Film Segments in Order
- Daffy Dilly (1948) (used at beginning when Daffy tries to get to Cubish)
- The Prize Pest (1950) (used when Daffy recruits Porky)
- Water, Water Every Hare (1950) (Used for the Paranormalists At Large commercials)
- Hyde and Go Tweet (1960) (Sylvester encounters Tweety, who changes into a monster without him realizing it, which leads to his paranoia)
- Claws for Alarm (1954) (Porky and Sylvester's Dry Gulch assignment)
- The Duxorcist (1987) (Daffy's first assignment, which was successful). This is also exclusive to this film, though it was shown as an individual cartoon short years later and was first released theatrically with Nuts.
- Transylvania 6-5000 (1963) (Bugs' Transylvania assignment, only the ending where Bugs' ears turn into bat wings and Bugs flies away was cut)
- The Abominable Snow Rabbit (1961) (Bugs and Daffy's Himalayas assignment)
- Punch Trunk (1953) (a miniature elephant wanders through town, having many encounters with various people, with only a drunk man not expressing any shock whatsoever)
- Jumpin' Jupiter (1955) (seen in epilogue, identified as the Superstition Mountains)
Read more about this topic: Daffy Duck's Quackbusters
Famous quotes containing the words film, segments and/or order:
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“It is not, truly speaking, the labour that is divided; but the men: divided into mere segments of men—broken into small fragments and crumbs of life, so that all the little piece of intelligence that is left in a man is not enough to make a pin, or a nail, but exhausts itself in making the point of a pin or the head of a nail.”
—John Ruskin (1819–1900)
“It is conceivable at least that a late generation, such as we presumably are, has particular need of the sketch, in order not to be strangled to death by inherited conceptions which preclude new births.... The sketch has direction, but no ending; the sketch as reflection of a view of life that is no longer conclusive, or is not yet conclusive.”
—Max Frisch (1911–1991)