Clampett later created the character of Tweety, introduced in "A Tale of Two Kitties" in 1942. His cartoons grew increasingly violent, irreverent, and surreal, not beholden to even the faintest hint of real-world physics, and his characters have been argued to be easily the most rubbery and wacky of all the Warner directors'. Clampett was heavily influenced by the Spanish surrealist artist Salvador Dalí, as is most visible in "Porky in Wackyland" (1938), wherein the entire short takes place within a Dalí-esque landscape complete with melting objects and abstracted forms. Clampett and his work can even be considered part of the surreal movement, as it incorporated film as well as static media. It was largely Clampett's influence that would impel the Warners directors to shed the final vestiges of all Disney influence. Clampett was also known for creating some brief voices or sound effects in some of the cartoons, for some of these he impersonated the Warner Bros. zooming in shield sound effect (otherwise known as "Bay-woop!"). Clampett liked to bring contemporary cultural movements into his cartoons, especially jazz; film, magazines, comics, novels, and popular music are referenced in Clampett shorts, most visible in "Book Revue" (1946), where performers are drawn onto various celebrated books. Clampett was a good source for censorship stories, though the accuracy of his recollections has been disputed. According to an interview published in "Funnyworld" #12 (1971), Clampett had a method for ensuring that certain elements of his films would escape the censors' cut. It consisted of adding material aimed just at the censors; they would focus on cutting those and thus leave in the ones he actually wanted. Clampett left the studio in May 1945, although short films directed by him would continue to be released until late 1946. "The Big Snooze" was his final cartoon with the studio and was one for which he did not get screen credit (only one of three he directed pitting Bugs Bunny and Elmer Fudd). While the generally accepted story was that Clampett left over matters of artistic freedom, Arthur Davis (an animator who took over Clampett’s unit the same year) remembered that Clampett was fired by then-cartoon studio executive Eddie Selzer, who was far less tolerant of him than Leon Schlesinger.