Best 266 quotes in «cartoon quotes» category

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'm in a Road Runner cartoon, Sinclair. And I'm the coyote.

I'm like a Dilbert cartoon.

I'm not sure about that role any longer. The role used to be to mix things up and I think to a great extent it still is, but the quality of the work of the political cartoon has been succeeded by the wisecrack, the gag cartoon, so that the cartoonist becomes more of the equivalent of the Jay Leno monologues, or David Letterman monologues.

I'm not the most sophisticated person. I'm not the smartest person in the world. But, I know what makes me excited about life, from Spielberg movies to Michael Jackson music videos to cartoons on Saturday mornings, which made my childhood.

In American films, Russians are often portrayed like cartoon villains without clear motivations.

In Roslyn, Pennsylvania, we started our real-life family circus. They provided the inspiration for my cartoons. I provided the perspiration.

I never read comics as a kid. I guess I was lazy and watched cartoons instead.

In 'Futurama,' the skin color is no longer yellow. They have actually evolved to cartoon skin tone. But they still have four fingers.

In a story, for example, you'll start off with a character who is a little bit of a cartoon. That's not satisfying and you start revising. And as you revise you always are making it better by being specific and by observing more closely, which actually is really the same as saying you love your characters. The close observation equals love of them.

I never got tired of Tom and Jerry, but I did have a dream of doing more with my life than making cartoons.

In Poland, for a while, my books all had cartoons on the cover. I trust my publishers in each country to know what works in their individual markets.

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 realized that people make cartoons for a living. It had never dawned on me that you could do this as a career.

I really enjoyed doing the voice of Nose Marie on the cartoon series Pound Puppies. Fun, FUN cast.

I remember watching Looney Tunes cartoons and having the music stuck in my head.

I seem to thrive by destroying the last thing I did, in a kind of cartoon Nietzsche way. Emerson says in "Experience" something like "every ultimate fact soon becomes the next in a series." The self feels more real when you are destroying things you've made than when you are paying them homage. That's the good news about being self-destructive. The bad news, I feel I don't need to deliver.

I started, actually, to make my first animated cartoon in 1920. Of course, they were very crude things then and I used sort of little puppet things.

I started doing cartoons when I was about 21. I never thought I would be a cartoonist. It happened behind my back. I was always a painter and drawer.

I take great pride in the artistic development of cartoons. Our characters are made to go through emotions.

I think that cartoons have a lot more power than they're given credit for.

I probably would be continuing to do voice-overs, continuing to do cartoon shows, and at the same time I'd probably be on a sitcom or a dramatic television show.

It is more raw and unfettered and I'm more likely going into something you could call extreme cartooning. There's a lot of that in the course of 'Holy Terror.' There are interludes where there are pictures - cartoon pictures - of modern figures and they are all wordless. It's up to readers to put the words in.

I try to build a full personality for each of our cartoon characters - to make them personalities.

It's all in her walk, a cartoon swagger. Part Jayne Mansfield, part Muhammad Ali. Men never know if it's an invitation upstairs or an invitation outside.

I've been around a long time and I've found that these forms, whether it's the cartoon, or whether it's a play, or all these dying forms refuse to die. Something happens to rejuvenate them and it will certainly happen to the political cartoon. It will come back. But whether it's on the internet, or whether it's in some other form, however that works, whether it looks the way it looks now, or entirely different, I have no idea. And thank God I don't have to worry about it.

I've never canceled a subscription to a newspaper because of bad cartoons or editorials. If that were the case, I wouldn't have any newspapers or magazines to read.

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 influenced when I was younger by the cartoon movies that Disney put out, like Cinderella and what not. I watched those movies over and over when I was younger and the music is ingrained into my head. Nowadays, I'm still humming the tunes. It taught me the fundamentals.

I was involved in a web cartoon of Kung Fu with WB a few years back.

I was the founder of the Cartoon Bank in the 90s. I was interested in finding ways for cartoonists to supplement their incomes.

I was totally into cartoon babes when I was a little dude. Cheetara from the 'Thundercats,' then Jessica Rabbit, and finally I moved onto a real-life human being and was into Punky Brewster, and then Christina Applegate on 'Married with Children.'

I watch a lot of cartoons. I watch a lot of "SpongeBob SquarePants" and "Phineas and Ferb.

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.

John flung himself into a pseudo-karate stance, one hand poised behind him and one in front, posed like a cartoon cactus. I thought for an odd moment he had moved his limbs so fast they had made that whoosh sound through air but then I realized John was making that sound with his mouth.

Just about every actor wants to be a Disney cartoon voice at some point.

Kids cannot follow stories. They don't know what the hell is going on in a cartoon. They like to see funny visual things happening.

Many cartoons I've drawn have been controversial, perhaps a little before their time, certainly when I was getting started.

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.

It doesn't matter what you do. In the end, you are going to be judged, and all the times that you're not at your most dignified are the ones that will be recalled in all their vivid, heartbreaking detail. And then of course these things will be distorted and exaggerated and replayed over and over, until eventually they turn into the essence of you: your cartoon.

I think any good cartoon sums things up for people. It's kind of ironic we appear on the editorial pages of newspapers, but now of course we're transferring over to the net, and that gets a lot more attention.

I think a play can do almost anything, because it's also a static form, much more so than in a movie. In a movie you can move the scenery, you can do anything any way. A cartoon, happens in a limited amount of space and a limited amount of time, and you can only get so many words before the reader's gonna get impatient. All of these forms that I enjoy are in a sense a slight of hand, where you have to suggest much more than you really show. You have to, in a sense, seduce the reader and trick the reader or the audience into going with you.

I think it's a novelty for cartoon characters to cross over into another strip or panel occasionally.

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.

I thought some of my earlier cartoons were not exactly great shakes at the time I drew them. Now I see a certain innocence in them. The humor has a kind of purity to it, I guess. And it works better on some level for me now.

It is less dangerous to draw a cartoon of Allah French-kissing Uncle Sam — which, let me make it very clear, I have not done — than it is to speak honestly about [working moms].

I try to do much of the necessary alteration on the black and white [cartoons] rather than leave it to be done on the paintings.

It's a sad day when a cartoon is doing more and cares more and pays more attention to the environment than our president.

It's hard to describe to people how terrible it was when you could only watch cartoons at a certain time in your life.

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?