Despite all the stories that have been told over the years about the gang at Termite Terrace having fun on the job, Noble said most of the time it was serious work for him and the people around him. Life among his co-workers was very informal and there were gags, in the form of comic drawings, floating around.

Among his fond memories are the lunches cooked by Ben ("Benny") Washam for the group. Noble said that once in a while on Fridays Benny would pass the hat and then go out and buy some provisions. It turns out that Washam was an original partner in the Bob's Big Boy restaurants. He quit and became an animator because he didn't make much money in the food business.

Another happy memory concerns writer Mike Maltese who Noble described as having a good wry sense of humor. Noble said they were very good friends and would go antique-hunting together. As he talked he looked around the room and pointed out a chest and other things that reminded him of his adventures with Maltese.

At Warners only a few cartoons were ever given official premieres, most just opened at downtown theaters without any fanfare. The studio made a big deal out of the premiere of What's Opera, Doc? because it was the only cartoon to use a 50-piece orchestra. The event was held at a theater on the studio lot. He doesn't remember who was in the audience, but he recalled the red curtain parting and that it was wonderful to see this great parody on the screen. "It was a big event. I was quite surprised that when I saw the picture that it turned out to be such a grand tour de force."

Noble was at Warners when the studio closed Termite Terrace and opened a new studio built for the animators on their back lot in Burbank. Beforehand, the site had been a trash pile. After the studio ended animation production the building became a music library and a computer center, among other things before it became Chuck Jones' studio.

Maurice and Chuck
Noble describes his relationship with Chuck Jones as strictly business. It was between two men who still have enormous respect for each other's abilities and a recognition that their skills complement each others talents. Noble had co-director credit with Jones on several Warner Brother cartoons in the 1960s. He said, "I owe a great deal to Chuck because he let me do my own thing. We got to do a lot of very interesting pictures together."

Noble's relationship with Chuck was "nothing social." He would attend parties for the whole unit at Chuck's house, "but never any lunches or socializing... It was strictly a business relationship and that's probably why we could work together for so long. I'd say good night and he would say good night and that was it."

Jones praises Noble's brilliance as a layout artist in the book Duck Amuck. Among the fine things Chuck Jones had to say about Maurice is the statement, "He never showed off, but he showed up every other layout man I have ever known by his honesty, his devotion to his craft, and above all, his devotion to the film at hand, and this is nowhere more vividly demonstrated than in What's Opera, Doc?"