Quotes of All Topics . Occasions . Authors
I had rather, if cruelty has been prevented by the four prints [The Four Stages of Cruelty], be maker of them than of the [Raphael] cartoons.
No politician would ever comment on a cartoon unless it was to show what a great sense of humour they have, that they can laugh at themselves.
If someone's a cartoon villain, you can dismiss them, but if they behave despicably but you kind of like them, they really get under your skin.
No one blames themselves if they don't understand a cartoon, as they might with a painting or 'real' art; they simply think it's a bad cartoon.
The nice thing is that, at least in Los Angeles, I'm known as a character actor and I do auditions for other things besides just cartoon shows.
I was unable to sleep and I would stay up and draw these little cartoons. Then a friend showed them around. Before I knew it I was a cartoonist.
I grew up on 'Spongebob.' If I had known there was an even better cartoon out there like 'X-Men,' you best believe I would have grown up on that.
I'm the kid who wanted to grow up and be Bugs Bunny. I was very, very disappointed when I realized I couldn't grow up and be a cartoon character.
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 play a lot of video games. I've started playing even more games since I heard Cartoon Network was interested in making an 'Adventure Time' game.
I was an only child and was obviously really bored, so I would entertain my parents by imitating cartoon voices like Scooby Doo, Boo Boo and others.
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.
In Poland, for a while, my books all had cartoons on the cover. I trust my publishers in each country to know what works in their individual markets.
There's something grounded about 'Ugly Americans,' so I think it's good that I'm playing a version of myself in these elevated cartoon circumstances.
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.
If you've ever watched a television cartoon, you know that kids don't appreciate subtlety, though perhaps that's because they're not often offered it.
I like playing these characters who are just on the edge of ridiculous but always grounded in reality. I would never want to come across as a cartoon.
Advertising is not a rifle; it is a shotgun, and any campaign featuring outdoor boards of a cartoon animal inevitably will catch children in its spray.
The whole Gorillaz concept is one for mavericks; it's a way for people who never have a chance to work together being able to ally behind the cartoons.
I didn't invent anything; it's all there in the culture; it's not a big mystery. I just combine my personal experience with classic cartoon stereotypes.
A lot of the issues I faced in junior high was what got me into animation. It was easier to sit on the side and draw cartoons than to engage with people.
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.
My cartoons appear in newspapers, which are full of words, but there's something about having it in this little box that confounds people's expectations.
When people see me in public, they're usually like, 'Whoa, you're a real person.' It's as if they're seeing Pinocchio or a cartoon character come to life.
For me, the question was, how can one take a live-action performance and put it in the parameter of one of those cartoons? How much can you get away with?
When we constantly ask for miracles, we're unraveling the fabric of the world. A world of continuous miracles would not be a world, it would be a cartoon.
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.
Tick is a cartoon character, I don't know if you're familiar with him. This is the third step in his evolution. Comic book to cartoon to, now, live-action.
I love nothing better than a dirty cartoon. I think that it's really, really funny to see adult themes in a genre that's usually directed towards children.
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.'
I got a bike when I was little, a BMX. I called it 'Fido Dido' after the tough little cartoon guy with spiked hair. I thought he was the coolest thing ever.
It's fun playing a more feminine part. I can identify more with a woman of passion and emotion than with a cartoon character. Who knows what a cartoon feels?
I've dealt with Hollywood about having my work made into a film or cartoon but nothing came of it. That's not to say I wouldn't like to see something happen.
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.
We always thought the Tom Tom Club could change to anything, but it acquired this image, which was cartoon animation and this real light-hearted dance music.
You can take charge, kick ass, do whatever you have to do and it's okay. You can blow people up. These are things that are okay for cartoon characters to do.
Maybe we're just stupid and don't realize you can't make music that sounds like a chase scene from a 'Scooby Doo' cartoon and have people take you seriously.
There is a famous Russian cartoon in which a hippopotamus, in the bush, points out a zebra to another hippopotamus: 'You see,' he says, 'now that’s formalism.
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.
Cartoons are like fruit flies. Biologists use fruit flies because their large chromosomes and short life cycle make them ideal for studying hereditary changes.
In the high level cartoon world, my number one admired hero would be Chas Addams - really a top, top artist that the 'New Yorker' was lucky to find and employ.
You work like hell to get yourself ahead in the business. You could go anywhere before, and suddenly you can't go anywhere. It's like being a cartoon character.
So far as I am concerned, I am not at all aware that there indeed exists a serious side as well to my cartoons drawn in an inspired mood of mischievous abandon.
I probably would be continuing to do voice-overs, continuing to do cartoon shows, and at the same time I'd probably be on a sitcom or a dramatic television show.
You are in a strange world in pantomime, where you are allowed to step out and talk to the audience and do silly gags. Sometimes I feel like a cartoon character.
I used to draw cartoons. I'd just show them to some of my friends, expecting that they were going to appreciate them, that they were going to enjoy reading them.
It was memorable the first time 'The New Yorker' bought a cartoon from me. I had been sending them batches for years every week, and they didn't respond to them.
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.
PowerPoint is like being trapped in the style of early Egyptian flatland cartoons rather than using the more effective tools of Renaissance visual representation.