Animators

"All the movies are about strange worlds that you can't go into unless you build them and film them. That's what's so important about film to me. I just like going into strange worlds."

"The worst thing about this modern world is that people think you get killed on television with zero pain and zero blood. It must enter into kids' heads that it's not very messy to kill somebody, and it doesn't hurt that much. That's a real sickness to me. That's a real sick thing."

"I don't think about technique. The ideas dictate everything. You have to be true to that or you're dead."

"When you're an artist, you pick up on certain things that are in the air. You just feel it. It's not like you're sitting down, thinking, "What can I do to really mess things up?" You're getting ideas, and then the ideas feed into a story, and the story takes shape. And if you're honest about it and you're thinking about characters and what they do, you now see that your ideas are about trouble. You're feeling more depth, and you're describing something that is going on in some way."

"In film, life-and-death struggles make you sit up, lean forward a little bit. They amplify things happening, in smaller ways, in all of us. These things show up in relationships. They show up in struggles and bring them to a critical point."

"The beginning dictates the direction and you never know where you're going to go ... the mood is what you're looking for, and somehow we always find it."

"When I was little in Spokane, Washington I drew all the time... and my father would bring paper home ... and I mostly drew browning automatic water-cooled sub-machine guns... that was my favorite."

"Every single thing in the world that was made by anyone started with an idea. So to catch one that is powerful enough to fall in love with, it is one of the most beautiful experiences. It's like being jolted with electricity and knowledge at the same time."

"I found the world completely and totally fantastic as a child. Of course, I had the usual fears, like going to school ... For me, back then, school was a crime against young people. It destroyed the seeds of liberty. The teachers didn't encourage knowledge or a positive attitude."

"A film is its own thing and in an ideal world I think a film should be discovered knowing nothing and nothing should be added to it and nothing should be subtracted from it."

"I'm not a political person. ... I don't understand politics, I don't understand the concept of two sides and I think that probably there's good on both sides, bad on both sides, and there's a middle ground, but it never seems to come to the middle ground and it's very frustrating watching it and seemingly we're not moving forward. Some change, simple, simple really, relatively speaking, and we're going forwards somewhere, you know? It could be a beautiful place. There's many little obstacles and there's many, many people that are just opposed and we're not going forward."

"My cow is not pretty, but it's pretty to me."

"Life is very, very complicated and so films should be allowed to be too."

"There's this beautiful ocean of bliss and consciousness that is able to be reached by any human being by diving within, which is really peaceful and harmonious and can be enlivened by the group process. This group is a peace-creating group. It saturates the atmosphere. This is all about establishing peace. Right now, we gotta get peace back in the world. Peace is a real thing."

"Being in darkness and confusion is interesting to me. But behind it you can rise out of that and see things the way they really are. That there is some sort of truth to the whole thing, if you could just get to that point where you could see it, and live it, and feel it ... I think it is a long, long, way off. In the meantime there's suffering and darkness and confusion and absurdities, and it's people kind of going in circles. It's fantastic. It's like a strange carnival: it's a lot of fun, but it's a lot of pain."

"Speaking in front of a large crowd is not pleasant. Once it gets rolling, it's okay. But beforehand, it's murder. I'm getting a lot better. The first interview I ever did was in 1972, I believe, and I couldn't speak. I couldn't speak one word. I only said, "I painted it black." That was my one sentence. And so I have improved."

"It makes me uncomfortable to talk about meanings and things. It is better not to know so much about what things mean. Because the meaning, it's a very personal thing and the meaning for me is different than the meaning for someone else."

"The ocean of solutions is within, enliven that. ... It's a world of clues, a world of mystery but the mystery can get solved, you can find a lot of answers for these things within."

"There's so many problems in our world, so much negativity. Don't worry about the darkness — turn on the light and the darkness automatically goes. Ramp up the light of unity within — help do that for yourself, help do that for the world and then we're really doing something, we're doing something that brings that light of unity.""

"Bullshit, that's how I feel. Total fucking bullshit."

"It's such a sadness that you think you've seen a film on your fucking telephone. Get real."

"The sick reality about our over dependance on language is that trying to live without it is like a blind and deaf man with no arms or legs trying to navigate a dark narrow cave, and the cave is full of tarantulas."

"There is a plot. What would be the point of just a bunch of things? There's a story, but the story can hold abstractions. I believe in story. I believe in characters. But I believe in a story that holds abstractions, and a story that can be told based on ideas that come in an unconventional way.""

"Language is an evil thing, a very evil thing. And a force to be reckoned with."

"Don't make a film if it can't be the film you want to make. It's a joke, and a sick joke, and it'll kill you."

"I love child things because there's so much mystery when you're a child. When you're a child, something as simple as a tree doesn't make sense. You see it in the distance and it looks small, but as you go closer, it seems to grow — you haven't got a handle on the rules when you're a child. We think we understand the rules when we become adults but what we really experienced is a narrowing of the imagination."

"I guess I got whacked hard in the mystery department when I was little. I found the world completely and totally fascinating then — it was like a dream. They say that people who think they had a happy childhood are blocking something out, but I think I really had one. Of course I had the usual fears, like going to school — I knew there was some sort of problem there. But every other person sensed that problem too, so my fears were pretty normal."

"There's always fear of the unknown where there's mystery. It's possible to achieve a state where you realize the truth of life and fear disappears, and a lot of people have reached that state, but next to none of them are on Earth. There's probably a few."

"Dark things have always existed but they used to be in a proper balance with good when life was slower. People lived in towns and small farms where they knew everybody and people didn't move around so much so things were a little more peaceful. There were things that they were afraid of for sure, but now it's accelerated to where the anxiety level of the people is in the stratosphere. TV sped things up and caused people to hear way more bad news. Mass media overloaded people with more than they could handle, and drugs also had a lot to do with it. With drugs people can get so rich and whacked out and they've opened up a whole weird world. These things have created a modern kind of fear in America."

"One change of attitude would change everything. If everyone realized that it could be a beautiful world and said let's not do these things anymore — let's have fun."

"There are so many clues and feelings in the world that it makes a mystery and a mystery means there's a puzzle to be solved. Once you think like that you're hooked on probably finding a meaning, and there' many avenues in life where we're given little indications that the mystery can one day be solved. we get little proofs, — not the big proof — but the little proofs that keep us searching."

"When you do something that works you have a happiness, but I don't know if it's a feeling of power. Power is a frightening thing and that's not what I'm interested in. I want to do certain things and make them right in my mind and that's it."

"Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful."

"When I first heard about meditation, I had zero interest in it. I wasn't even curious. It sounded like a waste of time. What got me interested, though, was the phrase "true happiness lies within." At first I thought it sounded kind of mean, because it doesn't tell you where the "within" is, or how to get there. But still it had a ring of truth. And I began to think that maybe meditation was a way to go within."

"When I started meditating, I was filled with anxieties and fears. I felt a sense of depression and anger. I often took out this anger on my first wife. After I had been meditating for about two weeks, she came to me and said, "What's going on?" I was quiet for a moment. But finally I said, "What do you mean?" And she said, "This anger, where did it go?" And I hadn't even realized that it had lifted. I call that depression and anger the Suffocating Rubber Clown Suit of Negativity. It's suffocating, and that rubber stinks. But once you start meditating and diving within, the clown suit starts to dissolve. You finally realize how putrid was the stink when it starts to go. Then, when it dissolves, you have freedom. Anger and depression and sorrow are beautiful things in a story, but they are like poison to the filmmaker or artist. They are like a vise grip on creativity. If you're in that grip, you can hardly get out of bed, much less experience the flow of creativity and ideas. You must have clarity to create. You have to be able to catch ideas."

