do you suppose that is?
Tim Millard:Is this one McKimpson's last Foghorn Leghorn?
Jerry Beck:Without looking it up, I don't think it is. In fact I think we put on the last set. I think we did False Hair, which is the last theatrical Bugs Bunny from that period and that's 64. And it's directed by McKimson and Foghorn makes a cameo in that cartoon. So that really is the really last appearance of Foghorn Leghorn by McKimson, then it's one of the later, later ones. Then, uh, it's one of the later later ones. Uh, it's interesting because of the oddball beatnik references in it and you know it's a little more in tune of kind of what was going on at the time, you know, um 60s slang uh, groovy man, and you know you know again, uh, a demonstration of even that later date, uh, that they they were not aimed at children.
Jerry Beck:This was not a children's character, he was a swinger, he's a yeah like chicks you know, they go off on that a little bit in the film and so, uh, you know, it's that one is that's a cult classic. I think A lot of people I know like that one in particular because of the strangeness.
Tim Millard:Oh, it's terrific, it's terrific. And then you have a couple of Pepe Le Pew that you put on this release. So you know, fans of Pepe have two on here. Older Able Kitty from 1945. Yeah, and that's the one where the male cat disguises himself.
Jerry Beck:Well, if we didn't say it before and we didn't that makes another first cartoon Absolutely.
George Feltenstein:Because that's the first.
Jerry Beck:Pepe Le Pew. There we go and he's not quite the character yet. In fact he's not even right. I mean there's a lot of things that are just off about that one, but it's great. I mean it's chuck jones and it's 1945 and it looks great and um and uh, and the pest perfumants, I believe is the name. And that one is one of my favorites because it takes place, I believe I'm sorry to say this, I haven't watched it again, but that's the one that takes place in a movie studio, right?
Tim Millard:yeah, the silent movie theater yeah, I love that one. Yeah, that was, that's the one that takes place in a movie studio.
Jerry Beck:Right, yeah, the silent movie theater. Yeah, I love that one.
Tim Millard:Yeah, that was terrific. That's really a classic, I think.
Jerry Beck:Yeah, and they never really repeated. They would always do new variants of those gags where they're taking some French word or making it Americanizing. They did that a lot and I never. I was always looking to see if they just repeated this again. They never did. They never repeated those type of gags and I love that about that series. They're really funny, if you get it. I will say this because Pepe's been, you know, had a problem in recent years, but people are forgetting that. That's the joke. We're meant to laugh at him. We don't. We're not with him. You know we're not the character he is. You know we are laughing at how kind of stupid he is in terms of how he thinks he's going to get, you know, a lover in this particular cartoon. He's going about it all wrong and that's the point of the series, right, and you know. That's why they're not. You know they're not wrong, they're not wrong.
Tim Millard:Well, we're going to talk about Bugs Bunny, but before we do, I did want to bring up these terrific roadrunners Gee Whiz from 1956 and Zoom and Board from 57.
George Feltenstein:Zoom and Board is one of my favorite Roadrunners, so good right.
Audio clip:Yeah.
Jerry Beck:Yes, I'll tell you if you watch them once in a while, as opposed to a binge watch on a set devoted to the Roadrunner. Well, all the 19, all of all the Chuck Jones ones are good. There's there's good stuff, but these are, in particular, great. They play. I say these, I say this because I have shown them in my little public programs. You just show one the other pro the rest of the stuff on the program, like the set or other characters and other things. Boy does that kill. I I'm saying this from showing it in a theater with an audience kill laughter today. These days, part of the problem if there is no problem, but part of the problem of people watching the roadrunner now is they're seeing it in the isolation of their home with nobody laughing around it.
