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

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.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.