To keep doing this job [draw political cartoons] week after week, I think you have to want to change the world, while understanding that you can't. You have to hold both of those contradictory ideas simultaneously.
I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth. My goal is always what Chuck Jones wanted his Warner Brothers cartoons to be, which was if you turn down the sound, you could still tell what's going on.
The most fun is to inhabit the world where cartoon physics is king. And that just means that things move with kind of an energy and exaggeration and appeal that is different from what we see in our world. We're bound by, at least, Newton's Laws of physics here and in animation we're not. So, director's can be extremely eccentric, you can sculpt motion in animation in a way that you just can't do any other way. In any other performance medium.
The whole Gorillaz concept is one for mavericks; it's a way for people who never have a chance to work together being able to ally behind the cartoons.
When I was first painting the Monopoly guy I received a criticism. People said, "You're just painting cartoon characters, anyone can do that," but I'm actually a very skilled artist. That's why I released a Jack Nicholson portrait right after that that was very detailed in the face to show my skills.
I don't really know what makes someone want to be a cartoonist, but part of it is trying to get in trouble. You're looking where the line is and seeing how much you can step over it, and I mean, I do that in my personal life, too. I try to anger and piss people off a little bit to try to see what I can get away with. I got in trouble with more than one cartoon.
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.
For a young cartoonist, they have to get going on the web, because that's where everybody goes for their information. And it really works. If you look at a cartoon on a computer screen, it really jumps and can be quite effective. I draw cartoons now, not how it will appear in the newspaper, but how it will appear on the screen. I think most of us do. Now the challenge is to make it move and animate it in a very fast, quick way.
My drawing came out of editorial-style cartoons. Music was one thing and art was another, and there weren't really any standards for my art. My work was just drawings. They weren't done with any aspirations of becoming a part of punk scene. They weren't about punk. They were just collections of drawings, some of which I xeroxed and sold.
The idea for any cartoon (my experience, anyway) is rarely spontaneous. Good ideas usually evolve out of pretty lame ones, and vice versa.
To see cartoon-me positioned (alphabetically) amongst so many of my women heroes and role models ... well, I just broke down and cried. Happy tears. I surely hope that this one-of-a-kind collection of radical American women reaches the hands of all children who want to grow up and become amazing women.
I have a personal definition of cartooning, which is, simply, "imaginative drawing." Anything you're drawing that is not in front of you but is a mental construct that you want to express in a drawing is, to me, a cartoon.
I think that cartoons have a lot more power than they're given credit for.
My cartoons appear in newspapers, which are full of words, but there's something about having it in this little box that confounds people's expectations.
I love an underdog. No, I don't necessarily mean the cartoon. I mean like David, as in Goliath, or the Bears, as in The Bad News Bears.
There are no cartoons about happy marriages.
Muslims insult all other religions. The Quran is an insult to the Jews, the Christians and everyone else. It calls the Jews apes, pigs and rats. All the non-believers are najis (filthy, impure) and hell bond. The Quran even instructs the Muslims to fight the unbelievers, chop their fingertips, behead them, crucify them and deal with them harshly. 5:33, 9:14, 9:73 However, Muslims went berserk when a Danish Newspaper published a few cartoons of Muhammad.
I think loads of people see acting, when they're kids, as these magical stories that just happen within the context of the film or the play or the cartoon or whatever they're seeing. They don't imagine that there are actually people that go and do that for a living.
An actor uses his body as a tool and an instrument. In the same way a musician plays an instrument, the actor uses his body to convey feeling and emotion. An animator uses a pencil or a computer to create the same thing, the same exact way... An actor is taking words that are not his own, and he has to bring some kind of authentic life to those words. It's the same goal, to create this authentic life. Even if it's a drawing, or if it's a cartoon, you're still trying to create authenticity because, if the character emotes authentically, it has a power to connect with the audience.
If you're a painter, it's simply taken for granted that you'll spend a lot of time in museums studying great paintings, but if you're a cartoonist, it used to be very hard to see an original cartoon drawing.
[Voicing a cartoon] feels like going down a mysterious but joyful black hole. Once you relax for 15 or 20 minutes, and really go, "I don't care if I look like an ass," it's really fun to see what happens. You know that nothing is being visually judged.
I was reminded of the Sydney Harris cartoon that said 'adding two numbers that have not been added before does not constitute a mathematical breakthrough'.
Cartoons are like fruit flies. Biologists use fruit flies because their large chromosomes and short life cycle make them ideal for studying hereditary changes.
My favorite drawings at the Muhammad cartoon festival in Texas were the two chalk outlines out front.
There is a clear acknowledgement all over the world that we should not teach people to read and then to leave them without literature. For they would then relapse into a dreary and ultimately dangerous state of half-education, in which they would be easily satisfied by crude semi-pictorial approximations of the strip cartoon and by the abundant supply of degenerate literature which destroys, rather than promotes, a capacity to face the problems of the world with skill and courage
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