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 am an old school sort of syndicated cartoon watcher. I'm a big fan of Voltron, too.
I've always defined myself not as a cartoonist , but as an entrepreneur. That was true before I tried cartooning. I always imagined cartooning would be how I got my seed capital. I always thought my other businesses would be the less dominant part of my life.
What kind of a god is it that's upset by a cartoon in Danish?
Scientists need to invent a way to make DNA work like in cartoons.
I'm creating my own oasis in my house. I've got a lot of calming, soothing things around my house. The way it's set up, it's supposed to just be a breath of fresh air. I can find solace in painting and writing. I honestly love what I do, so it's not too much for me. Creating is something I've always been able to do, whether it's making little cartoons or writing a full-length script. It's something I really, really enjoy. I'm trying to make the best of what I've been given.
I always imagined my little cartoons on plates for some reason.
I am like a cartoon strip; I am like Donald Duck; everybody knows me in Italy.
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.
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'm very fond of the strictly visual cartoons I did when I was breaking in in the 1970's. Over time I migrated to a more verbal approach.
You do have to put in a lot time to get good at anything and than includes cartoons. So I think it's true of art and everything else.
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.
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.
There's all kinds of theories among the cartoonists: start with funniest, end with funniest.
Cartoons are like fruit flies. Biologists use fruit flies because their large chromosomes and short life cycle make them ideal for studying hereditary changes.
I was the founder of the Cartoon Bank in the 90s. I was interested in finding ways for cartoonists to supplement their incomes.
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 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.
I wouldn't want to be defined so much by comics or cartoons. My work is more narrative than that. If you take your basic cartoon, there's always a punchline or a joke at the end. My drawings don't depend on that so much.
It's really cool to get these guests on the show BoJack Horseman: not just actors, but, "Can I get Jonathan Lethem on my weird talking horse cartoon show to talk about how growing up in Brooklyn, he always dreamed of being a ringtone?"
I remember watching Looney Tunes cartoons and having the music stuck in my head.
When I was in middle school, I liked to make cartoons.
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 always into cartoons and animation.
