When I was younger, when I was a teenager, the work was more satirical and funny and cartoony. And part of it was chops - if you have a more limited repertoire of stick figures and cartoon characters, they lend themselves more to humor than to tragedy.
I had the impression in art school that cartooning was thought of as a lesser art than painting because cartoons are reproduced, so the "work" is not the single thing like a painting, but instead is the reproduced image.
You know in cartoons, the way someone can run off a cliff and they're fine, they don't fall down until they look down? My mom always said that was the secret of life. Never look down. But it's more than that. It's not just about looking. It's about never realizing that you're in the middle of the air and you don't know how to fly.
The fact that cartoons are reproduced doesn't mean anything to me as far as whether they are "real art" or not.
Animal rights is a serious subject, but I do my best to find humor where I can, and I have some great help: there are almost two hundred cartoons included in the book, including dozens from the brilliant Bizarro strip.
A lot more people will want to hear a 5-minute singing cartoon about Communism in China than will want to read that PhD thesis, and that's the power of it even if a lot of details will be missing - that's the reason something like that often has more impact on society.
I was just worried that someone was gonna think that I had been commissioned by Jamba Juice to make cartoons about Jamba Juice. And the big thing for me was - if I'm not getting paid to sell out, I don't want people to think that I'm selling out.
We apologize for the fact that the cartoons undeniably have offended many Muslims.
John flung himself into a pseudo-karate stance, one hand poised behind him and one in front, posed like a cartoon cactus. I thought for an odd moment he had moved his limbs so fast they had made that whoosh sound through air but then I realized John was making that sound with his mouth.
I paused in the act of opening the door and looked at him with what were probably cartoon-wide eyes. "Wait a second," I said. "So, you're best friends with a hot vampire chick who likes leather." "Yeah." "And together, you fight crime?" I couldn't help it. I cracked up.
And didn't it always go like that--body parts not lining up the way you wanted them to, all of it a little bit off, as if the world itself were an animated sequence of longing and envy and self-hatred and grandiosity and failure and success, a strange and endless cartoon loop that you couldn't stop watching, because, despite all you knew by now, it was still so interesting.
Cameron threw her hands up in frustration. “What is this so-called ‘look’?” Whatever it was, she was going to have to start taking extreme measures to guard against it. Amy grinned. “You know the Tom and Jerry cartoon where Tom hasn’t eaten for days and he imagines Jerry looking like a ham? Kind of like that.
To be born means being compelled to choose an era, a place, a life. To exist here, now, means to lost the possibility of being countless other potential selves.. Yet once being born there is no turning back. And I think that's exactly why the fantasy worlds of cartoon movies so strongly represent our hopes and yearnings. They illustrate a world of lost possibilities for us.
I watch a lot of cartoons. I watch a lot of "SpongeBob SquarePants" and "Phineas and Ferb."
I was very briefly under contract to Disney Animation, to develop ideas for animated features. They don't like you to use the word "cartoon" around there.
And there were sort of three toys for boys and three toys for girls. And the boys I can remember was, well, there was a Dan Dare Ray Gun. Dan Dare was a sort of a cartoon character. He was just sort of a - he was like a Battle of Britain fighter pilot, only in space.
I love cartoons. So when they came to me to make Ice Age and this sequel, I was so happy.
I'm a collector of cartoons. All the Disney stuff, Bugs Bunny, the old MGM ones. It's real escapism, it's like everything's alright. It's like the world is happening now in a far away city. Everything's fine.
You don't expect everyone out there watching to believe that this cartoon is real, that this drawing has really come to life. But on some level, you do. You try to cast a spell. You want the world to feel real. It's a nerdy pursuit.
I just tried to create a life for myself that's full of fun and fantasy and things that equal laughter. My life's been cartoons and comedy and acting, and it's just been a fun life.
I think you can get away with so much more offensiveness when you're operating behind a stuffed teddy bear or a cartoon or something that's not real, because it's forgiven. It's like having a little kid in a movie curse - it's funny because it's not natural.
A cartoon character isn't a specific person. It isn't Tom Cruise or George Clooney playing the part, it's a character that could be you. It's easier for you to get drawn into it in a special way.
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.
Animation wasn't my love, but drawing was. I loved drawing, and when it came time to graduate from high school, I looked around and it was like, "Wow, I don't really want to study math. I don't really want to study science. I don't really want to study literature. Is there a place where I can go and draw cartoons?"
My success was the shock of recognition, probably, rather than the quality of the work. I mean, the quality may have been fine, but there's a lot of fine work out there. It was the fact that I was doing something that at that time, nobody else was doing, except for say, Mort Saul out in San Francisco on The Hungry Eye, and "Second City" was emerging out in Chicago. Nothing in print. It was basically happening in cabaret and nothing in fiction. And certainly nothing in New York in cartoons.
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