"I started out just as a regular person, growing up in the Northwest. My father was a research scientist for the Department of Agriculture, studying trees. So I was in the woods a lot. And the woods for a child are magical. I lived in what people call small towns. My world was what would be considered about a city block, maybe two blocks. Everything occurred in that space. All the dreaming, all my friends existed in that small world. But to me it seemed so huge and magical. There was plenty of time available to dream and be with friends. I liked to paint and I liked to draw. And I often thought, wrongly, that when you got to be an adult, you stopped painting and drawing and did something more serious."

"I'm not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you've got time and sequences. You've got dialogue. You've got music. You've got sound effects. You have so many tools. And so you can express a feeling and a thought that can't be conveyed any other way. It's a magical medium. For me, it's so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music — it's a whole range of elements coming together and making something that didn't exist before. It's telling stories. It's devising a world, an experience, that people cannot have unless they see that film."

"I like the saying "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same — the same number, in the same sequence, with the same sounds — every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with. So you don’t know how it's going to hit people. But if you thought about how it's going to hit people, or if it's going to hurt someone, or if it's going to do this or do that, then you would have to stop making films. You just do these things that you fall in love with, and you never know what's going to happen."

"An idea is a thought. It's a thought that holds more than you think it does when you receive it. But in that first moment there is a spark. In a comic strip, if someone gets an idea, a lightbulb goes on. It happens in an instant, just as in life. It would be great if the entire film came all at once. But it comes, for me, in fragments. That first fragment is like the Rosetta stone. It's the piece of the puzzle that indicates the rest. It's a hopeful puzzle piece. In Blue Velvet, it was red lips, green lawns, and the song — Bobby Vinton's version of "Blue Velvet". The next thing was an ear lying in a field. And that was it. You fall in love with the first idea, that little tiny piece. And once you've got it, the rest will come in time."

"Eraserhead is my most spiritual movie. No one understands when I say that, but it is. Eraserhead was growing in a certain way, and I didn't know what it meant. I was looking for a key to unlock what these sequences were saying. Of course, I understood some of it; but I didn't know the thing that just pulled it all together. And it was a struggle. So I got out my Bible and I started reading. And one day, I read a sentence. And I closed the Bible, because that was it. And then I saw the thing as a whole. And it fulfilled this vision for me, 100 percent. I don't think I'll ever say what that sentence was."

"On Blue Velvet, I worked with a casting director, Johanna Ray. And we had all brought up Dennis Hopper. But everybody said, 'No, no; you can't work with Dennis. He's really in bad shape, and you'll have nothing but trouble.' So we continued looking for people. But one day, Dennis' agent called and said that Dennis was clean and sober and had already done another picture, and I could talk to that director to verify it. Then Dennis called and said, 'I have to play Frank, because I am Frank.' That thrilled me, and scared me."

"People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence? There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad. I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else. We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes. And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things."

"Stay true to yourself. Let your voice ring out, and don't let anybody fiddle with it. Never turn down a good idea, but never take a bad idea. And meditate. It's very important to experience that Self, that pure consciousness. It's really helped me. I think it would help any filmmaker. So start diving within, enlivening that bliss consciousness. Grow in happiness and intuition. Experience the joy of doing. And you'll glow in this peaceful way. Your friends will be very, very happy with you. Everyone will want to sit next to you. And people will give you money!"

"You feel David in his movies — its another universe he takes you to — its an alternate reality but its close enough to our own that its scary."

"It's great when somebody breaks rules and says, "You know what? There doesn't have to be an answer to this. You don't have to have a fourth wall, you don't have to have any boundaries.""

"Jimmy Stewart from Mars."

"It was curious, so much was in his mind, but he didn't talk about what he was doing, so it was difficult sometimes to follow. He's quite a macabre person. He said to me one day: "You should take the kids to the London Hospital and look at all the freaks in the bottles, the two-headed babies." The actual Elephant Man was in there. He said: "You'll really enjoy it. Take some sandwiches and make a day of it.""

"One day he was showing me a painting he made. It was thick with oil, and right as he showed it to me a moth flew into the painting and got stuck — it flew around and its wings created a little circle in his painting, sort of like the death of a moth ... I thought David would pull the moth out and repaint it, but he fell in love with it the way it was."

"Luckily, David is able to vent everything through his art ... because otherwise somebody might be dead."

"Most people have strange thoughts, but they rationalize them. David doesn't translate his images logically, so they remain raw, emotional. Whenever I ask him where his ideas come from, he says it's like fishing. He never knows what he's going to catch."

"I just tend to admire people who go for what they believe in, like David Lynch for example, and just say what goes through their heads, and are not afraid of people not accepting them. I have no respect for people who deliberately try to be weird to attract attention, but if that's who you honestly are, you shouldn't try to "normalize yourself". It's a fine line."

"It rhymes with complaining."

"Where do babies come from? Don't bother asking adults. They lie like pigs. However, diligent independent research and hours of playground consultation have yielded fruitful, if tentative, results. There are several theories. Near as we can figure out, it has something to do with acting ridiculous in the dark. We believe it is similar to dogs when they act peculiar and ride each other. This is called "making love". Careful study of popular song lyrics, advertising catch-lines, TV sitcoms, movies, and T-Shirt inscriptions offers us significant clues as to its nature. Apparently it makes grown-ups insipid and insane. Some graffiti was once observed that said "sex is good." All available evidence, however, points to the contrary."

"That's a 30-year-old woman you're bringing me."

"Our most important aim is to develop definite personalities in our cartoon characters. We don't want them to be just shadows, for merely as moving figures they provoke no emotional response from the public. We invest them with life a caricature of life."

"Over at our place, we're sure of just one thing: everybody in the world was once a child. So in planning a new picture, we don't think of grown-ups, and we don't think of children, but just of that fine, clean, unspoiled spot down deep in every one of us that maybe the world has made us forget and that maybe our pictures can help recall."

"Once a man has tasted freedom he will never be content to be a slave. That is why I believe that this frightfulness we see everywhere today is only temporary. Tomorrow will be better for as long as America keeps alive the ideals of freedom and a better life. All men will want to be free and share our way of life. There must be so much that I should have said, but haven't. What I will say now is just what most of us are probably thinking every day. I thank God and America for the right to live and raise my family under the flag of tolerance, democracy and freedom."

"No story in English literature has intrigued me more than Lewis Carroll’s Alice in Wonderland. It fascinated me the first time I read it as a schoolboy and as soon as I possibly could after I started making animated cartoons, I acquired the film rights to it. People in his period had no time to waste on triviality, yet Carroll with his nonsense and fantasy furnished a balance between seriousness and enjoyment which everybody needed then and still needs today."

"During the last few years, we've ventured into a lot of different fields. We've had the opportunity to meet and work with a lot of wonderful people. Our only hope is we never lose sight of one thing: that it was all started by a mouse. Now, that is why I want this part of the show to belong to Mickey, because the story of Mickey is truly the real beginning of Disneyland."

"To all who come to this happy place: Welcome. Disneyland is your land. Here age relives fond memories of the past, and here youth may savor the challenge and promise of the future. Disneyland is dedicated to the ideals, the dreams, and the hard facts that have created America; with the hope that it will be a source of joy and inspiration to all the world."

"All the adversity I've had in my life, all my troubles and obstacles, have strengthened me... You may not realize it when it happens, but a kick in the teeth may be the best thing in the world for you."

"I suppose my formula might be: dream, diversify and never miss an angle."