George Feltenstein:Those cartoons are great, yeah, yeah I mean I think that makes that. This is certainly something I would encourage people to get their friends to come over and have a communal viewing experience, because there is nothing like watching a Warner Brothers cartoon with an audience, and Jerry and I have both and I've been with him on several occasions when this has happened be in a movie theater and when that shield comes up, people go crazy right and I think it speaks to the power of the excellence and resiliency of the looney tunes and merry melodies. And when you, you know, have as many people over as you can comfortably fit in your home or apartment and show these discs, do two and then have another party for disc one. For people who want to dig deeper, whatever, bring people over, make popcorn. This is the best way to see them technologically watching them in your home with this beautiful new presentation, watching them in your home with this beautiful new presentation, but have that communal experience of watching with other people. It's the best way to do it.
Tim Millard:And I'll add something. I've never mentioned this before, but we had some students come over from a foreign country when I was in high school and they didn't speak English, and we would watch these cartoons and we would all laugh in the same place, especially the Roadrunners, because there's no English. I mean, there's really no dialogue, no dialogue, yeah.
Tim Millard:Yeah, there's no dialogue, and so the humor, everything just comes across through the action and not through the dialogue, and so those were always favorites and we could all enjoy them together. So it was interesting how that crosses all language barriers. Those roadrunners.
Audio clip:Okay, okay, break it up. Show's over. Next demonstration tomorrow morning. Go on scream. Another day, another carrot.
Speaker 5:Oh Rabbit here, buddy, where are you, buddy? Ah, there you are.
Audio clip:Oh Rabbit here buddy, where are you, buddy? Ah, there you are.
Speaker 5:What's up, doc? Come along. Little chum, the sale's over, we're transferring you to another department.
Audio clip:Ah me, A rabbit's work is never done.
Speaker 5:Right in here, little chum.
Audio clip:Hmm, Taxi doy me, Taxi doy me.
Tim Millard:Well, obviously there's a lot of Bugs Bunny on this release and I know a lot of people, of course you know, were anxiously waiting to get these all collected together, so we should talk about them starting with Hair Conditioned 1945. Which is one of my favorite cartoons by far.
George Feltenstein:It has it's Jones. It has like bugs really locked down. Yeah, you know, five years into the progression after Wild Hair, and each director treated Bugs a little differently.
Tim Millard:He did him a little differently.
George Feltenstein:But I am very partial to Jones' take on Bugs and the way he deals with the department store owner or manager or whatever in that cartoon, who is a parody of a radio character of the time, the Great Gildersleeve, which was a radio show with Harold Peary, and there were even some Great Gildersleeve's movies that came out from RKO which we did put on DVD as part of the Wounded Archive collection. But they even have the joke in the cartoon, you know Bugs goes hey, you remind me of the great Gildersleeves. You know, I do. I mean, I just love the inside jokes like that and when he's trying on the shoes and there's just so much great stuff, so many gags. It's a perfect cartoon and it isn't the one that people talk about the way they'll talk about what's Opera Doc or rabbit seasoning. It isn't, you know, one of the like absolute iconic Bugs cartoons, but it's absolutely one of the best.
Tim Millard:Yeah. So, it's great to have this, this one on here and then next we have another one from 45 hair trigger. This is B's first encounter.
George Feltenstein:It introduced a new character to the world. I believe yeah.
Jerry Beck:Another first. Yeah, how many firsts are on this set.
Tim Millard:Yeah, and that's of course, yosemite Sam. For those listening and watching saying who is it? And it's on a train, I mean it's terrific. And they break that fourth wall at the end as well. I mean this is just a really fun one.
George Feltenstein:I love that cartoon.
Tim Millard:It's so fun, so much fun.
George Feltenstein:And it's fun to watch the evolution of Yosemite Sam. And for those who don't know, yosemite Sam was very much based on the image of fritz frilling himself. Uh, you know, visually and uh, and possibly temperament as well. I can't speak to that, but, jerry, I bet could, that's what's been said yes and uh, that's they.
Jerry Beck:You know they were able to, really, you know, animate him and uh, you know they, they were able to, really, you know, animate him and you know they knew the character. They just didn't want to. But Freeling was cool with that, you know he was totally.
George Feltenstein:That's the beauty of it. So unpretentious. So everybody in for delivering the laughs. Making it look great, making it sound great. These cartoons are just to be treasured, and that's what we're trying to do.
