The animated short The Dot and the Line (1965) carries a little-noted production scandal that pitted two of animation's great visual minds against one another. Chuck Jones is officially listed as director and was one of the originators of the adaptation; he even did the first treatment for Norton Juster's 1963 book. According to Maurice Noble — the veteran background artist who ultimately received a co-director credit and who later described himself as the "true acting director" — producers were not satisfied with Jones's early results and ordered a handover. Noble recounts a vividly theatrical moment: Jones allegedly entered with a scowl, threw the project's materials onto Noble's bookcase in a deliberate stack, and stalked out. That dramatic transfer of creative authority left Noble to shape the film's final look and execution, a bitter creative rebuke for Jones despite his role in initiating the project.
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