"We are not influenced by the techniques or fashions of any other company."

"Well, my greatest reward, I think, is that I've been able to build this wonderful organization. I've been able to enjoy good health, and the way I feel today, I feel like I can still go on being part of this thing after forty some odd years of business, and also, to have the public appreciate and accept what I've done all these years. That, that is a great reward. … Well of course, happiness is a state of mind. You can be happy or you can be unhappy. It's just according to the way you look at things. You know. So I think happiness is contentment but it doesn't mean you have to have wealth. But all individuals are different. Some of us just wouldn't be satisfied with just carrying out a routine job and being happy. Yet I envied those people. I had a brother who I really envied because he was a mailman. But he's the one that had all the fun. He had himself a trailer, and he used to go out and go fishing, and he didn't worry about payrolls and stories and picture grosses or anything. And he was the happy one. I always said, "He's the smart Disney.""

"A person should set his goals as early as he can and devote all his energy and talent to getting there. With enough effort, he may achieve it. Or he may find something that is even more rewarding. But in the end, no matter what the outcome, he will know he has been alive."

"As the original Mary Poppins budget of five million dollars continued to grow, I never saw a sad face around the entire Studio. And this made me nervous. I knew the picture would have to gross 10 million dollars for us to break even. But still there was no negative head-shaking. No prophets of doom. Even Roy was happy. He didn't even ask me to show the unfinished picture to a banker. The horrible thought struck me — suppose the staff had finally conceded that I knew what I was doing."

"That’s a pretty sexy little girl, Ollie."

"Girls bored me — they still do. I love Mickey Mouse more than any woman I've ever known."

"There is more treasure in books than in all the pirates' loot on Treasure Island and at the bottom of the Spanish Main... and best of all, you can enjoy these riches every day of your life."

"We allow no geniuses around our Studio. .. It's kind of fun to do the impossible."

"We're not trying to entertain the critics … I'll take my chances with the public."

"I could never convince the financiers that Disneyland was feasible, because dreams offer too little collateral."

"Courage is the main quality of leadership, in my opinion, no matter where it is exercised. Usually it implies some risk — especially in new undertakings. Courage to initiate something and to keep it going, pioneering an adventurous spirit to blaze new ways, often, in our land of opportunity."

"Until a character becomes a personality it cannot be believed. Without personality, the character may do funny or interesting things, but unless people are able to identify themselves with the character, its actions will seem unreal. And without personality, a story cannot ring true to the audience."

"All right. I'm corny. But I think there's just about a-hundred-and-forty-million people in this country that are just as corny as I am."

"What are you doing with a car here in 1860?"

"When we do fantasy, we must not lose sight of reality."

"For every laugh, there should be a tear."

"I don't believe there's a challenge anywhere in the world that's more important to people everywhere than finding solutions to the problems of our cities. But where do we begin — how do we start answering this great challenge? Well, we're convinced we must start answering the public need. And the need is not just for curing the old ills of old cities. We think the need is for starting from scratch on virgin land and building a special kind of new community that will always be in a state of becoming. It will never cease to be a living blueprint of the future, where people actually live a life they can't find anywhere else in the world."

"All we ever intended for him or expected of him was that he should continue to make people everywhere chuckle with him and at him. We didn't burden him with any social symbolism, we made him no mouthpiece for frustrations or harsh satire. Mickey was simply a little personality assigned to the purposes of laughter. .. I do not make films primarily for children. I make them for the child in all of us, whether we be six or sixty. Call the child "innocence". The worst of us is not without innocence, although buried deeply it might be. In my work I try to reach and speak to that innocence, showing it the fun and joy of living; showing it that laughter is healthy; showing it that the human species, although happily ridiculous at times, is still reaching for the stars."

"I do not like to repeat successes, I like to go on to other things."

"We have created characters and animated them in the dimension of depth, revealing through them to our perturbed world that the things we have in common far outnumber and outweigh those that divide us. .. They say I'm a conservative, but I consider myself a true liberal."

"Mickey Mouse is, to me, a symbol of independence. He was a means to an end. He popped out of my mind onto a drawing pad 20 years ago on a train ride from Manhattan to Hollywood at a time when business fortunes of my brother Roy and myself were at lowest ebb and disaster seemed right around the corner. Born of necessity, the little fellow literally freed us of immediate worry. He provided the means for expanding our organization to its present dimensions and for extending the medium of cartoon animation toward new entertainment levels. He spelled production liberation for us."

"We felt that the public, and especially the children, like animals that are cute and little. I think we are rather indebted to Charlie Chaplin for the idea. We wanted something appealing, and we thought of a tiny bit of a mouse that would have something of the wistfulness of Chaplin — a little fellow trying to do the best he could."

"I believe in being an innovator."

"Somehow, I can't believe that there are any heights that can't be scaled by a man by a man who knows the secret of making dreams come true. The special secret it seems to me is summarized in four C's. They are Curiosity, Courage, Confidence and Constancy. And the greatest of all is Confidence. When you believe in a thing, believe in it all the way, implicitly and unquestionably."

"All you've got to do is own up to your ignorance honestly, and you'll find people who are eager to fill your head with information."

"We like to have a point of view in our stories, not an obvious moral, but a worthwhile theme. … All we are trying to do is give the public good entertainment. That is all they want."

"Faith I have, in myself, in humanity, in the worthwhileness of the pursuits in entertainment for the masses. But wide awake, not blind faith, moves me. My operations are based on experience, thoughtful observation and warm fellowship with my neighbors at home and around the world."

"I am interested in entertaining people, in bringing pleasure, particularly laughter, to others, rather than being concerned with "expressing" myself with obscure creative impressions."

"When I started on Disneyland, my wife used to say, "But why do you want to build an amusement park? They're so dirty." I told her that was just the point — mine wouldn't be."

"Disneyland is something that will never be finished. It's something that I can keep developing. It will be a live, breathing thing that will need change. A picture is a thing, once you wrap it up and turn it over to Technicolor, you're through. Snow White is a dead issue with me. But I can change the park, because it's alive."

"Fantasy, if it's really convincing, can't become dated, for the simple reason that it represents a flight into a dimension that lies beyond the reach of time. In this new dimension, whatever it is, nothing corrodes or gets run down at the heel or gets to look ridiculous like, say, the celluloid collar or the bustle."

"Animation can explain whatever the mind of man can conceive. This facility makes it the most versatile and explicit means of communication yet devised for quick mass appreciation."

"Around here, however, we don't look backwards for very long. We keep moving forward, opening up new doors and doing new things, because we're curious… and curiosity keeps leading us down new paths."

"Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world."

"I always felt that Uncle Remus should be played by a living person, as should also the young boy to whom Harris' old Negro philosopher relates his vivid stories of the Briar Patch. Several tests in previous pictures, especially in The Three Caballeros, were encouraging in the way living action and animation could be dovetailed. Finally, months ago, we 'took our foot in hand,' in the words of Uncle Remus, and jumped into our most venturesome but also more pleasurable undertaking."

"Every person has his own ideas of the act of praying for God's guidance, tolerance, and mercy to fulfill his duties and responsibilities. My own concept of prayer is not as a plea for special favors nor as a quick palliation for wrongs knowingly committed. A prayer, it seems to me, implies a promise as well as a request; at the highest level, prayer not only is a supplication for strength and guidance, but also becomes an affirmation of life and thus a reverent praise of God."

"Deeds rather than words express my concept of the part religion should play in everyday life. I have watched constantly that in our movie work the highest moral and spiritual standards are upheld, whether it deals with fable or with stories of living action."