Tim Millard:I just have a soft spot for Yosemite, sam. I mean I love it. And then, of course, I just remember growing up and you know you'd be on the road, highway and there'd be a big truck and it would have those flaps, mud flaps.
Tim Millard:Yeah, of course, and it would go off, you know, but that was the attitude People. I think really you either know somebody or you are that type of attitude, yeah, and it makes you laugh, or it's good if you can laugh at it. Put it that way, knowing it about yourself or somebody else. So I just that's a great one and it's fun that that's the first appearance of yosemite sam. And then from 1946 you've got uh uh, rhapsody, rabbit and george. We recently talked about your rhapsody in blue release, right and it's just I was tempted.
George Feltenstein:I deliberately did not put any cartoons or extras on that release because the film is so long and we've got the overture. I really wanted to keep it intact for what it was, but it was very tempting to put Rhapsody Rabbit on there. But Rhapsody Rabbit is classical music and the irony of Rhapsody Rabbit is that it's basically the same plot device as Tom and Jerry and the Cat Concerto.
Jerry Beck:Right, and there's been a long debate of who came up with the idea first, because they're even spoofing the same piece of classical music. Yeah, that's a whole debate. We can't answer the question because it's a mystery that hasn't been solved. All the creators, though, in their day, in later years, speaking to fans and whatever, they all looked and saw and Cat Conchita won the Oscar, by the way.
George Feltenstein:Right.
Jerry Beck:She made it short that year. But they say it was just a complete coincidence and the only evidence of that really is the way the gags are different. You know meaning it's just the premise different. You know meaning it, it's just the premise, uh. But that said, it does seem a little odd that that bugs bunny would be wearing a tuxedo giving a recital versus a mouse. That does seem more like something that tom and jerry would do. But that said, even tom and jerry didn't do that. You know, they were normally in the home. You know, chasing around the house. So it was an unusual concept for both characters and it's kind of interesting to see how the directors could use both concepts and how they would do it. I think everybody agrees they're both great, you know.
George Feltenstein:And very different.
Jerry Beck:Yeah, there's nobody going. That one's better than this Everybody. They're both great cartoons, yeah, yeah.
Tim Millard:I mean it's fun to speculate these things and then interesting to look into them, but uh, yeah, just as a entertainment they're great. And then next you've got rabbit punch from 1940.
Audio clip:Caught that right. Come on, come on, let's have a show here.
Tim Millard:Let's really throw some letter Come on, and then next you've got Rabbit Punch from 1948, which is, you know, it's a boxing match.
Jerry Beck:Chuck Jones. It's kind of a classic, I think you know. That's all I can really say about it. It's one of those classic Chuck Jones. I mean, you know lots of gags. I don't even know what else to say. I honestly don't know what else to say about it.
George Feltenstein:Well, it just whets your appetite to want to watch Bunny Hug.
Jerry Beck:Right Bunny Hug, which was sort of a not remake, meaning it's not really a remake at all. It's wrestling as opposed to boxing.
George Feltenstein:The thematics? Yeah, you know they. That would make it great if you had to put on two cartoons.
Jerry Beck:It would be great to just watch those two, you know, together that that those two together uh represent what I said before, which is how they there's no way they were going to remake a cartoon. I mean, there's there are rare cases where they did literally remake a cartoon, but very rare, uh, they, they just took the basic premise and, in in most cases, the second version, if you want to call it. That is some, is many times better than the original. Uh, one a cartoon I'm getting off topic but one a cartoon that proves that in my opinion I think you'd agree with me George Back Alley Opera with Sylvester.
George Feltenstein:Stallone, much better than notes to you.
Jerry Beck:It's a remake of an earlier Porky Pig, yeah, but the remake is better Much better, that is normal. Whenever they would remake something like that, it was better.
Tim Millard:It was better. Well, I think the big allure for me and many people about Bugs Bunny is that he just always gets the best of everybody, whoever his opponent is, whether it's a hunter or, in this case, a boxer, and you know just how he can get the best of people make fun of them. That's part of the allure.
