What it's done for me is highlight the fact that we need to lean into the cartoon universe of social media.
I did all sorts of cartoons and stuff. And every once in a while I still do. It's rare, but it happens.
If you want to get into the business of doing voices for cartoons, you've got to be a good actor. It's all about acting. It's not about the voice. The voice is just one part of what you bring to the character.
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.
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 don't wanna play this kind of cartoon character anymore.
[While voicing cartoons] you have to lose your sanity and inhibitions and any kind of dignity and just throw yourself around a bit.
I know my own limitations. And if somebody says, "I need songs for a cartoon garage band - they look like this and they should sound like this," it gives you a direction. I like having that kind of assignment.
When I'm online and I see a picture I want to draw of anybody or anything, a unique angle of them or just something that looks very drawable, I slide it to my desktop and put it in a folder. It just seems like every picture of Trump is a revelation. Any angle. I didn't know a person could look like that. His facial expressions - he really is a cartoon. He's like an instruction manual of how to caricature someone.
I don't really know what makes someone want to be a cartoonist, but part of it is trying to get in trouble. You're looking where the line is and seeing how much you can step over it, and I mean, I do that in my personal life, too. I try to anger and piss people off a little bit to try to see what I can get away with. I got in trouble with more than one cartoon.
Nixon is fascinating because he's our most alienated president. Everybody felt that they never knew who he was - that's palpable in the histories. His face is so cartoony that he's become this cartoon figure. I never really related to the romanticization of J.F.K., and I knew too much about Reagan to idealize him. Nixon falls in between.
In 1908, you could easily earn $20 to $200 as a cartoonist. What's amazing is that it's still true!
I wouldn't know all that I do about history, if I spent my time watching cartoons and other TV shows.
I wanted draw the cartoon characters, and then it all started to make sense as I was watching these classics come back to the theater like Lady and the Tramp and so forth. If you want to animated the dog, you have to know where the ribcage is and the hip bone and all that.
I was deeply distressed that the cartoons were seen by many Muslims as an attempt by Denmark to mark and insult or behave disrespectfully towards Islam or the Prophet Mohammed.
I think you would like Warren. He drinks Courvoisier in a Coke can, and has a laugh like you'd find in a cartoon bubble.
It's hard to describe to people how terrible it was when you could only watch cartoons at a certain time in your life.
I didn't watch cartoons, I was too busy playing football.
A lot of my cartoon voices are basically just variations on my natural voice.
