Keith Knight is mapping out a previously unknown vector of the vast cartoon universe.
I wasn't really a big comic book guy, growing up. I watched cartoons, but the choices were a whole heck of a lot slimmer.
I know, too, that millions and millions of people voted for Trump not because they are cartoon racists, but because they did not like Hillary Clinton for a variety of reasons, because they had real economic and social grievances.
I enjoy the fact that we have these mobile comics now, which are sort of a cross between a comic book and an animated cartoon.
A lot of my cartoon voices are basically just variations on my natural voice.
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.
I have a cartoon where the guy is pretty much, he's a regular-sized guy, but he's the size of the island. He's saying no man is an island, but I come pretty damn close.
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.
People think you get one idea for a cartoon every week, and that's not the way it works. You usually get 10 or 15, and you're - certainly when I was a cartoonist, before I was a cartoon editor, you're rushing to do what is called the batch. When I was doing that, I liked to have, in general, about 10 cartoons.
When Marvel put together Ultimate Spider-Man and someone came up with the idea of having Principal Coulson, they said, "Do you want to do the voice?" I thought, "I have to do the voice!" Because I have a daughter and we watch some cartoons, I couldn't bear the idea of tuning in and hearing somebody else's voice.
I've always just loved drawing and loved cartoons. Growing up, I loved Disney films, I loved The Simpsons, and I was a big fan of the comic strip Calvin & Hobbes and the way that they would have weird fantasy and then down-to-earth funny character comedy.
I grew up with comic books and cartoons and action movies. To find myself in the position to do work in these mediums is just an opportunity I couldn't have even asked for. It's just pure luck, really.
I like the old-school Warner Bros. Looney Tunes cartoons. I'm talking Wile E. Coyote, Road Runner, Bugs Bunny and Marvin the Martian!
CGI is to me like watching a cartoon. It can be effective, if it's done well. A lot of times you don't feel any real risk. You're watching a bunch of computer-generated graphics.
You might be a redneck if you watch cartoons long after your kids get bored.
I wrote a call to the contemporary Muslim conscience, saying to the ordinary people that we might not like the video or the cartoons, but that violence certainly isn't the right answer. I don't think laws are going to solve the problem.
I'm not the most sophisticated person. I'm not the smartest person in the world. But, I know what makes me excited about life, from Spielberg movies to Michael Jackson music videos to cartoons on Saturday mornings, which made my childhood.
My parents played by parents, in the second season [of Suits]. We had a Skype scene and they were my real parents. My parents are cartoons. When they come up and visit, they're hilarious. My mother somehow finds a way to get in the way of everything.
In a way, the political cartoon drawings are things that are small and have humor and a childhood aesthetic and are often stronger to spread an opinion.
Sometimes you're noodling around with a sketch and something incongruous in the drawing calls forth the caption and other times you think of a line and just have to find a place for it. A cartoon with a caption like "I don't want to live forever, but I sure as hell don't want to be dead forever either" sprang into my head and I just had to find the right venue for it which was an old couple talking to each other.
The most popular cartoon of mine is a guy on the phone looking at his appointment book and saying "No, Thursday's out. How about never, is never good for you?"
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.
It's very hard to take a character out of nothing, and put a hook on it, especially because it's only sonic. Futurama is a sonic world, and everyone's attention is focused on that sound and that little cartoon image. You can change it.
I did speak out about celebrities because I thought it was appalling. I thought that if the cartoon became popular, it was only going to last as long as the career of the people who are in it. They didn't make up timeless voices. They used their own. They brought nothing to the table, in other words. There was no alchemy. That's why a cartoon was so alluring, was that a human being went into a place and created this supernatural sound, or whatever sound it was supposed to be that was totally unlike their own, and did it in multiples.
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.
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