As soon as I found out how compartmentalized the industry was, I realized, Well, no wonder the cartoons are so bad.

The generic Canadian style of illustration is different from the generic American style.

My intended audience was everybody. I just want to make cartoons for human beings.

If you're a kid wanting to be a cartoonist today, and you're looking at Family Guy, you don't have to aim very high.

One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.

There's tons of people with talent; it's the system that's all screwed up.

I'll let you in on a secret: I can't stand Jay Ward. I hate being compared to Rocky and Bullwinkle. It's just a different style of humor.

I influenced the BG style by not being able to draw perspective. The BG artists developed cool graphic painting styles to make my bad backgrounds look like they were that way on purpose.

I find it very hard to sit down and create an idea or especially a new character on command. Usually my characters evolve by accident out of some story context.

From 20 years of experience hiring artists out of the schools, I know-they get worse every year. They're absolutely ridiculously retarded now.

I don t think cartoons are only for kids, but I think kids will love anything as long as it's visually interesting.

Not very many people can draw who are illustrators today.

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.

In old movies, the cinematography is a thousand times better than anything today. Writing, a thousand times better.

You can draw Family Guy when you're 10 years old. You don't have to get any better than that to become a professional cartoonist. The standards are extremely low.

George Liquor is really the richest character I have. I'm amazed there aren't 365 episodes about him on TV already.

To make something look real and alive, nothing can be symmetrical because nothing in real life is symmetrical. You have to make it look organic.

Mel Blanc has been gone for 30 years, even though he's still around.

My style is very strong poses and expressions.

All artists get better with age. The more you draw, the better you're going to get.

Kids cannot follow stories. They don't know what the hell is going on in a cartoon. They like to see funny visual things happening.

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

As soon as I found out how compartmentalized the industry was, I realized, Well, no wonder the cartoons are so bad.

The storyboard department doesn't talk to the layout department, which doesn't talk to the writing department. They're all jealous of each other.

The only character I ever remember actually creating in a flash of inspiration was George Liquor. God planted that in my head in an instant.

Open a magazine from the 1930s and '40s and look at the illustrations in it. There's nobody alive that could touch the way they could draw back then.

Schools are really bad now. Schools are not only bad in reading, writing and arithmetic, they're worse in cultural aspects, like in music and art. They don't teach you anything.

Joe Barbera's s always complaining that he can't get humor into cartoons anymore. Just do it. You've got your money. Why do they let the networks run their lives?

Cartoonists are untrained artists, while illustrators are more trained.

I'm not up on today's television for children, because it's mostly cartoons that don't seem to interest me.

The Gorillaz cartoons seem more real to me than the actual people on TV. Because at least you know that there's some intelligence behind the cartoons, and there's a lot of work that's gone into it, so it can't all be just a lie.

I was unable to sleep and I would stay up and draw these little cartoons. Then a friend showed them around. Before I knew it I was a cartoonist.

My intended audience was everybody. I just want to make cartoons for human beings.

I have no idea what readership is of written editorials, but it doesn't come anywhere close to the readership of editorial cartoons.

Why does this person who is sitting behind a desk and never watches cartoons is arguing about what cartoons should be like. Its so creepy realizing that this person is a lunatic.

I started doing cartoons when I was about 21. I never thought I would be a cartoonist. It happened behind my back. I was always a painter and drawer.

At one time Tribune Syndicate emptied out their storeroom. They put tables full of original cartoons down in the lobby and said take one if you want one. The comics were simply a burden to them.

There is too much illustrating of the news these days. I look at many editorial cartoons and I don't know what the cartoonists are saying or how they feel about a certain issue.

Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don't know how to draw.

I would like to thank the people who encouraged me to draw army cartoons at a time when the gag man's conception of the army was one of mean ole sergeants and jeeps which jump over mountains.

I first pitched the idea of doing a series of cartoons based on Bible stories. They didn't much like it.

I've never canceled a subscription to a newspaper because of bad cartoons or editorials. If that were the case, I wouldn't have any newspapers or magazines to read.

I don t think cartoons are only for kids, but I think kids will love anything as long as it's visually interesting.

I see myself as an artist who happens to do cartoons.

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

And, uh, I've got about six thousand cartoons up there, also books and papers.

Making cartoons means very hard work at every step of the way, but creating a successful cartoon character is the hardest work of all.

They weren't impatient for the boys to turn into cartoons again. They awarded sympathy, gave compassion. Because deep down they had found parts of themselves in the characters. You said it George.

I was doing political cartoons and getting angry to the point where I felt I was going to have to start making and throwing bombs. I thought I was probably a better cartoonist than a bomb maker.