"I don't believe in playing down to children, either in life or in motion pictures. I didn't treat my own youngsters like fragile flowers, and I think no parent should. Children are people, and they should have to reach to learn about things, to understand things, just as adults have to reach if they want to grow in mental stature. Life is composed of lights and shadows, and we would be untruthful, insincere, and saccharine if we tried to pretend there were no shadows. Most things are good, and they are the strongest things; but there are evil things too, and you are not doing a child a favor by trying to shield him from reality. The important thing is to teach a child that good can always triumph over evil, and that is what our pictures attempt to do."

"The American child is a highly intelligent human being — characteristically sensitive, humorous, open-minded, eager to learn, and has a strong sense of excitement, energy, and healthy curiosity about the world in which he lives. Lucky indeed is the grown-up who manages to carry these same characteristics into adult life. It usually makes for a happy and successful individual."

"I have long felt that the way to keep children out of trouble is to keep them interested in things. Lecturing to children is no answer to delinquency. Preaching won't keep youngsters out of trouble, but keeping their minds occupied will."

"To me, today, at age sixty-one, all prayer, by the humble or highly placed, has one thing in common: supplication for strength and inspiration to carry on the best human impulses which should bind us together for a better world. Without such inspiration, we would rapidly deteriorate and finally perish. But in our troubled time, the right of men to think and worship as their conscience dictates is being sorely pressed. We can retain these privileges only by being constantly on guard and fighting off any encroachment on these precepts. To retreat from any of the principles handed down by our forefathers, who shed their blood for the ideals we still embrace, would be a complete victory for those who would destroy liberty and justice for the individual."

"Here in Florida … we have something special we never enjoyed at Disneyland — the blessing of size. There's enough land here to hold all the ideas and plans we can possibly imagine."

"The most exciting and by far the most important part of our Florida Project — in fact, the heart of everything we'll be doing in Disney World — will be our Experimental Prototype Community Of Tomorrow! We call it EPCOT."

"EPCOT will be an experimental prototype community of tomorrow that will take its cue from the new ideas and new technologies that are now emerging from the creative centers of American industry. It will be a community of tomorrow that will never be completed, but will always be introducing and testing and demonstrating new materials and systems. And EPCOT will always be a showcase to the world for the ingenuity and imagination of American free enterprise."

"Actually, if you could see close in my eyes, the American flag is waving in both of them and up my spine is growing this red, white and blue stripe."

"Childishness? I think it's the equivalent of never losing your sense of humor. I mean, yes there's a certain something that you retain. It's the equivalent of not getting so stuffy that you can't laugh at others."

"I think what I want Disneyland to be most of all is a happy place — a place where adults and children can experience together some of the wonders of life, of adventure, and feel better because of it."

"Disneyland is a work of love. We didn't go into Disneyland just with the idea of making money."

"Disneyland is like a piece of clay: If there is something I don't like, I'm not stuck with it. I can reshape and revamp."

"Disneyland is often called a magic kingdom because it combines fantasy and history, adventure and learning, together with every variety of recreation and fun designed to appeal to everyone."

"Disneyland will never be completed. It will continue to grow as long as there is imagination left in the world."

"Every child is born blessed with a vivid imagination. But just as a muscle grows flabby with disuse, so the bright imagination of a child pales in later years if he ceases to exercise it."

"It's a mistake not to give people a chance to learn to depend on themselves while they are young."

"Laughter is America's most important export."

"In my view, wholesome pleasure, sport, and recreation are as vital to this nation as productive work and should have a large share in the national budget."

"That's the real trouble with the world, too many people grow up. They forget. They don't remember what it's like to be twelve years old. They patronize; they treat children as inferiors. I won't do that. I'll temper a story, yes. But I won't play down, and I won't patronize."

"To the youngsters of today, I say believe in the future, the world is getting better; there still is plenty of opportunity. Why, would you believe it, when I was a kid I thought it was already too late for me to make good at anything."

"I always like to look on the optimistic side of life, but I am realistic enough to know that life is a complex matter. With the laugh comes the tears and in developing motion pictures or television shows, you must combine all the facts of life — drama, pathos and humor."

"All our dreams can come true — if we have the courage to pursue them."

"Leadership means that a group, large or small, is willing to entrust authority to a person who has shown judgement, wisdom, personal appeal, and proven competence."

"Do a good job. You don't have to worry about the money; it will take care of itself. Just do your best work — then try to trump it."

"A man should never neglect his family for business."

"Art was always a means to an end with me. You get an idea, and you just can't wait. Once you've started, then you're in there with the punches flying. There's plenty of trouble, but you can handle it. You can't back out. It gets you down once in a while, but it's exciting. Our whole business is exciting."

"I believe firmly in the efficacy of religion, in its powerful influence on a person's whole life. It helps immeasurably to meet the storms and stress of life and keep you attuned to the Divine inspiration. Without inspiration, we would perish."

"Laughter is timeless, imagination has no age, and dreams are forever."

"You can't just let nature run wild."

"If you can dream it, you can do it."

"I have seen children brought to me in terrible panics, and interestingly enough most often the Walt Disney movies which do depict very disturbing mother figures. The mothers are always killed or sent to the insane asylums in Walt Disney movies. They are among my experience for Frankenstein, the worst movies in the world for children who have had a problems of the loss of a parent."

"So I took my drawings out there and did an interview and I got accepted right away. They said, "Come to work." So I went to work. Walt was still alive then, and he was working on two things; Sleeping Beauty and building Disneyland. Disneyland occupied, probably, about 80% of his time and we got about 20% of it. I remember the meetings and I remember meeting him. I remember what it was like when what we were building was a film that actually had some soul. A piece of artwork That's what we were filming. It wasn't about "make something quick for the marketers.""

"When I look at the early days when Walt was really in command of the studio, the pictures did not look like each other at all. They were all different. Bambi doesn't look like Snow White. Snow White doesn't look like Pinnochio. Then Dumbo comes along and that's its own movie and then Fantasia what's that? Each one of these was reaching for something. They all followed the rules of good storytelling."

"I remember once that Walt said something to the effect that, "I'll make the picture; and when I make the picture then you marketing guys can have it." Nowadays, it's the marketing department telling you what they want."

"Walt wanted to communicate with a global audience. … He wanted to communicate with a multicultural audiance."

"(Ha!) You belong to Disney, which means you stay busy Cranking out magic and assembly line whimsy! Artists begging me to stop; I won't let 'em! Labor conditions in my shop? I don't sweat 'em! I'm powerful enough to make a mouse gigantic! With only 3 circles, I dominate the planet! (Ha!) Clearly, there's nobody near me! I'm owning this battle! In fact, I own this whole series! So hop on my Steamboat, boys, but don't rock it! I'll put on a smile on your face and green in your pocket! You'll be safe and insured when you're under my employ! Now, look at it! Gaze upon my empire of joy!"

"Disney, for all his pining for a perfect world (embodied in his depiction of a turn-of-the-century Main Street), did not entirely ignore the authentic. He did kill Bambi's mom, remember. He did permit, perhaps encourage, the occasional sense of danger."

"Disney World has acquired by now something of the air of a national shrine. American parents who don't take their children there sense obscurely that they have failed in some fundamental way, like Muslims who never made it to Mecca."

"There is a relationship between cartooning and people Miró and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney."

"He was a very religious man, but he didn't believe you had to go to church to be religious. … He respected every religion. There wasn't any that he ever criticized. He wouldn't even tell religious jokes."

"He definitely believed in God — very definitely. But I think he'd had it [with organized religion] as a child. He never went to church."