Jerry Beck:Well, he's a character we can relate to. He's offbeat For me as a New Yorker. He was, you know, he was me, you know, when I was going to high school, you know, and all the and all the bad guys were the bullies in school, and the fact that he always won he made him a hero to me, makes him a hero to a lot of people, and you know, that's why we love that character.
George Feltenstein:Well, because of this release, I was interviewed by a writer for an article about this release and I was talking about how Chuck Jones is, you know, one of my, I would say, favorite directors. It's really hard to say he's my like number one because I have such reverence for avery and clamp it and, uh, frilling for sure, sure, yep, uh. But chuck jones I was fortunate enough to get to interview. We interviewed 500 individuals that worked at either warner brothers, mgm or rko for an archival project that we did. We started in 1995 and it ended in 2011. And you see things from those interviews on our DVDs and our Blu-rays and on Turner Classic Movies.
George Feltenstein:And I got to interview Chuck Jones and I had met him before. But he said to me about Bugs and Daffy something that I am sure he said as a you know, a forward line cemented to anyone when the subject came up. This is probably was asked the same questions. He said Bugs Bunny is the person we aspire to be. Daffy Duck is who we're afraid we really are Right. Daffy Duck is who we're afraid we really are Right.
George Feltenstein:And when he said it to me it wasn't something I was really familiar with him saying and I was just knocked out by that and loving these cartoons as much as I do and loving Bugs and Daffy as much as I do. It's so true, and that one little group of sentences says it all. But we're so fortunate to be able to bring these cartoons out in this release to the people, made this broader release after the cartoons were getting overlooked in the new release department. And finally, warner Archive is empowered to use our dedication to these cartoons to bring them out to the people who want to own them on their shelves where nobody can take them away.
Tim Millard:Well, george, that leads me to ask probably the question that everybody listening, watching, wants to know. I bought Volume 1. What's the future for the Collective Call? It's looking pretty good.
George Feltenstein:I think it will probably take us a little longer. What's the future for the collector's call? It's looking pretty good. I think it will probably take us a little longer. It's not like we're working on volume two right now, even though Jerry and I have gotten our lists together. But we need to see how volume one sells. But we need to see how Volume 1 sells and we are in a business to earn a profit for the shareholders of Warner Brothers Discovery.
George Feltenstein:We have to make sure this release is profitable. I believe it will be healthy in its profitability but with that, we're looking at trying to broaden the got a lot of animation projects in the works right now and I think fans are going to be very happy with what's going to come in the ensuing months. This is a really wonderful release that I hope people can enjoy and share with their friends and just know that our goal is a volume two and to make it absolutely a knockout out of the park, as I think we've done here. I hope we've done here and, uh, we want to keep everybody happy. It's impossible to keep everyone happy, but we're trying our best.
Tim Millard:Well, george, I'm happy. Yeah, these are fantastic. And you know, I got the Blu-ray a little bit earlier than Street Date. So, as crazy as this sounds, I've watched them more than once because the first viewing was just, I was kind of just overtaken by how beautiful they looked and they sounded. And then, upon rewatching, I just kind of just sat back and just, you know, just enjoying it again and just really getting to get into the storyline and the beauty of these.
George Feltenstein:Well, that's wonderful.
Tim Millard:Yeah, so if it takes a little bit longer, there are 50 cartoons on here.
George Feltenstein:And there will be 50 on the next volume and we're going to follow the same path and it's exciting the possibilities. We're tossing around a lot of different ideas. Right, right, right.
Tim Millard:Well, as always, Jerry, George, I love these conversations. So much fun to talk about these classic films, as we call them. So thank you so much for coming on the podcast.
George Feltenstein:Thank you, tim and Jerry, as always my friend.
Tim Millard:Well, you've been listening to part two of our discussion about the Looney Tunes Collector's Vault volume one release with Jerry Beck and George Feltenstein. If you haven't yet had a chance to listen to the first part of this episode, just look in our YouTube channel or on our podcast show list and you can listen to that at any time. I think you'll enjoy it Until next time. You've been listening to Tim Millard. Stay slightly obsessed about animation.