Cartoon Industry Quotes

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

Back in the olden days when we were rubbing sticks together, everybody wanted to have a comic strip, to live in Westport Connecticut, to have a Jaguar and to have a wife and two and a half kids and to have a girl in town in their studio in Manhattan that they'd romance, and then they'd have people ghost their strip. It was like this big dream.

I started out as a musician, and I ended up as a cartoon.

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

I wrote for 'King of the Hill' for three seasons.

Many thanks for all of the love and good wishes sent our way from my friends out there in cartoon land... the only place where a nine month pregnant woman can still play a hot goth chick in a belly shirt!

You buy any book on color theory today, and it's just complete poppycock. Everybody comes out of school painting pink, purple and green. The whole damn cartoon industry has pink purple and green on their mind.

When I was growing up, my parents asked me what I wanted to do, and I said that I wanted to live in Springfield. They were like, "Well, that's not how it works. There is an actor who play Homer, and someone who writes what Homer says." So, I was like, "Well, I want to write what Homer says."

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.

My cartoon life is in my office, and it's very separate and getting very in my own head. My television life is I'm begging one of the actors to say the line in the way I'd like them to.

There's more flexibility in the cartoon world than there is in video games. In video games, if I tweak a line, I could screw up the work of countless other people with my whim.

Just doing voices for cartoons is just a dream come true.

Saturday morning cartoons do that now, where they develop the toy and then draw the cartoon around it, and the result is the cartoon is a commercial for the toy and the toy is a commercial for the cartoon. The same thing's happening now in comic strips; it's just another way to get the competitive edge. You saturate all the different markets and allow each other to advertise the other, and it's the best of all possible worlds. You can see the financial incentive to work that way. I just think it's to the detriment of integrity in comic strip art.

I did freelance cartooning off and on from college graduation in 1991 through ABC News hiring me in 2003. I did a weekly comic strip for 'Roll Call' for about nine years. I sold cartoons and caricatures to 'The Los Angeles Times' and 'The Washington Post.' I drew as much as I could. It's really tough to make a living doing it.

After school, my mom would pick me up and I would just go to visit my dad in the recording studio, and I would see him working with Mark Hamill or hear him doing the 'Transformers' or a 'G.I. Joe' or the 'Rugrats.'

I've always wanted to do an adult cartoon, because I want a job where you can just drive up in your pajamas, have a cup of tea and not even get dressed, and you've gone to work for the day. What a great gig!

You don't make a fortune doing cartoons. It's a lot of fun, it keeps you busy, and it's better than a kick in the pants, absolutely. But doing voiceover work doesn't make you rich. It just doesn't.

If DreamWorks and Disney need that name to sell the cartoon and get people in the seats, that's what they need. It's not fair, but there's plenty of other work for us to do.

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

Most cartoons are those colors. They have been for 35 years.

We moved amazingly fast because our product was acceptable to a broad market: tots, teenagers, adults. Even to some people who never before liked cartoons. When we started we knew Disney already had the kids. So we figured we should be broader.

I wanted to do what Mel Blanc did, and that was cartoons.

My mother had no interest in cartoons. I remember thinking, 'I am never going to grow into that person.' Which is so ironic - now I get to work on 'Family Guy' and 'The Simpsons' and 'Futurama', all of these great animated series! TV was my passion.

Such is the nature of comic strips. Once established, their half-life is usually more than nuclear waste. Typically, the end result is lazy, rich cartoonists.

I never doubted that if I applied myself and tried to learn that I would good at it. I've had a lot of lucky turns, no doubt. But it's actually been a fairly direct line from control-freak, cartoon-obsessed kindergartner to control-freak, cartoon-obsessed executive producer.