"There's only one test of a great children's book, or a great children's film, and that is this: If it can be read or viewed with pleasure by adults, then it has the chance to be a great children's film, or a great children's book"
About this Quote
Jones is smuggling a surprisingly hardline artistic standard into a sentence that sounds like friendly common sense: kids deserve work that doesn’t require adults to switch off their brains. Coming from the director who helped make Looney Tunes a second language for multiple generations, the provocation lands with authority. He’s not elevating adult taste as the final judge; he’s attacking the industry habit of treating children as a captive audience, easily satisfied by bright colors, loud moralizing, and lowest-common-denominator “kid stuff.”
The subtext is a defense of craft. If an adult can sit through it with pleasure, the piece likely has rhythm, timing, character logic, and a coherent emotional spine - qualities children feel even when they can’t name them. Jones’s own films are basically demonstrations: slapstick for a child’s nervous system, layered satire and formal virtuosity for everyone else. That double address isn’t accidental; it’s a discipline. You earn the parent’s attention, and you end up respecting the child by default.
Context matters: mid-century American animation was often dismissed as disposable entertainment, even as it was refined by studio systems that prized gag architecture and visual clarity. Jones is arguing for children’s media as real art, and he’s doing it by refusing the condescending category distinction. “Has the chance” is key, too. Adult pleasure is not a guarantee of greatness; it’s a filter that screens out the lazy, the pandering, the cynical. Great kids’ stories don’t talk down - they invite you up.
The subtext is a defense of craft. If an adult can sit through it with pleasure, the piece likely has rhythm, timing, character logic, and a coherent emotional spine - qualities children feel even when they can’t name them. Jones’s own films are basically demonstrations: slapstick for a child’s nervous system, layered satire and formal virtuosity for everyone else. That double address isn’t accidental; it’s a discipline. You earn the parent’s attention, and you end up respecting the child by default.
Context matters: mid-century American animation was often dismissed as disposable entertainment, even as it was refined by studio systems that prized gag architecture and visual clarity. Jones is arguing for children’s media as real art, and he’s doing it by refusing the condescending category distinction. “Has the chance” is key, too. Adult pleasure is not a guarantee of greatness; it’s a filter that screens out the lazy, the pandering, the cynical. Great kids’ stories don’t talk down - they invite you up.
Quote Details
| Topic | Book |
|---|---|
| Source | Help us find the source |
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