Quotes of All Topics . Occasions . Authors
I grew up, probably like a lot of people, on cartoons. And I never thought I would have the chance to be in an animated movie. It's good also to show the world my sweet side with them.
They don't tend to feature the kind of vaginas I like in adult films. I tend to like a thick, heavy pussy - the kind of pussy that looks like it just smoked an exploding cartoon cigar.
I've been a comics fan since my first hit of those gateway drawings: Judy, Asterix, and the TV cartoon 'Spider-Man and his Amazing Friend' - which naturally led me to Spider-Man comics.
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 quite liked Sharkey and George and then there was a cartoon with rapper MC Hammer in it - Hammertime - I loved that cartoon, it was genius! They don't make cartoons like that anymore.
I always liked to draw, and when I was a kid, the Internet wasn't big at all, so I would go to Internet cafes and search Google images for cartoon characters and save it to my USB drive.
I started to look like a cartoon character with the fringe and the catsuits. Yes, I want to change and mix it up. I want to change my hair, change my style. I want to be allowed to grow.
One way to escape the universe in which everything is a kind of media cartoon is to write about the part of your life that doesn't feel like a cartoon, and how the cartoon comes into it.
I notice when I'm at a party where I don't know anybody - even if I have nothing in common with somebody - we can still talk because we were raised by the same TV and cartoons and movies.
I grew up with Batman and Superman but definitely in a cartoon and a movie kind of way. I was familiar with DC superheroes. I didn't know much about The Flash or anything about Iris West!
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?
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.
Think about when you were 12 or 13. The stuff I watched was awful! I tried to watch a 'He-Man' cartoon recently, and I was like, 'Oh my God!' I just had, like, a small brain. I was stupid.
I don't know why there hasn't been a 'Spy Kids' cartoon. You have to bring that up to Robert Rodriguez and see what he has to say. That would be an interesting thing to do with this series.
My favorite thing is when cartoon fans show up to my live gigs! They are always the most kick-butt audience members 'cause they're not trying to act all cool like a lot of the music fans do!
Several times I drew a critical cartoon and then, at the last moment, stopped myself from putting it out in print. I thought it would be misunderstood, be a politically incorrect thing to do.
Homer Simpson has been more inspirational to me than probably any cartoon character. What he represents, I think, there's a part of that in everybody. There certainly is in me, and I love that.
I did take some voiceover classes. I always loved the idea of doing a voice for a cartoon character. I just voiced the character of Suzi X in the upcoming 'The Haunted World of El Superbeasto.'
I knew I wanted to be some kind of artist from about 12. I met a neighbour who drew cartoons, and I had an idea I wanted to be a cartoonist - or something that involved Indian ink, at any rate.
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.
I was doing political cartoons and getting angry to the point where I felt I was going to have to start making and throwing bombs. I thought I was probably a better cartoonist than a bomb maker.
At one time Tribune Syndicate emptied out their storeroom. They put tables full of original cartoons down in the lobby and said take one if you want one. The comics were simply a burden to them.
My grandmother was probably the first person who I thought was beautiful. She was incredibly stylish, she had big hair, big cars. I was probably 3 years old, but she was like a cartoon character.
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'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.'
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.
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 can't look at TV without seeing something that's been influenced by rap. Even commercials for cereal. When I was small, I was a fan of cartoon characters - now the cartoon characters are rapping!
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 sometimes catch up 'Simi Selects India's Most Desirable.' Sometimes I watch reality dance shows, too. And yes, the strangest of all is that I watch 'Tom and Jerry' on Cartoon Network with my son.
I had studied William Shakespeare in Oxford, England and I had this sort of high faluttin' education but I had also worked in comic books. So, I wasn't too proud to work in something like cartoons.
I constantly watch 'The Simpsons' and an English cartoon called 'The Raccoons' and 'Gummi Bears.' I was obsessed with ninja films, and the 'Teenage Mutant Nina Turtles,' I used to love that as well.
I love Turner Network television; I love Adult Swim. That's actually how I got my start on Cartoon Network was through Adult Swim, originally. I had a special appearance on 'Aqua Teen Hunger Force!'
I often felt like that Mr. Magoo figure in the cartoon, who just wanders through traffic, and somehow it never hits him. I kind of feel that way about my whole childhood: Why do I have a normal life?
We've seen the uproars around the world concerning cartoons depicting the prophet Mohammad. Anyone who does not think comic strips are relevant never had a fatwa put on him/her for drawing a picture.
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.
Saturday morning was their unrestricted television time, and they usually took advantage of it to watch a series of cartoon shows that would certainly have been impossible before the discovery of LSD.
'Looney Tunes' was not a children's cartoon. I don't care what anybody says. It was very politically charged, very racial. And then they tried to soften it up for kids later. But it was for the adults.
First of all, you look at Rocky films now, and if that isn't a cartoon series there isn't any cartoon series. I mean there's no way anybody is going to take that amount of punishment in fifteen rounds.
To be honest, there is a special gift for doing voice-overs, and the people who did the voices in the 'SpongeBob' cast are excellent at cartoon voice-overs, and they bring something extra to the reads.
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.
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.
I loved the movies and I loved cartoon superheroes - superheroes in general. I had all the pajama costumes and I would wear my underwear on the outside of the pajamas because that's what Superman does.
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.
For me as an audience member, it makes the characters more relatable and interesting if they're evolving and changing - it makes them feel more real in a way. But not every cartoon is trying to be real.
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.
Cartoon Hangover has given us another place we felt we could find the most talented people around the world and give them a chance to make the films they want to make and match it up with their audience.
American eroticism has always been of a different provenance and complexion than the European variety, an enjoyment both furtive and bland that is closer to a blushing cartoon than a sensual celebration.
They wanted to make her less rural, less of a cartoon. Not that Southern woman are cartoonish - they're the strongest women in this country, but with Val they wanted to take the stereotypical things out.
Many thanks for all of the love and good wishes sent our way from my friends out there in cartoon land... the only place where a nine month pregnant woman can still play a hot goth chick in a belly shirt!