Quotes of All Topics . Occasions . Authors
I realized that people make cartoons for a living. It had never dawned on me that you could do this as a career.
There are artists who are writers, but there was no such thing as cartoons that were written by somebody who couldn't draw.
Some of my favorite media is the still cartoon that you can sit and study. You can get amazing metaphors across really quickly. I'm in awe of a Charles Schulz.
I started doing cartoons when I was about 21. I never thought I would be a cartoonist. It happened behind my back. I was always a painter and drawer.
I've watched cartoons my entire life, and I know my mom has always wanted me to turn off the TV if she hears annoying voices too often from the television - if she hears sort of cartoon 'acting.'
The cartoon is a metaphor really for the fact that it's almost impossible in our celebrity obsessed culture to move around genres and sort of change you ideas, change your face, you know?
You don't make a fortune doing cartoons. It's a lot of fun, it keeps you busy, and it's better than a kick in the pants, absolutely. But doing voiceover work doesn't make you rich. It just doesn't.
I think cartoons are important. Tell me that you don't like cartoons, and I think there's something wrong with you. I don't understand why people don't like cartoons.
My cartoon life is in my office, and it's very separate and getting very in my own head. My television life is I'm begging one of the actors to say the line in the way I'd like them to.
I saw one of the old 'Tom and Jerry' cartoons the other day. I hadn't seen it for 30 years and I didn't remember it. We made 160 of them! I thought it was a very funny cartoon.
I love thinking of cartoon characters feeling really real feelings. And I love to do that, not just as a fan, but as a creator, so if people want to look for those levels, they're actually there.
I'm a cartoonist, it's what I am at heart, so cartoons take reality and deform it and make it grotesque, you make it funny, but you alter it. If it works, it's based on reality. That's what I try to do.
Josie needed more of a personality than what the cartoon had to offer.
The digital realm give cartoons and cartoonists more possibilities for exposure.
Student cartoonists as well as professionals should always be careful that they're not doing a cartoon that already has been done.
I watched the classics as a kid, and I could tell that Bugs Bunny in drag was a cartoon and a joke. It didn't make me start dressing in drag.
The wonderful thing about the cartoon form is it's a combination of words and pictures. You don't have to choose, and the contribution of the two often winds up being greater than the sum of its parts.
No health care for poor kids? You know, I thought something like that was only done by cartoon villains. You're (Pres. Bush) slowly going from being Nixon to Mr. Burns.
I was a huge fan of that Cyborg growing up as a kid because that was when the original cartoon show was on, and Khary Payton is a master at what he does.
Sometimes I'm convinced that one day I'm going to draw the cartoon that offends everyone, and that'll be the end.
Many cartoons I've drawn have been controversial, perhaps a little before their time, certainly when I was getting started.
I like the old-school Warner Bros. Looney Tunes cartoons. I'm talking Wile E. Coyote, Road Runner, Bugs Bunny and Marvin the Martian!
All cartoon characters and fables must be exaggeration, caricatures. It is the very nature of fantasy and fable.
There is too much illustrating of the news these days. I look at many editorial cartoons and I don't know what the cartoonists are saying or how they feel about a certain issue.
My biggest kick comes from the individual fans I run into. Middle-aged men ask me when we're going to do more Johnny Quest cartoons.
I thought I was going to make crazy cartoons for the rest of my life. I didn't think I'd ever get paid for it, didn't think I drew well enough, but I knew it made me happy.
Kids cannot follow stories. They don't know what the hell is going on in a cartoon. They like to see funny visual things happening.
I spent a year storyboarding and writing on a show called 'The Marvelous Misadventures of Flapjack' for Cartoon Network, which really taught me how to run a show. Or at least the idea of running a show.
'The New Yorker' didn't invent the magazine cartoon, but it did really establish it.
With a standard editorial cartoon, you're taking tons of information and synthesizing it down to a single bite - a single moment in time. With animated editorial cartoons, it's more storytelling.
I can speak to my experience and say that CalArts worked out very well for me. After CalArts, I went to Cartoon Network, and then came to Disney.
I actually grew up watching a lot of these cartoons - a lot of the animated series. 'Batman: The Animated Series,' 'Justice League,' all the stuff that would come onto Cartoon Network.
Every week when my batch of weekly cartoons would go to FedEx, it felt like a small miracle. Then in a few days, it's 'Here we go again.'
Disneyland is like Alice stepping through the Looking Glass; to step through the portals of Disneyland will be like entering another world.
Making cartoons means very hard work at every step of the way, but creating a successful cartoon character is the hardest work of all.
'Adult Swim' on the Cartoon Network is unbelievable. And 'South Park' continues to do great stuff. And 'Family Guy' and the various other Seth MacFarlane projects are amazing.
Joe Barbera's s always complaining that he can't get humor into cartoons anymore. Just do it. You've got your money. Why do they let the networks run their lives?
I was the founder of the Cartoon Bank in the 90s. I was interested in finding ways for cartoonists to supplement their incomes.
I think some days you should do a cartoon that is absolutely just for the laugh, and some days you should do a cartoon that just punches the reader right in the stomach. It's kind of nice to mix it up.
The idea for any cartoon (my experience, anyway) is rarely spontaneous. Good ideas usually evolve out of pretty lame ones, and vice versa.
I started, actually, to make my first animated cartoon in 1920. Of course, they were very crude things then and I used sort of little puppet things.
I was the founder of the 'Cartoon Bank' in the '90s. I was interested in finding ways for cartoonists to supplement their incomes.
I keep thinking someone's gonna show up and say, 'There's been a big mistake. The guy next door is supposed to be drawing the cartoon. Here's your shovel.'
Animation is different from other parts. Its language is the language of caricature. Our most difficult job was to develop the cartoon's unnatural but seemingly natural anatomy for humans and animals.
You do have to put in a lot time to get good at anything and than includes cartoons. So I think it's true of art and everything else.
With my own cartoon, it was just me being goofy by myself, but when it comes to an animated film, you're working with 45 animators and assistant animators. It's a whole different ballgame.
I'm very fond of the strictly visual cartoons I did when I was breaking in in the 1970's. Over time I migrated to a more verbal approach.
When you look back at the older cartoons, they're very much more observational cartoons. And the cartoon, the people in the cartoons are not making the joke.
Cartoons are like fruit flies. Biologists use fruit flies because their large chromosomes and short life cycle make them ideal for studying hereditary changes.
Cartoons, often, that you do for the New Yorker don't appear for months afterwards, and the record for that is a cartoon that was bought by James Stevenson in 1987 and didn't appear until 2000.