"That's really an interesting thought because one of things Walt was always complaining about – and I think that's one of the reasons Walt continually pushed for innovation at his studio – was that he always wanted to make things better, he wanted to make new things possible. I think Walt would have been quite impressed with the new digital technology because he would have a brand new tool that he could use in amazing ways. So while on one hand we've lost something as we move forward, I do recognise that things will always be changing. Animation changed from the 1930s to the 40s, on up through the 50s and 60s; there has always been new technologies being created, enabling us to make a better product."

"Most family historians agree that Elias's authoritarian and sometimes cruel nature — and propensity for whipping and even beating his young sons — played a role in turning Walt and Roy against the church. The brothers' ambivalent relationship with organized religion is well documented, as is their strong, personal faith in God."

"Despite the absence of a unifying "story" in Fantasia, there are along the way images and sequences with implications and messages — inspirational and disturbing, subtle and strong, scientific and pagan and Christian — all worth noting."

"Take the serious side of Disney, the Confucian side of Disney. It's in having taken an ethos … where you have the values of courage and tenderness asserted in a way that everybody can understand. You have got an absolute genius there. You have got a greater correlation of nature than you have had since the time of Alexander the Great."

"Walt was a strange kind of guy, but he’s still by all odds the most important person that animation has ever known. Anybody who knows anything about animation knows that the things that happened at the Disney Studio were the backbone that upheld everything else. Disney created a climate that enabled all of us to exist"

"Marx was fortunate to have been born eighty years before Walt Disney. Disney also promised a child's paradise and unlike Marx, delivered on his promise."

"He probably did more to heal, or at least soothe troubled human spirits than all the psychiatrists in the world."

"Walt considered himself religious yet he never went to church. The heavy dose of religiosity in his childhood discouraged him; he especially disliked sanctimonious preachers. But he admired an respected every religion, and his belief in God never wavered."

"The eleventh day of the eleventh month has always seemed to me to be special. Even if the reason for it fell apart as the years went on, it was a symbol of something close to the high part of the heart. Perhaps a life that stretches through two or three wars takes its first war rather seriously, but I still think we should have kept the name "Armistice Day." Its implications were a little more profound, a little more hopeful."

"Not all segregationists are lunatics, or even dishonest men."

"Suspicion is the mother of invention And a fishin' expedition Needs no repetition For the end is never new: you need a friend and you."

"God is not dead — He is merely unemployed..."

"As we thrash on to a finish through the current thicket of flags and banners, we realize it is no finish at all, but a new inning. Secure in the rules, we know that, given three strikes, the truth will out."

"Looking back on things, the view always improves."

"We have met the enemy and he is us."

"Don't take life so serious, son, it ain't nohow permanent."

"Eventually every man gotta face the problem of tryin' to figger if it’s worthwhile to prove that he is himself."

"The best break anybody ever gets is in bein' alive in the first place. An' you don't unnerstan' what a perfect deal it is until you realizes that you ain't gone be stuck with it forever, either."

"I been readin' 'bout how maybe they is planets peopled by folks with ad-vanced brains. On the other hand, maybe we got the most brains...maybe our intellects is the universe's most ad-vanced. Either way, it's a mighty soberin' thought."

"[After Pogo says, Eventual Porky, I figger ev'ry critter's heart's in the right place., Porky responds:] If you gotta be wrong 'bout somthin', that's 'bout the best thing they is to be wrong 'bout."

"Is we runnin' TO it or FROM it?"

"Ever since I heard you is got a million dollars I notice you is fraught with perspicacity."

"Foo, a beautiful gal wastes her time gracin' up this swamp."

"I'll tell you, son, the minority got us out-numbered!"

"So we got fifty percent. Babe Ruth didn't do no better. — Did you mean hittin' it... or throwin' it?"

"Some is more equal than others, as is well known. It ain't that your majority is outnumbered, you're just out-surrounded."

"The natural born reason we didn't git no yew-ranium when we crosses the li'l yew tree and the gee-ranium is on account of cause we didn't have no geiger counter."

"Halp! My powerful brain is blowed itself up!"

"Y'see, when you start to lick a national problem you have to go after the fundamentables. You want to cut down air pollution? Cut down the original source... Breathin!"

"Deck us all with Boston Charlie Walla Walla, Wash, and Kalamazoo! Nora's freezin' on the trolley, Swaller dollar cauliflower Alleygaroo! Don't we know archaic barrel, Lullaby Lilla Boy, Louisville Lou. Trolley Molly don't love Harold, Boola Boola Pensacoola Hullabaloo! Bark us all bow-wows of folly, Polly wolly cracker n' too-da-loo! Hunky Dory's pop is lolly gaggin' on the wagon, Willy, folly go through! Donkey Bonny brays a carol, Antelope Cantaloup, 'lope with you! Chollie's collie barks at Barrow, Harum scarum five alarum bung-a-loo Duck us all in bowls of barley, Hinky dinky dink an' Polly Voo! Chilly Filly's name is Chollie, Chollie Filly's jolly chilly view halloo! Bark us all bow-wows of folly, Double-bubble, toyland trouble! Woof, Woof, Woof! Tizzy seas on melon collie! Dibble-dabble, scribble-scrabble! Goof, Goof, Goof!"

"Who are you inspired by? Creative people who have made their seemingly most self-indulgent artistic whims into a career."

"A zebra can't drive a moon-buggy. Or any other sort of car for that matter."

"Sweetheart, I'm the biggest ripped-off cartoonist in the history of the world, and that's all I'm going to say."

"Four guys could get together and make their own movie, in a year, but nobody does it 'cause they got bills to pay. What I'm saying is, that's what I would do, if I was young. I wouldn't even get a job. I'd get a couple of computers and a bunch of guys, we'd eat crap for a year, millionaires the next year if we did a good film. It's so extraordinary. Instead of crying about getting a job at Disney or "things are falling apart", things the old animators were doing when I was a kid, "it's all crumbling!" It's not crumbling, you're crumbling! You got these computers that could do this stuff for nothing! What do you do with it? You try to get a job for some asshole studio. It's so dumb."

"When I had my own company on Traffic and Coonskin, all metaphors were able to get to the screen clearly. In Cool World, with the producer and Paramount watching me carefully to make sure I was in good taste, I instinctively poured stuff into the picture that I wanted to talk about. But when you force stuff, it's not really very clear. But, I have a great love for Max Fleischer, especially some of his Black & White Betty Boops with their strange Cab Calloway and Louis Armstrong black folk tale jazz hipness that part of Cool World was a homage in style to those films and that style of cartooning. The Grim Reaper is right out of a Max Fleischer cartoon or old Terrytoons, which is why I hired and love Milton Knight the artist. He understands totally the Uncle Remus fable like qualities behind Fleischer and Terrytoons. Milton Knight is probably the purest artist of that style in the business. He has a hard time because studios think he is old fashioned...but that's the point."

"Did I have a responsibility to discuss issues? Absolutely. Bobby Dylan was discussing issues – Disney wasn’t."

"Wizards was about the creation of the state of Israel and the Holocaust, about the Jews looking for a homeland, and about the fact that fascism was on the rise again, I thought. That was way before the Right Wing made their appearance again, and I felt that things were shifting back. So on that level, Wizards was a very personal film."

