Best 31 quotes of Mike Judge on MyQuotes

All the Disney lead male characters always have this kind of John Davidson kind of look to them. They all look like the same guy, and all the females look like the same, and I think the guys are just way too big.

Beauty and the Beast seemed like it all was really brown. The whole thing was just so brown and orange and yellow, like Burger King or something. I don't think I would have liked Beauty and the Beast at any age.

I actually saw a kid and went home and drew him. I don't even know who he was. I was buying a TV set in Circuit City. I was looking at this kid and he was kind of standing there, staring off into space. Kids are pretty chubby nowadays because of all the fast-food places. I grew up eating fast food but now everything is double beef and double cheese. So there are a lot of these chubby boys with long, baggy shorts.

I don't return anybody's calls unless it's going to mean extra money for me. And I've completely cut off all relationships with any friends that I had before the show. And I've copped an attitude.

I like the Stooges. You know what movie I saw that I sort of discovered late was Jerry Lewis in 'The Nutty Professor'. I really liked that.

I'm fine watching stuff on tape, to me casting is the most painful part of the whole process, it's like going on a horribly awkward date every five minutes for eight hours, and people come in and they'll be someone good but they're not right, and you want to tell them they're good, but it sounds like BS, and they're looking at your face to see how they did, what adjustments they need, and it's just so emotionally draining, and it goes on and on.

I often feel that my life, much like my shows, will end on a cliffhanger.

I probably drive casting people crazy because I'm not thinking about actors so much as real people.

I think I'm optimistic, yeah, especially in real life, but I think it's funny to be pessimistic.

It kind of hit me at some point during the process that most people in the film business - not just the executives, the people who make them, too - tend to come from pretty upper-class backgrounds. If they go work a job, it's to have that experience, that sort of thing. After they graduate college, they have time to go visit Europe and take some time off and get their heads together. That kind of thing, I sure didn't have.

It seems like there's a lot of people who just do not understand satire. They think it's weird. There's people who just don't understand you portray something or just explore a character, it means you're condoning it, saying this is the way to live.

It was really weird, when this thing started, to hear lawyers and MTV people calling me and actually saying 'ButtHead.' People tried to avoid it too.

I went to a Catholic high school and it seemed like every time I drew something for a class project, it either got thrown away by the teacher or something.

One thing I always heard from the begining when I talked about this being a movie - was that the rule is that animated movies don't work unless they're Disney movies for kids. Unless they're family movies.

One thing I was thinking about is that they probably get their come-uppance about the same percentage that people in real life do. Basically, stealing for all practical purposes might as well be legal in New York.

Sometimes I go to a test screening and look at the audience in line, and I start to go, "Okay, I bet this is going to work, and this isn't going to work." It's weird, but just going and facing the music and putting it out before a crowd, even before it starts playing, that exercise of putting it up on a screen for people makes you realize things even before it starts rolling. It's really weird. I've heard other people say that, too.

Stealing, you'll go far in life. Actually, there is something funny about getting away with it.

Susie Lynn, the producer of those segments, goes in and lays all the voices over the video.

Then there was a kid in the neighborhood about three blocks away, his name was Bobby Beavis.

There was a time when cell animation was poison, but after Family Guy now everyone wants it.

They don't make you pay for the humor. It's up and down, but they're trying to give you as many laughs as possible in 2 minutes. They are the most honest comedians ever.

They say it figures MTV would do such a vulgar, awful, horrible show and they completely miss that it's satirizing the people who watch MTV.

When I worked in those offices, it was just irritating to me that somebody sat there and designed this place, never thinking that you would walk from here to there, and they didn't care. The one guy designs it, gives it to the other guy, he looks at it; no one thinks about all the people that gotta walk through it. So I think the best way to show those banal moments is to be just flat and wide.

When you work for other people you'll find ... that they do know what's best for them, and for the company. And you should listen to them and be respectful, but they don't know what's best for you.

Who is Mike Judge? Let me think. The only way I could possibly answer that question would be in a nonverbal fashion. I think I could do an interpretive dance that would answer that question for you.

Why should every single character be an honor student who goes around helping others and never doing anything wrong? Is that like the rule or something?

Yeah, sometimes it gets a little sappy for me, but I'm tired of hearing about dysfunctional families in sitcoms. That's been done to death, and that's probably what everybody expected from me. But that's not what I wanted to do.

You look at material a different way when your ass is on the line financially for it. You want to know where the big laughs are, and how we're going to sell this.

He's no idiot, in fact he's a genius... and that's as far from an idiot as you can get without reaching madness.

I don't get as much fan mail as an actor or singer would, but when I get a letter 99% of the time it's pointing out something that really had an impact. Like after 'My Own Private Rodeo' all these people wrote to me and said Dale's dad inspired them to come out. And this was when it was still illegal to be gay in Texas and a few other states. Another one that really stuck with me was this girl who survived Columbine. See, "Wings of the Dope," the episode where Luanne's boyfriend comes back as an angel, aired two weeks after the shooting. About a month after that, I got a letter from a girl who was there and hid somewhere in the school when it was all going on. She said the first thing she was gonna do if she survived was tell a friend of hers she was in love with him. She never did. He ended up being one of the kids responsible for it. So you can imagine how - you know, to her, it felt wrong to grieve almost, and she bottled it up. But she saw that episode and Buckley walking away at the end and something just let her finally break down and greive and miss the guy. I remember she quoted Luanne - 'I wonder if he's guardianing some other girl,' or something along that line, because she never had the guts to tell the kid. That really gets to people at Comic Con.

Peter Gibbons: The thing is, Bob, it's not that I'm lazy, it's that I just don't care. Bob Porter: Don't... don't care? Peter Gibbons: It's a problem of motivation, all right? Now if I work my ass off and Initech ships a few extra units, I don't see another dime; so where's the motivation? And here's something else, Bob: I have eight different bosses right now. Bob Slydell: I beg your pardon? Peter Gibbons: Eight bosses. Bob Slydell: Eight? Peter Gibbons: Eight, Bob. So that means that when I make a mistake, I have eight different people coming by to tell me about it. That's my only real motivation is not to be hassled; that, and the fear of losing my job. But you know, Bob, that will only make someone work just hard enough not to get fired.