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.
I think getting something together to showcase your voice is important. You can also watch cartoons and play games and just kinda listen, and try to see how the design of the character matches to the voice.
I am going to name a group of my kids after my favorite cartoons, I am going to name them after Transformers.
I'm not satirical in a traditional way. What I do is more about creating caricatures and cartoons. I am commentating on the nature of how we live through photography, and how you can twist an angle to create a different perception of a person.
The old gods and their magics did not dwindle away into murky memories of brownies and little fairies more at home in a Disney cartoon; rather, they changed. The coming of Christ and Christians actually freed them. They were no longer bound to people's expectations but could now become anything that they could imagine themselves to be. They are still here, walking among us. We just don't recognize them anymore.
Nixon is fascinating because he's our most alienated president. Everybody felt that they never knew who he was - that's palpable in the histories. His face is so cartoony that he's become this cartoon figure. I never really related to the romanticization of J.F.K., and I knew too much about Reagan to idealize him. Nixon falls in between.
You do have to put in a lot time to get good at anything and than includes cartoons. So I think it's true of art and everything else.
I'm very fond of the strictly visual cartoons I did when I was breaking in in the 1970's. Over time I migrated to a more verbal approach.
The most popular cartoon of mine is a guy on the phone looking at his appointment book and saying "No, Thursday's out. How about never, is never good for you?"
Sometimes you're noodling around with a sketch and something incongruous in the drawing calls forth the caption and other times you think of a line and just have to find a place for it. A cartoon with a caption like "I don't want to live forever, but I sure as hell don't want to be dead forever either" sprang into my head and I just had to find the right venue for it which was an old couple talking to each other.
My agency tells me I am rare because I sing, do movie trailers, and do cartoons too. I like that because it gives me variety in jobs. I don't just sit and do movie trailers, and I don't just do cartoons either. I can do both, and I feel very fortunate for that.
The political cartoon, in a way, is one of the highest forms of expression about our times. I don't believe in dramatic statements when it comes to political critique. It doesn't communicate in a way that's subversive enough.
In a way, the political cartoon drawings are things that are small and have humor and a childhood aesthetic and are often stronger to spread an opinion.
My parents played by parents, in the second season [of Suits]. We had a Skype scene and they were my real parents. My parents are cartoons. When they come up and visit, they're hilarious. My mother somehow finds a way to get in the way of everything.
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.
I wasn't really a big comic book guy, growing up. I watched cartoons, but the choices were a whole heck of a lot slimmer.
In Nirvana, it is you, my friend, who goes away. You take an eraser and erase yourself. It's like the Road Runner cartoons where in the middle of the cartoon, the hand of the artist appears on the screen and erases the Road Runner.
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.
Islam has taken everything from its wretched believers. They are robbed from their identity and self pride. All they have now is Islam. That is why Islam for Muslims is more than just a religion. It is their identity. When you criticize Islam, they perceive it as an attack on their identity and cringe with pain. They take that not only as an insult but also as an assault on their person. Like a corned animal they become vicious and fight back with all their might - a fight of survival. That is why you see such a violent reaction to a few silly cartoons.
Theres a fine line between playing a dim-witted character and playing a cartoon.
I'm a cartoonist, it's what I am at heart, so cartoons take reality and deform it and make it grotesque, you make it funny, but you alter it. If it works, it's based on reality. That's what I try to do.
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.
It's hard to describe to people how terrible it was when you could only watch cartoons at a certain time in your life. But no, I would watch all of them - the Warner Bros. cartoons and the Bugs Bunnys and then the Tex Avery stuff. Looking back on it, they were so incredibly subversive for their time. You'd think, "Oh, they're just making jokes and this or that." But when you watch them as an adult, you think, "Oh no, they were talking about some pretty deep stuff."
I also love being able to do something that kids and families can enjoy because I have two children of my own and I want them to grow up watching all the fabulous animated movies and cartoons that I loved to watch as a kid.
I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.
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