Quotes of All Topics . Occasions . Authors
When I was 12 years old, I was hanging out with 23-year-olds. I was into cartoons and Pokemon, and they're all talking about girls. It was a strange way to grow up.
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've learned to look like I'm listening to long confusing plots of cartoons and comic books when I'm actually sound asleep or making grocery shopping lists in my head.
I've always been a fan of animation. As a kid, I used to watch a lot of the Saturday-morning cartoons, and I was always a fan of even claymation and that whole medium.
It's sometimes hard to wrap your head around a big story, and for most of us drawing editorial cartoons 9/11/ 01, that was the biggest story of our professional lives.
I think that - whether I should admit this or not - Joe and I, going back to 'Tom and Jerry,' have been very lucky in being able to do cartoons that have universal appeal.
Cable television stations in America are now producing such smart, in-depth, non-formula, character-based dramas. Film has turned more and more into big action or cartoons.
I was an only child. I needed an alternative to family life - to real life, you could almost say - and cartoons, pictures in a book, the animated movies, seemed to provide it.
I was literally in the car every day on my way home from school trying to hurry up and get the homework done so I could just go home and watch the cartoons and not be bothered.
There was a lot about the military that I thought was pretty silly, but these cartoons weren't meant to take a poke at anybody or anything. They were meant to make people laugh.
People think that cartoons are meant to be watched on television and not in cinemas. To get people into cinemas to see animation really boils down to storytelling for the family.
Mel Blanc is a hero because of what he could do with his voice for all the Looney Tunes, the Warner Brothers cartoons, to be the voice of Bugs Bunny, Daffy Duck, Elmer Fudd, Porky Pig.
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.
I would like to thank the people who encouraged me to draw army cartoons at a time when the gag man's conception of the army was one of mean ole sergeants and jeeps which jump over mountains.
I like cartoons. I like 'Foster's Home for Imaginary Friends.' It's funny! It has things that kids wouldn't get. It's like, if you're mature, you get it. I like that and 'The Fairly OddParents.'
I used to draw cartoons of my teachers which used to get passed around the class and I'd always wind up getting caught which often meant detention. But they sometimes said the drawings were good!
I've done a lot of death cartoons - tombstones, Grim Reaper, illness, obituaries... I'm not great at analyzing things, but my guess is that maybe the only relief from the terror of being alive is jokes.
Even if I am just sleeping with her or just watching cartoons in bed, I know Violet values that. I try to make the most of every moment and just make it special with her, because its what matters to me most.
A real totalitarianism is at work in the world and wants to impose its views not only on Arab Muslims, but on the West. The same way that they veil women, Islamic radicals want to veil cartoons in the press.
Reading 'The New Yorker' - I start on the last page and go backwards, reading all the cartoons. Then I read 'Shouts and Murmurs.' Then I read the reviews. Then I read the articles that immediately appeal to me.
Mel Blanc is a hero because of what he could do with his voice for all the Looney Tunes, the Warner Brothers cartoons, to be the voice of Bugs Bunny, Daffy Duck, Elmer Fudd, Porky Pig. To me, he's a great actor.
I started doing comedy with no plan to do voice work. Voice work came as a function of doing comedy and meeting people who eventually develop shows like that. I didn't seek out from an early age to be on cartoons.
I grew up watching Transformers. I think it was one of the first cartoons that I started watching as a kid. It was awesome. I would set my clock every morning before I went to school. It was a big part of my childhood.
I'm a product of the 1970s, so I have a short attention span. You know, I grew up on cartoons and half-hour shows. So the stories that I'm interested in grab my attention very quickly, and they have to keep my attention.
The Gorillaz cartoons seem more real to me than the actual people on TV. Because at least you know that there's some intelligence behind the cartoons, and there's a lot of work that's gone into it, so it can't all be just a lie.
As for the reasons behind my retirement, they mostly center around simple fatigue and a fear that if I continue for many more years my work will begin to suffer, or at the very least ease into the graveyard of mediocre cartoons.
Being raised Muslim, we had to get up at the crack of dawn to pray. There was no sleeping in, no getting up Saturday morning to watch cartoons because there was no TV in the house. But you got up and you worked, cleaned the house.
The pop musicians often leave meaning in the dust and substitute it for cartoons. The deeper artists - the grunge artists in the world and the emoticon people - tend to leave all of the happiness out of life like it just doesn't exist.
My mom was a big 'Smurfs' fan, so she would force me to watch every Saturday morning. I had no choice in the matter. I would jump downstairs on Saturday morning, 'Hurray, cartoons!' and she would say, 'Smurfs! That's what you're watching.'
E-cigarette companies are using shameful tactics, such as Joe Camel-like cartoons in advertisements and creating e-cigarette flavors like bubblegum and cotton candy, to addict our children early - and guarantee another generation of smokers.