"Sick of Hollywood, tired of fighting and selling out as an artist. I don't believe anyone should do the same thing for the rest of his life. We get a very short time on this planet. Challenging oneself is very important. It's not that I couldn't make other great animated films, but I'd done what I wanted to do, which was make animation an adult medium, if one wanted it to be. And I'd proven to myself that it could work, and it was time to move on to something else. When I sell a painting, I get very excited. I need one person to like what I do, not a million. It's a different structure here. Plus the Hollywood thing. I mean, Hollywood is no place to grow up, no place to live. It's no place to have any friends, no place to enjoy life. It's a disgusting, horrible, craze-driven town. It's only how much do you make, or how fancy a car you have, that determines your status there. And everyone's lying so much that they don't even know they're lying anymore. There's no reality to Hollywood. The fees they pay directors are obnoxious, the money they spend on movies could feed entire starving African... I mean, fuck 'em. I made a few bucks and got out. I don't want to spend the rest of my life with those people. They're disgusting people, and you can quote me on that. There's a lot of great talent there, but it's no place I wanted to spend much time. I'd rather spend time with Rembrandt and Goya at home. They're better company than those schmucks who never read Lord Of The Rings."

"People often repeat the fallacy that "film is a passive medium". The statement is usually elaborated like this: "When I read a story in a book, I have to use my imagination to conjure up what the characters look like, the sound of their voices, the appearance of their surroundings, the house, the landscape. When I see a movie, those things are all nailed down for me, so I don't feel as involved." What the person is describing are the most obvious aspects of a given story, that is, its physical properties. They are, in fact, the least interesting and least important components of a story. I do not read books in order to imagine the physical appearance of things."

"A good film is one that requires the viewer to create, through an orchestration of impressions, the meaning of its events. It is, in the end, our ability to create meaning out of the raw experience of life that makes us human. It is the exercise of our faculty to discover meaning which is the purpose of art. The didactic imparting of moral or political messages is emphatically not the purpose of art -- that is what we call propaganda."

"Regarding the doll in the Purge, since it's one of my favorite moments in the series: The Custodians are the physical embodiment of a very vaporous notion -- human conscience. Does conscience really exist, or is it just a way of convincing ourselves that a center for moral judgment resides within us, thus lending our judgments a natural authority? As always, Trevor prefers to provide a tangible solution. He can't tolerate uncertainty. Whether it is real or not, Trevor understands the usefulness of the belief in conscience as a tool for practical ends, the improvement of society. In the end, the doll which emerges from the Custodian reveals to us that Trevor's artificial conscience, like the classical notion, is no more than a flimsy gimmick, a parlor trick, a plaything of the mind powered by a circular process. (Advocating the existence of conscience usually involves an appeal to our conscience). Notice that Trevor himself winds up the toy while in the train earlier in the episode."

"For a viewer to think the custodian was trying to break free is the exact opposite of what the scene was supposed to convey. There is nothing gained from that kind of ambiguity. Ambiguity is not desirable or meaningful if it confuses an issue that is meant to be clear. This is the challenge of making a film that communicates but doesn't talk down: a lot of viewers and studio execs (and directors) hold that ANY ambiguity is the result of the filmmaker's failure. I disagree, but I also hold that, in order for ambiguity to be effective, certain things NEED to be unambiguous. For example, if it wasn't clear that Judy on the stage is the same character as Judy who'd invited Aeon to the Hostess' lair, then that's just bad execution. If the episode had been finished and seen in a version say, where we don't see her face drawn correctly, and viewers weren't sure it was the same character, they may wonder about things irrelevant to the story's themes, such as "do the custodians alter the appearance of their hosts", or "Trevor is masquerading a different person who is playing the role of Judy on the stage", etc, all of which does not help the story. Thinking that the custodian had a will of its own and wanted to break free is the same type of undesired speculation."

"It's a universal tendency in films to be more about sex and violence than the real world is, but I would pose the opposite question: Why are so many characters that you see on TV so desexualized? A lot of them seem to be completely asexual — especially animated characters — and it implies that those characters are normal. The characters in Aeon Flux are normal people who have normal sex lives and appetites."

"An odd outlook on life is the beginning of good comedic writing."

"We're all broken. We're all messed up pigs. When we can accept that, we're ready to become the new creations God intended us to be. And that's when the fun starts!"

"The messages our kids receive from teachers, coaches--and even, with the best intentions, from us — can push them toward pride or despair...toward self-righteousness or self-hatred."

"The most important thing is not the work I can do for God. The most important thing is to make God the most important thing."

"When we retell a Bible story at Big Idea we will go through the Bible story very carefully. We'll figure out the key plot points, they key themes and we'll set those aside as, you know, sacred, cannot be messed with. And then, we'll mess with everything else. We'll just have lots and lots of goofy fun with everything else to make the story fresh even to grown-ups."

"It is pretty clear in the Bible story that the whale swallowing Jonah wasn't meant as a punishment from God, it was God saving him from drowning. So it was actually provision to give him a second chance. The whale itself was the start of Jonah's second chance."

"The ending of the film seems so bizarre. It is actually probably the most literal retelling of the story of Jonah from the Bible that you've ever bumped into."

"I'll very often just start humming my way through a scene. Say, OK the tempo should be about like this, it should pause here, it should pick up here. And very often I'll make up a little melody just to do that. About half of the little melodies in the score for Jonah are those little melodies that I made up just to use to kind of pace a scene and then we got kind of attached to them."

"This is where we store our bicycles. A lot of people ride their bikes to work here. And, of course, there has to be a robot to protect them and make sure they don't get stolen like R2D2 in episode two where he did a very bad job in protecting Princess Amidala from those worm things. But this robot is significantly more effective as a theft-deterrent system than R2D2 was in that film. That's why the bikes are here."

"As you can see, we're about to visit our lower level which is--for the most part--full of "Mens" and "Infants"."

"That's right! You're watching the DVD! So, the coolness of what the bowing man is doing is self-evident to you!"

"Say you've been to MGM (Metro-Goldwyn-Mayer) Disney Studios in Orlando, you'll know that there's an animation studio where you actually walk out of the back door of the animation studio and you're in a theme park. Now you say, hey, that's pretty cool. Could any animation studio have a sort of situation like that that is any cooler? And you think not. Well, you're wrong, I'd say, because here at Big Idea when we walk out our back door, We have the Timework button, we push the button, we open the door[...] and, we're in a mall. Disney has nothing on this. You can be animating one moment, buying candy by the pound the next, or taking a ride on a little train, or going to the food court."

"And for two years, we had this sign up saying we will finish this movie and we changed it to 'did' finish the movie."

"Thanks for coming! And, I have to make another movie, now."

"VeggieTales is something that, on paper, makes no sense at all. It is a series of children’s videos where limbless, talking vegetables act out Bible stories. Try raising money with that pitch."

"Telling the complete story of VeggieTales would require much more time than we have before us tonight. Since this is Yale, I decided to craft a shorter version of the story, using very large words. Remembering though that I was kicked out of Bible College before I’d had a chance to learn many very large words, I concluded that my only remaining option was to tell the story simply, using simple words, and chance the consequences."

"In truth, I sat down in 1992 to make a kids’ show that I would want to watch with my kids. That would work for me. That would have sincerity in it, but not too much. That would mix what I loved about Monty Python and David Letterman with what I hungered for from Thomas Aquinas and Mother Theresa."

"Fairly early in life, I noticed my brain was weird. By that I mean that I noticed it had a way of looking at normal things from a slightly twisted angle--just twisted enough that it often made me chuckle."

"I never swore as a kid. Honestly. Never. I never smoked a cigarette and I never tasted alcohol until I got to Bible College."

"Why does God want us to let go of our dreams? Because anything you are unwilling to let go of is an idol, and you are in sin."

"I am growing increasingly convinced that if every one of these kids burning with passion to write that hit Christian song or make that hit Christian movie or start that hit Christian ministry to change the world would instead focus their passion on walking with God on a daily basis, the world would change."

