Genndy Tartakovsky made hand-drawn TV, Dexter's Laboratory and Samurai Jack, and on Hotel Transylvania, his first computer film, he wanted "to push the characters like they were hand-drawn". He "hated the term 'on model'"; Dracula's eyes could be different sizes in the same shot. But the characters were already set up "for a naturalistic style", and "We didn't have time to start over" (senior animation supervisor James Crossley). He kept drawing over the shots, and on one scream drew "the jaw literally three times more open"; on the rig, "His jaw would have crashed into his chest." A stretchier skeleton wasn't the answer: Sony Pictures Imageworks' Karl Herbst says they "would basically still be building rigs today". So the animators pushed the rig as far as it went, then sculpted the rest by hand: "they sculpted a character frame by frame, rather than letting the rig do its job" (Dan Kramer). On the sequel, one Mummy scream took "about 3 hours of animator time" for a pose "on frame for less than one second". Then the light broke: a stretched hand keeps its volume, gets thin, and light shines through; Herbst called it "suddenly having Gumby". Tartakovsky: "The computer is designed to mimic reality, and I hate reality."

The figure, rig and drawings are our own recreations, not film footage.

Which cartoon stretch do you still remember?

Sources: Michael Leader, "Genndy Tartakovsky interview: Hotel Transylvania, and creating animation for the big screen", Den of Geek (2012); Barbara Robertson, "Pose by Pose", Computer Graphics World (2012), with James Crossley and Dan Kramer of Sony Pictures Imageworks (Hotel Transylvania); Ian Failes, "Going off-model: Hotel Transylvania 2", fxguide (2015), with Karl Herbst; "All Hands on Drac", Animation Magazine (2015); John Lasseter, "Principles of Traditional Animation Applied to 3D Computer Animation", SIGGRAPH 1987.
Sounds: our own, made in code (earshot, CC0).