Fred Seibert Quotes

I actually applied at Hanna-Barbera to work on 'The Smurfs' when I got laid off for a brief period of time from Disney. I didn't get the job. That was my first introduction to Smurfs.

The early years of Hanna-Barbera were more fun than the later ones. I was working more in the creative areas of timing and direction then. But as the studio grew, I became more involved in administration and got away from the creative aspects.

I wrote on a show called Johnny Bravo when I was at Hanna-Barbera.

I started working at Hanna-Barbera in '92 on 2 Stupid Dogs.

Look what Disney's done to their animation department. There wasn't an animator in charge of their animation unit!

In overseeing both Disney and Pixar Animation, each studio has a unique culture.

I love Adult Swim. They give you so much artistic freedom.

When I went to California Institute of the Arts, I was classmates with a lot of like-minded weirdoes, some of who have gone on to create other cartoon shows-J.G. Quintel, 'Regular Show;' Pen Ward, 'Adventure Time.' We were all friends in school and pushed each other and made each other laugh.

I don't think I have any guilt or embarrassment about any of the TV shows I watch. Maybe the fact that the shows I can watch over and over again are cartoons like 'Bob's Burgers' and 'American Dad' and 'Rick & Morty.'

I'm a true fan of animation, and it's my livelihood.

You know how trends go with television. Next year, the networks might not be open to taking risks.

My animation work is a major source of pride for me.

Television is all about deadlines.

We used to make a 'Tom and Jerry' short every six weeks and they were about six minutes long, so we were producing about a minute of animation a week.

Book 4 is the end of the 'Korra' series. So we've got 52 episodes planned. When all is said and done it will have taken I think about five years to make.

I was a top-notch cartoon model for Hanna Barbera, and they made me into a cartoon series called 'Devlin,' which ran for seven years, and I was on lunch pails and coloring books and all of that. It's really interesting being a coloring book when you're young - most kids colored in coloring books, but I made money off coloring books.

I'm in the entertainment business, and I make commercially entertaining animated features.

Lissa Treiman is an artist who submitted a guest strip to me back in 2008 and whose work I've followed since. She works in animation. When I first mentioned on Twitter that I was interested in writing a series but not drawing it, she got in touch.

I watching this Disney documentary, and I'm not Disney, but I was thinking about Mickey Mouse and he became an icon. Walt moved onto other things but he made him exist. I was thinking, 'Wow, is 'Samurai Jack' my 'Mickey Mouse?' Am I stupid to stop working on it?'

Animation's a small industry, and no matter where you go you're going to meet your friends from CalArts.

The development process is not that simple... When I started working at Fox in '92, the company had decided that dramas were dead: they weren't viable businesses and because newsmagazines were so efficient to produce and financially so much more tolerable than a drama. So that year, our company developed very few dramas.

I really enjoy watching animation films and I have always been curious about how such well-established actors in Hollywood lend their voices to animation films.

I can speak to my experience and say that CalArts worked out very well for me. After CalArts, I went to Cartoon Network, and then came to Disney.

That's been the case for decades. 'The Simpsons,' 'King of the Hill' - they do the preproduction in America, and the production is in Korea or in some cases China, or occasionally Japan or India.

The time that it takes to make the feature is really contingent on the feature being sort of almost ready-made - so coming to a book is more ready-made. You at least have the story that someone sorted out.