I've always drawn, for example, and I did consider when I was younger, it was either do I become an actor or do I become an animator cartoonist at that point. Do I work at Disneyworld or something and do animated cells or something?
To paraphrase president Kennedy's inaugural, the torch has been passed to a new generation of cartoonists and they are doing really interesting stuff, taking the old cliches and breathing new life into them and inventing new ones. This doesn't mean the previous generation of which I'm a charter member isn't doing good stuff but this new material is invigorating everyone.
Almost every cartoonist, when he's sitting down to draw a funny face, if you watch him closely, his mouth is gonna curl to the expression that he's drawing. But when I would write a story - I know it's going to sound almost ridiculous and infantile - I would, in a way, start living it.
I am not one to generalize, but cartoonists, as a group, exhibit a level of social sophistication generally associated with pie fights. In high school, when the future lawyers were campaigning for class president, the future cartoonists were painstakingly altering illustrations in their history books so that Robert E. Lee appeared to be performing an illegal act with his horse.
Good satire goes beyond the specific point it’s trying to make and teaches you how to think critically. Even after your favorite cartoonist retires or [Stephen] Colbert wraps it up, you’re not left believing everything they’re telling you.
I answered an ad, for a campus cartoonist at the university I was in, my freshman year. I was like, Oh, I can draw, and I'm sort of a funny guy. I should try this. Then they paid me to do a comic strip for the paper.
So what were Europeans telling their leaders? The general message was perfectly summed up by the cartoonist Chappatte, who drew a group of protesters holding up a placard shouting "Unhappy" - and one of their number shouting through a megaphone into the ballot box. There are 28 member states and 28 varieties of Unhappy.
Fortunately, I'm able to make a living from comics, so I'm privileged enough to be quite choosy, though most cartoonists can't afford to be. It's really an uncomfortable situation, since I'm not an illustrator, though I do get calls from morally indefensible businesses offering me money to decorate their ambitions. It's extremely rare, almost unheard of, in fact, that I am asked to do a comic strip. Do writers get calls to pen Toyota advertisements? Do composers get asked to write chamber pieces about exercise machines?
As a kid, I knew I wanted to be either a cartoonist or an astronaut. The latter was never much of a possibility, as I don't even like riding in elevators.
I wanted to do the comic strip. I tried to get it syndicated, and I sent some examples to a syndication company, and they sent me a rejection letter! I wasn't smart enough at the time to realize you shouldn't let rejection letters stop you. I thought that rejection letter meant I was not allowed to be a cartoonist in this world, so I put the rejection letter down and said, well, I'll be a stand-up comedian.
Russian cars are silly. They look like imports drawn by a cartoonist for a UAW newsletter.
I was the founder of the Cartoon Bank in the 90s. I was interested in finding ways for cartoonists to supplement their incomes.
We consume everything like potato chips. In this environment, I suspect the cartoonist's connection with readers is likely to be superficial and fleeting, unless he taps into some fervent special interest niche. And that audience, almost by definition, will be tiny.
There is a continual exchange of ideas between all minds of a generation. Journalists, popular novelists, illustrators, and cartoonists adapt the truths discovered by the powerful intellects for the multitude. It is like a spiritual flood, like a gush that pours into multiple cascades until it forms the great moving sheet of water that stands for the mentality of a period.
I operate under the assumption that the mass media will never be accurate. ... It operates with the objective to simplify and exaggerate, which is exactly what Walt Disney told his cartoonists.
One of the perks of being a New Yorker cartoonist is that you get to hang around with interesting people. My fellow cartoonists are all interesting, and all highly creative.
Being a naive 20-something I didn't think that I could just go to the screen cartoonist's union, that I was a member of, and scream bloody murder and they would have jumped all over this guy and said, "Oh, but yes he does get screen credit."
I started out wanting to be a straight adventure cartoonist, but in 1979 realized what my real bag was.
I used to get letters from guys in prison. Anymore now I don't even open them. They'd ask me to please sign a couple of cards for their children. Then I see them on eBay two weeks later. Or the people that write and say, "You is one of my favorite cartoonists. I would like a drawing, please." I guess they encourage inmates to write letters to celebrities. It's like a way to make money by selling autographs or something. Give me a break.
The name 'Chuck Jones', according to my uncle, limited my choice of profession to second baseman or cartoonist.
I think the experience forced me to consider how interested I was in political cartooning. After I was fired, I applied to other papers but political cartooning, like all cartooning, is a very tough field to break into. Newspapers are very reluctant to hire their own cartoonists when they can get Oliphant or MacNelly through syndication for a twentieth of the price.
I guess I just don't have the killer instinct that I think makes a great political cartoonist.
Garry Trudeau is the only cartoonist with the clout to get his strip published large enough to accomodate extended dialogue. It's ashame.
I'd like to see cartoonists measuring their work by higher standards than how many papers their strips are in and how much money they make.
People think you get one idea for a cartoon every week, and that's not the way it works. You usually get 10 or 15, and you're - certainly when I was a cartoonist, before I was a cartoon editor, you're rushing to do what is called the batch. When I was doing that, I liked to have, in general, about 10 cartoons.
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