When I was a freshman in high school, I read a book about the making of Disney's 'Sleeping Beauty' called 'The Art of Animation.' It was this weird revelation for me, because I hadn't considered that people actually get paid to make cartoons.
We moved amazingly fast because our product was acceptable to a broad market: tots, teenagers, adults. Even to some people who never before liked cartoons. When we started we knew Disney already had the kids. So we figured we should be broader.
I was working in cartoons. I could go to Comic-Con, buy the Hal Jordan ring, I could buy animation cels, but at the end of the day, I come back to an empty apartment. I had a life that was only around me, and when I was broken, my world was broken.
My mother had no interest in cartoons. I remember thinking, 'I am never going to grow into that person.' Which is so ironic - now I get to work on 'Family Guy' and 'The Simpsons' and 'Futurama', all of these great animated series! TV was my passion.
But by us doing a lot on the road, we were able to afford things like videos on the tours, cartoons that we'd open up the shows with. We were doing that way back when and now it's the hippest thing to do. We're just coming back around, I guess trying to play catch-up.
I was interested in science or, at least, nature from an early age, learning the names of planets, cutting cartoons with facts about animals out of the newspaper and gluing them into a scrapbook, and, with a friend when I was five or six, trying to design a submarine.
I had been drawing my weekly comic strip, 'Life in Hell,' for about five years when I got a call from Jim Brooks, who was developing 'The Tracey Ullman Show' for the brand-new Fox network. He wanted me to come in and pitch an idea for doing little cartoons on that show.
I'm trying to build a Disney. Not only as a creator, but also be able to create universes where then that content can go into toys, and live on multimedia platforms, whether it's apps, books, movies, cartoons. It's like building a whole world, which takes a lot of money.
None of the established museums were treating cartoons seriously. It was considered a lesser art or no art at all, just a way to sell newspapers. Even the syndicates who were dedicated to the cartoons were throwing them out, figuring they had no value after they were printed.
I first met Michael in the early days of the Jackson 5 at the family home in Los Angeles, and the memory that stands out is that Michael, as cute and wide-eyed as an 11-year-old could be, was eager to get through the interview so he could watch cartoons before having to go to bed.
I speak from a nerd's perspective because I've been watching anime since I was a kid. I grew up on 'Speed Racer' and 'Star Blazers' and 'Battle of the Planets,' and those were some of my first A) cartoons and B) introduction to Japanese couture before I even knew they were Japanese.
Political satire is a serious thing. In democratic newspapers throughout the world there are daily cartoons that often are not even funny, as is the case especially in many English-language newspapers. Instead, they contain a political message, and the artist takes full responsibility.
My dad traveled so much for work that, when he was home, we always wanted to spend as much time with him as we could, so going to practices and doing stuff like that with him took precedence over Saturday morning cartoons. We'd go to practice with my dad just so we could be a part of it.
The old Rankin-Bass animated specials seemed to exist in a loosely shared reality, which is what attracted me to them. Santa, Snow Miser, Rudolph, Frosty, even the Easter Bunny seemed to be on nodding acquaintance with each other, even if only in cameo appearances in each other's cartoons.
I think the cartoons that they're children are watching, particularly 'The Simpsons,' they're OK. I think that the adult audience is making much too much of the danger that they imply. That's not the case. The danger for children today, honey, is the news. Keep them away from news on television.
The biggest threat to a better life is the desire to keep the future under control - to make the world predictable by reining in creativity and enterprise. Progress as a neat blueprint, with no deviations and no surprise, may work in children's cartoons or utopian novels. But it's just a fantasy.
I always hated high-school shows and high-school movies, because they were always about the cool kids. It was always about dating and sex, and all the popular kids, and the good-looking kids. And the nerds were super-nerdy cartoons, with tape on their glasses. I never saw 'my people' portrayed accurately.
As a kid, I watched 'Bugs Bunny' cartoons, and for some reason Pepe Le Pew, the indomitable French skunk pursuing his would-be kitty paramour, left his mark on me: became an instant emblem of odoriferous hubris, hedonistic bad behavior. He was an entry-level Dominique Strauss-Kahn, a rookie Marquis de Sade.
People try to look for deep meanings in my work. I want to say, 'They're just cartoons, folks. You laugh or you don't.' Gee, I sound shallow. But I don't react to current events or other stimuli. I don't read or watch TV to get ideas. My work is basically sitting down at the drawing table and getting silly.
I remember lying on the floor of my room, staring at a black-and-white television for most of the '80s - watching 'Diff'rent Strokes,' 'Facts of Life,' 'Silver Spoons,' Saturday morning cartoons, and 'Murder, She Wrote' while eating an insane amount of Stouffer's French bread pizza. I was sucked into it all.