Best 266 quotes in «cartoon quotes» category

Weird, but sometimes I feel more like my cartoon character than I do Lizzie because she's a little more edgy and snappy.

What kind of a god is it that's upset by a cartoon in Danish?

We tried to make it more than just a cartoon. It was a cartoon, but we tried to make it more than it was to begin with. And I have 300,000 followers from Turkey, Romania, Poland, and places over there that love Life With Louie, where it was translated into their language. They love it. They are absolutely in love with it. And it just goes to show you: no matter where you go, it's always about family.

What it's done for me is highlight the fact that we need to lean into the cartoon universe of social media.

We've seen the uproars around the world concerning cartoons depicting the prophet Mohammad. Anyone who does not think comic strips are relevant never had a fatwa put on him/her for drawing a picture.

We were trained from cartoons. Everything who was on the screen was chosen. Anything who was not there was deliberately not there.

When I was younger, when I was a teenager, the work was more satirical and funny and cartoony. And part of it was chops - if you have a more limited repertoire of stick figures and cartoon characters, they lend themselves more to humor than to tragedy.

When I was in middle school, I liked to make cartoons.

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.

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.

When you do a cartoon based on news headlines, you do it based on incomplete information.

When we constantly ask for miracles, we're unraveling the fabric of the world. A world of continuous miracles would not be a world, it would be a cartoon.

When you work on anything, you want to find the range of impulses - which ones get portrayed is another question, but you want to have that complexity and that fullness, even if you're playing a cartoon character.

When you throw punches at actors, you stop, you pull it, and it looks like you pulled it. When you throw punches at cartoon characters, they are not there, so you can swing through. It looks like you really decked them.

Hold on, Nobita-kun, I'll come rescue you.

You cannot go wrong with Bugs Bunny. He's the coolest cartoon character ever. I quote him all the time.

He sank back into his black-and-white world, his immobile world of inanimate drawings that had been granted the secret of motion, his death-world with its hidden gift of life. But that life was a deeply ambiguous life, a conjurer's trick, a crafty illusion based on an accidental property of the retina, which retained an image for a fraction of a second after the image was no longer present. On this frail fact was erected the entire structure of the cinema, that colossal confidence game. The animated cartoon was a far more honest expression of the cinematic illusion than the so-called realistic film, because the cartoon reveled in its own illusory nature, exulted in the impossible--indeed it claimed the impossible as its own, exalted it as its own highest end, found in impossibility, in the negation of the actual, its profoundest reason for being. The animated cartoon was nothing but the poetry of the impossible--therein lay its exhilaration and its secret melancholy. For this willful violation of the actual, while it was an intoxicating release from the constriction of things, was at the same time nothing but a delusion, an attempt to outwit mortality. As such it was doomed to failure. And yet it was desperately important to smash through the constriction of the actual, to unhinge the universe and let the impossible stream in, because otherwise--well, otherwise the world was nothing but an editorial cartoon.

["Where the Buffalo Roam" is] horrible pile of crap. [Bill] Murray did a good job. But it was a bad script. You can't beat a bad script. It was just a horrible movie. A cartoon. But Bill Murray did a good job. We actually wrote and shot several different endings and beginnings and they all got cut out in the end. It was disappointing.

[While voicing cartoons] you have to lose your sanity and inhibitions and any kind of dignity and just throw yourself around a bit.

You can't think that you're playing a villain, or you'll end up with a cartoon. You have to think about him as a person and a hero.

You don't make a fortune doing cartoons. It's a lot of fun, it keeps you busy, and it's better than a kick in the pants, absolutely. But doing voiceover work doesn't make you rich. It just doesn't.

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.

Ahhh! Impossibear has a gas powered stick!

Hi Wankershim! Are you going to doodie? WHOAAAA!

Throw a blanket over it!

I was also sick of my neighbors, as most Parisians are. I now knew every second of the morning routine of the family upstairs. At 7:00 am alarm goes off, boom, Madame gets out of bed, puts on her deep-sea divers’ boots, and stomps across my ceiling to megaphone the kids awake. The kids drop bags of cannonballs onto the floor, then, apparently dragging several sledgehammers each, stampede into the kitchen. They grab their chunks of baguette and go and sit in front of the TV, which is always showing a cartoon about people who do nothing but scream at each other and explode. Every minute, one of the kids cartwheels (while bouncing cannonballs) back into the kitchen for seconds, then returns (bringing with it a family of excitable kangaroos) to the TV. Meanwhile the toilet is flushed, on average, fifty times per drop of urine expelled. Finally, there is a ten-minute period of intensive yelling, and at 8:15 on the dot they all howl and crash their way out of the apartment to school.” (p.137)

Put a little fence around it!

I don’t think so. Beth didn’t get any presents.

Pony Lords, jump for your lives—AAH!

The thing about being a screenwriter, scriptwriter, or scenarist, You get to have multiple personalities and not be charged!

Yeah! Everything is okay!

Why would you do that?

Yeah but I don’t know how to make myself go there. Maybe it might never happen again. AAAAAAAHHHHHHHHH!

Welcome to Hell. Here's your accordion.

You can make it if you try. Don't give up or quit the fight. If you believe, you will see, you can do it.

100% of the people who get the magazine say they read the cartoons first - and the other 2% are lying.100

You can't tell what's in a person's heart until you truly Know them.

'Adult Swim' on the Cartoon Network is unbelievable. And 'South Park' continues to do great stuff. And 'Family Guy' and the various other Seth MacFarlane projects are amazing.

A cartoon character isn't a specific person. It isn't Tom Cruise or George Clooney playing the part, it's a character that could be you. It's easier for you to get drawn into it in a special way.

A good cartoon, what it does, is sum up a situation, very neatly, as opposed to reading a lot of articles and so on.

After I had done a handful of cartoons I was satisfied with, I started submitting them to the magazines.

A lot of my cartoon voices are basically just variations on my natural voice.

All kids draw some kind of cartoon characters. They just grow out of them, and I didn't

A lot of people feel that there is less artistry involved in cartoon making unless they have painstaking control of each frame.

All cartoon characters and fables must be exaggeration, caricatures. It is the very nature of fantasy and fable.

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.

And, uh, I've got about six thousand cartoons up there, also books and papers.

Amazingly, much of the best cartoon work was done early on in the medium's history. The early cartoonists, with no path before them, produced work of such sophistication, wit, and beauty that it increasingly seems to me that cartoon evolution is working backward. Comic strips are moving toward a primordial goo rather than away from it . . . Not only can comics be more than we're getting today. but the comics already have been more than we're getting today.

American eroticism has always been of a different provenance and complexion than the European variety, an enjoyment both furtive and bland that is closer to a blushing cartoon than a sensual celebration.

Because good writing in a TV cartoon is so rare, I think the animation on The Simpsons is often overlooked.