"The impact God has planned for us doesn't occur when we're pursuing impact. It occurs when we're pursuing God."

"Have you ever been tempted to start your own business- First read this cautionary tale, especially if you think your ideas come from God."

"I expected Vischer’s story to be interesting, but I wasn’t ready for a thriller. The book begins with Vischer relating his childhood in a light and fun manner, but by the middle of the book when he was pouring out gritty details from his heart, I kept stopping myself from flipping to later chapters to see how exactly this story would end up."

"There's none of this wisecracking and cynicism that you see in … some of the other cartoons. He's supposed to be a role model for kids. He cares about other people."

"The essence of Gumby is that he makes children feel safe. He's their greatest pal."

"Clay is embedded in our subconscious. It has been there for at least 50,000 years."

"I didn’t allow merchandising for seven years after it was on the air because I was very idealistic, and I didn’t want parents to think we were trying to exploit their children."

"It’s so satisfying, and when you see it on screen, you feel like God because you’re bringing life to clay."

"Clokey says he underwent "a marvelous, life-changing experience" by taking LSD in supervised doses in the late 1960s. "It opened my awareness to what life is all about," he says. [...] — There's a master's thesis for someone who wants to hunt for the psychedelic influence in the shows."

"There are two kinds of genius, the imitable and the inimitable. "Gumby" is a work of the second sort, the thing so completely, singularly itself, so far off down its own road, so unpredictable and odd, bizarrely constituted and eccentrically executed that there's nowhere for anyone to take it, no variations to play on the theme. He is original and inarguable, and though he has gone in and out of fashion, been parodied and abused [...] whatever insults have been done him are only further testament to his iconic power."

"A comedian is not a person who opens a funny door — he's the person who opens a door funny."

"As Norman McLaren said, animation is not a bunch of drawings that move — it's a bunch of drawings of movement."

"John Lewell: Can you tell us: what exactly was Jack Warner like, as an employer? Chuck Jones: Well, what he was like was nothing! We had nothing to do with Jack Warner. After fifteen years of direction (and the other person present, Friz Ferleng, had directed longer than that) we were finally invited by him to have lunch in the executive dining room. This was reserved for executives and favorite directors. Jack Warner was there. And Harry Warner was there. Jack didn't say very much to us. He was talking to other people about other things. But Harry Warner said: "The only thing I know about our cartoon department is that we make Mickey Mouse." Well, that was a little startling. It was the early 1950s, for God's sake! And so when we left, I said: "Don't worry, Mr Warner, we'll continue to make good Mickey Mouses!" And he patted me on the back."

"Animation in itself is an art form, and that's the point I think always needs clarification. True animation exists without any background, or any color, or any sound, or anything else; it exists in your hand. And you can take it and flip it. [...] What makes animation is the fact that you have a series of drawings that move. You don't even have to have a camera, you see; animation exists without it. If you want to broaden your audience, or make it more colorful or add music, then you put it under a camera one frame at a time, and then you run it at the same speed as you flip it, and then you have animation. If it depends basically upon soundtrack, or basically upon music, or color, graphic design, or anything else to sustain itself, then it is not unique to animation."

"The best way, of course, to understand the animator is to see that he parallels the actor. He has the same responsibility a fine actor has. [...] Even the people who write about animation just don't seem to understand that when you have a drawing, you don't have a character. [...] "This is the first Bugs Bunny" has no meaning. It's how Bugs came to stand and move and act, and what his feelings were, and his thoughts, and what kind of personality he was. That developed over a period of time. And you need fine animators to do that."

"Everything on Saturday morning [cartoons] moves alike—that's one of the reasons it's not animation. The drawings are different, but everybody acts the same way, their feet move the same way, and everybody runs the same way. It doesn't matter whether it's an alligator or a man or a baby or anything, they all move the same."

"[W]hen the coyote falls, he gets up and brushes himself off; it's preservation of dignity. He's humiliated, and it worries him when he ends up looking like an accordion. A coyote isn't much, but it's better than being an accordion."

"Humiliation and indifference, these are conditions every one of us finds unbearable–this is why the Coyote when falling is more concerned with the audience's opinion of him than he is with the inevitable result of too much gravity."

"A lion's work hours are only when he's hungry; once he's satisfied, the predator and prey live peacefully together."

"The two most important people in animation are Winsor McCay and Walt Disney, and I'm not sure which should go first."

"I don’t mind people admiring me if they want to but I don’t think it’s very logical. It’s not like I was St. George knocking off some dumb dragon or anything like that. First of all, you’re talking about something I did a long, long time ago. Secondly, we were doing things that were not expected to last a lifetime. We figured they’d last about three years and then disappear forever. Remember there was no television back then and no place for the cartoons to go after they left the theaters.But I’m not trying to demean what we did. I always took the work very seriously and I’m proud to have been associated with the work we did. It’s just that adulation is impractical and makes me uncomfortable. Nobody noticed us back then. Nobody called us geniuses. And we didn’t feel like artists. We were just trying to make people laugh."

"The main thing missing from cartoons is today that old cartoons were cartoony. They did things you can't do in any other medium. Today's cartoons are very conservative and are more like live action. The characters look the same in every frame of the dang cartoon. The old cartoons squashed, stretched, and did crazy expressions. They were imaginative and crazy. A lot of cartoons aren't imaginative, they just say things. It might as well be radio. There is no point in having anything to look at in modern cartoons. But you can't say that about every cartoon. Genndy Tartakovsky's cartoons are beautiful. The closest thing now to what I'm saying is SpongeBob but even that doesn't go very far. It's like a conservative version of Ren & Stimpy."

"Illustration from the late 1900s up through the middle of the 20th century was absolutely amazing. In general, American culture was at its highest skill-wise in every aspect of human life in the 1940s. It's all been downhill since then. You just open an old 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."

"Forget the takes. Takes are cheap shots. Anyone can do a goddamn take. [...] You don't have to be a genius to draw a take. It's emotions—the full range of emotions—that works in Clampett's cartoons."

"Not all cartoon humor is just about having bugged-out eyes and tongues flying out of people's heads."

"Let me make this clear: Ren & Stimpy really is a children's show. It was made for kids. I'm not putting anything in there that I don't think a kid can watch, or should watch. It's completely a kid's show."

"Stay away from the church. In the battle over science vs. religion, science offers credible evidence for all the serious claims it makes. The church says, “Oh, it’s right here in this book, see? The one written by people who thought the sun was magic?” I for one would like to see some proof that there is a God. And if you say, “a baby’s smile,” I’m going to kick you right in the stomach."

"Why is it that Johnny Spaghetti Stain in Georgia can knock a woman up, legally be married to her, and then beat the day lights out of her, but these two intelligent, sophisticated writers who have been together for 20 years can’t get married? It’s infuriating and idiotic. I’m incredibly passionate about my support for the gay community and what they’re dealing with at this current point in time. I have arguments with people where I get red in the face, screaming at the top of my lungs."

"They’re literally terrible human beings. I’ve read their newsletter, I’ve visited their website, and they’re just rotten to the core. For an organization that prides itself on Christian values — I mean, I’m an atheist, so what do I know? — they spend their entire day hating people."

"The work of Carl Sagan has been a profound influence in my life, and the life of every individual who recognizes the importance of humanity's ongoing commitment to the exploration of our universe."

"My thought is always, ‘It’s only downhill from here’. That’s how I’ve always operated, ever since I began Family Guy. I had the crippling fear that I used up all the funny last week. That crippling insecurity really drives you to do your best. Your moments of pure joy are few and far between, but they do exist."

