I always imagined my little cartoons on plates for some reason.
I like What Goes Around Comes Around for old concert tees. Oh man, I got this 'Sgt. Pepper' cartoon Beatles shirt there; it was, like, $300. I didn't even know how much it cost - I thought it was gonna be, like, $80 at most - till I got to the register and was like, 'Oh mah gawd!' Good Lord. But it's classic vintage rock, you know?
I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.
I'm a huge fan of Warner Brothers cartoons. I would spend many hours alone after school watching Daffy Duck. I think Daffy Duck is one of the great comedic villains.
I'm 40 years old, and I still love watching Bugs Bunny slap the bull on the nose. I still watch those cartoons, and yet I also enjoy reading books about science, or the current fiction.
I also love being able to do something that kids and families can enjoy because I have two children of my own and I want them to grow up watching all the fabulous animated movies and cartoons that I loved to watch as a kid.
I was the founder of the Cartoon Bank in the 90s. I was interested in finding ways for cartoonists to supplement their incomes.
I've been interested in cartooning all my life. I read the comics as a kid, and I did cartoons for high school publications - the newspaper and yearbook and soon. In college, I got interested in political cartooning and did political cartoons.
At the time, liberals didn't understand that they had First Amendment rights. So, I was doing cartoons in this narrative cartoon form about subject surrounding that and as I was turned down by editor after editor at each publishing house, I began to notice on their desks this new newspaper called The Village Voice, which I then went and picked up and thought, well my god, these editors that were turning me down all, whom tell me how much they like my stuff, but they don't know how to market it because nobody knows who I am. If I got into this paper, they would know who I am.
Each cartoon needs the right amount of wrong.
Disney cartoons are all rated G. It's really funny. There are kids all over the world who still have complexes over Bambi's father getting shot by the hunter and Bambi's mother getting crisped. But that's the way it's always been. This is the sort of material that appeals to kids. Kids understand it instinctively. They grip it.
I feel like I was hit by all of geek culture at once while I was growing up in the '70s and '80s. Saturday morning cartoons like 'Star Blazers' and 'Robotech.' Live action Japanese shows like 'Ultraman' and 'The Space Giants.'
I don't think so much about verbal comedy. I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth. My goal is always what Chuck Jones wanted his Warner Brothers cartoons to be, which was if you turn down the sound, you could still tell what's going on. I think if you watch most of my films with the sound off, you could still tell what's going on.
Charles Murray, however, clearly believes that being able to cure fatal diseases is more important than some other things and that Rembrandt was a greater artist than your local sidewalk cartoon sketcher. Most people might regard this as obvious common sense but some of the intelligentsia may be seething with resentment at seeing their pet fetishes ignored.
I just really love the cartoon form. I love the plasticity of it.
None of the cartoons that I ever did are basically, if they're about sex, they're about sex in sort of this, you know, this ironic way, or the way that people actually treat it.
The Christmas parties were orgies of drinking and singing and groping and pawing. Cartoon staffers invested their own money in preparatory liquor.
Walt Disney has never addressed himself to children once in his life - never. The material of his cartoons is made to reach an adult audience. This is the whole trouble. Everything is made to reach everyone, and in order to reach everyone, he must introduce the Hollywood touch. Every illustration of a girl in Disney's books looks like the Hollywood queen and every picture of the hero looks like a badly drawn Cary Grant. Obvious symbols of an adult world.
The fantasy which serves as a support for the figure of the Stalinist Communist is therefore exactly the same as the fantasy which is at work in the Tom and Jerry cartoons.
Star Wars may be kind of a cartoon, but the original trilogy depicts a political paralysis which breeds an interest in a strong leader who will make a significant break with the past. And Hillary Clinton is a person - whether you like it or not - of extraordinary experience. I don't know if we ever had a presidential candidate with that level of political experience. There's no learning curve for her. And that, in some periods, would be a huge plus. In the end, I think it will be a significant plus for her now.
In European and American society, many pundits started to lament the death of literature; looking at youth who were getting more and more attracted to sitcoms - hard, adventure films and said, our children are no longer reading, or else they're reading cartoons.
When you become a comedian a lot of stuff that made you laugh before just stops. You stop watching your old cartoons you used to watch. You stop reading the funnies. It's like working at a strip club. You don't come home and turn on the Playboy Channel.
We are, if anything - I do believe we function as a sort of editorial cartoon. That we are a digestive process, like so many other digestive processes that go on.
In the same period that the Americans have lived under one constitution our French friends notched up five. A Punch cartoon has a 19th century Englishman asking a librarian for a copy of the French constitution, only to be told: 'I am sorry Sir, we do not stock periodicals.'
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.
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