Zitat des Tages über Cartoons:
I love political cartoons from the 19th century, and whenever I complete a piece of acting work that I'm particularly proud of, be it a film or play, I treat myself to a picture by caricaturist James Gillray.
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.
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.
As a kid, I just loved cartoons. And as the credits went by, I'd study those names and then try to figure how I could get hired to do what Mel Blanc and Daws Butler did. Create all of these great voices for animated characters.
And, uh, I've got about six thousand cartoons up there, also books and papers.
I think perhaps Pakistan can take the lead. Perhaps Turkey can as well, being part of Europe. But someone has to start talking about why the Muslim world has become a boiling pot and look beyond these cartoons to what the ideological reasons are for this divide.
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.
When my friends talk about childhood, I've never heard of any cartoons or TV they remember. The only thing we share is Michael Jackson. That's how far his music travelled - to a remote village on the other side of the world.
In live action movies, you just hope that everything works. Because the actor may had a bad morning and doesn't play good, or accidents happen continuously. Many things contradict what you are trying to say. But in cartoons, nothing contradict what you want to say.
When I did sports cartoons, I used to uh, go to fights.
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.
Joe Barbera's s always complaining that he can't get humor into cartoons anymore. Just do it. You've got your money. Why do they let the networks run their lives?
Making cartoons means very hard work at every step of the way, but creating a successful cartoon character is the hardest work of all.
In my students, I'm always dispelling the notion that characters come like a light bulb over the head in cartoons. For me, it's like a shapeless big lump of clay. You just build it into something, and then you step back and go, 'That's not right,' hack it apart, put out a new arm, and say, 'Maybe this will walk around and work.'
I grew up loving cartoons, comics, magic, and writing.
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'm a great admirer of cartoons, because I can't do cartoons.
In truth, I've never been a big superhero fan. I don't mind some of the movies, and a couple of the cartoons were alright - that Batman series from the early nineties where Mark Hamill voiced the Joker is sweetness. But largely, I've not really had much time for superheroes.
I love cartoons. I'm just a big kid.
I never got tired of Tom and Jerry, but I did have a dream of doing more with my life than making cartoons.
I was very lucky all three newspapers approached me and asked me to draw their cartoons for them.
My intended audience was everybody. I just want to make cartoons for human beings.
The way people love sci-fi is how I love cartoons.
As soon as I found out how compartmentalized the industry was, I realized, Well, no wonder the cartoons are so bad.
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.
I don't think there's more than half-a-dozen cartoons that I've been really truly happy with in all the time I've been doing it.
In Roslyn, Pennsylvania, we started our real-life family circus. They provided the inspiration for my cartoons. I provided the perspiration.
I first pitched the idea of doing a series of cartoons based on Bible stories. They didn't much like it.
I keep waiting, like in the cartoons, for an anvil to drop on my head.
I was trying to be a writer, and I was kind of getting sidetracked, so I started doing cartoons as a form of expression.
When I was a kid, I wanted to emulate Mel Blanc, who is arguably one of the most legendary voiceover recording artists of our time. I used to watch all the cartoons where he would voice Daffy, Elmer Fudd and Porky the Pig. I knew one day I wanted to do that.
I didn't read comic books; that's not something that was really available to me as a child. We watched more cartoons and movies.
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 get up and cook for my kids, who really like my scrambled eggs. Or we make pancakes and the requisite bacon. The kids either play or watch cartoons, and Daddy gets to read the 'New York Times' and do his puzzle.
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 don't want all of American cinema to be big cartoons that are just made to be digested by the entire world.