"For an artist there is no more serious and, at the same time, more joyous task than to create, through art, a new aesthetic, and ultimately, a new way of being."

"I'm on a journey to discover the beauty of the fairy tale and I want to stay on that path, trying to find better ways to capture it on film. And I have only one wish — to delight the eyes and heart of every child."

"I wanted one thing – to show the fantastic world created by nature over millions of years. Film offered me that chance."

"Man has created a grandiose world of technology, of which dread and fear are often the result... Fortunately, events in the world and our way of life are not determined by technology alone."

"With the vast sweep of his imagination Jules Verne created a whole world of magical things imbued with a delightful naiveté, which just charm us..."

"Why do I make movies? I'm looking for terra incognita, a land on which no filmmaker has yet set foot, a planet where no director has planted his flag of conquest, a world that exists only in fairy tales."

"On ‘Shrek’ we didn't try to figure out how to make adolescents laugh. You have to use yourself as the best judge and use your own instincts. We figured if we laughed at it, chances are good someone else would too."

"I came into DreamWorks looking to direct. I was hoping to go through story as a way toward directing, because that’s how it worked at Disney, story people became heads of story, and heads of story became directors. And they said, ‘Right now we don’t have a lot of story, but we have visual development,’ and I said, ‘Good, I paint!’"

"For a long time, the movie [Shrek] didn’t know what it wanted to be. One problem was unavoidable: Chris Farley had died, and the story had been geared around him, so when he went, the story kind of went with him. It went through an upheaval while they tried to find the right tone for it. I think they were really close to shelving the project when a few of us came into story to try and find a tone that we could work with. When Kelly Asbury moved on to Spirit: Stallion of the Cimarron I became head of story, along with Randy Cartwright. Along with Andrew Adamson, who stayed on as director, we started pulling little pieces together out of what remained, and part of the way through, Jeffrey [Katzenberg] decided that I should be directing. A few months later, we started production."

"Here we are, sitting in tuxedos and evening gowns, wearing borrowed jewels, and everyone's watching Shrek take a poot in the water."

"We don't deliberately desire to scare anybody - we design our creatures to fit in harmony with the story and, of course, our forte is the grotesque. That's why our films were classified so many times as horror films, which they weren't. I would call a war film a horror film because in those you see guts split and people being slaughtered, but our films deal with fantasy and are more theatrical than realistic."

"[The skeleton] in Seventh Voyage of Sinbad was more frightening than the seven in Jason and the Argonauts. [...] Because we had seven skeletons I thought we were going to get seven "X" certificates but we got a "U" instantly. But one skeleton on its own is possibly more frightening than seven, and also in Seventh Voyage the skeleton was in a dark, spooky chamber, while in Jason the seven were out in the open on a sunny hilltop."

"I suppose we would be monsters to a Venusian. [...] We depicted the outer space creature as something strange rather than as a monster. He was from a strange place and therefore out of place in our familiar surroundings."

"I teethed on Frankenstein and Dracula but I feel that those films were made with greater taste than horror films are made today. They dwell too much on the gorier aspects of their subjects for some reason. I suppose it's because people are more jaded now."

"I enjoyed Young Frankenstein. I didn't think I would because I like my Frankensteins pure and clean like the original but I was very amused by Young Frankenstein - I thought it was very well-done. On the whole I dislike tongue-in-cheek sendups. But I'm sure I wouldn't enjoy Flesh for Frankenstein. From what I've heard about it the film approaches the subject from the gorier side and neglects the profundity of the original."

"We don't set out to deliberately scare with our creatures, we try to make them as awe-inspiring as possible."

"The art of motion has always intrigued me. How a body - when it throws its weight from side to side and sits down - actually sits down. What muscles interact to bring that simple movement to its conclusion. Movement is a fascinating process and each creature I have made and animated has had its own character according to its physiognomy."

"I am often asked if I would have liked to have been involved with Jurassic Park. The plain answer is no. Although excellent, it is not with all its dollars what I would have wished to do with my career. I was always a loner and worked best that way. Since the very beginning I fought and struggled under constant pressure to keep the design and final result within my hands. As time moved on this became more difficult, until I was forced to bow to the fact that my method of working, in the financial sense, was no longer practical. Model animation has been relegated to a reflection, or a starting point for creature computer effects that has reached a high few could have anticipated. However, for all the wonderful achievements of the computer, the process creates creatures that are too realistic and for me that makes them unreal because they have lost one vital element - a dream quality. Fantasy, for me, is realizing strange beings that are so removed from the 21st century. These beings would include not only dinosaurs, because no matter what the scientists say, we still don't know how dinosaurs looked or moved, but also creatures of the mind. Fantastical creatures where the unreal quality becomes even more vital. Stop-motion supplies the perfect breath of life for them, offering a look of pure fantasy because their movements are beyond anything we know."

"I remember once, in my garage studio whilst I was animating a dinosaur, that things were not going right. Gradually they got worse and worse, as they do in situations where you don't keep your temper, and in a fit of accumulated rage I threw a hammer at the floor. Unfortunately, it bounced and went through a huge plate glass painting I had been preparing to use in a miniature set and which I had spent weeks carefully painting. I almost cried with frustration, and there and then decided that if I wanted to make this my career, I would have to control my temper. I am not saying that I didn't lose my temper after that incident - I did - but I always tried to remember that plate glass painting. It was a timely and necessary lesson."

"For some reason the creation was called a rhedosaurus, and although I can't remember where this name came from, I suspect Hal Chester or one of the writers coined it. Over the years, people have suggested that the first two letters relate to the initials of a certain animator. I have no comment."

"The task of instilling pathos into a creature that was, after all, an innocent victim of circumstances was something I had set myself from the outset, although I was restrained by the script... The Beast is a poor lost soul brought back to life by man and then destroyed by man. If it sounds familiar, it is. King Kong was a huge influence, as he would be in all the other creatures I would be father to."

"The Ymir and Kong before him are both creatures wrenched from their natural environment against their will and finally killed by man. Although these creatures must always die, they should go out with a touch of pathos."

"Greek and Roman mythology had never been a favourite subject of mine at school, but as I grew older I began to appreciate the legends and realize that they contained a vivid world of adventure with wonderful heroes, villains and, most importantly, lots of fantastic creatures."

"It seems ironic that for most of my career I have been trying to perfect smooth and life-like animation action, but for Talos (which was the longest animation section of the film), it was necessary to create a deliberately stiff and mechanical movement in keeping with a bronze statue that had sprung to life."

"The most popular exhibits in any natural history museum are, without doubt, the dinosaurs. These creatures' popularity grows each year, partly because of the recent resurgence of dinosaur movies, but also because a skeleton of a full-sized tyrannosaurus rex still has the ability, even 65 million years after its death, to chill us to the bone."

"Although Gwangi had been an allosaurus in Obie's version, I decided to make him more of a tyrannosaurus, and so I used elements from both species to make what I suppose could be called a 'tyrannosaurus al'. This combination allowed me a flexibility between aggressiveness and agility. If you like, he was glamourized."

"When it came to the tiger, I found that animating the movements of a large feline animal posed some difficulties, as it required precise and miniscule advancements in movement throughout its body. As well as tigers, I also studied domestic cats, and by so doing managed to achieve a combination of mannerisms represented by both. The overall impression is of latent ferocity and a lust for blood, but at the same time there are also slow, graceful movements that mask the creature's power."

"Clash was destined to be my last hero picture, and looking back, the decision to end my career at that point was absolutely right. With all the problems involved in production, and the knowledge that I was losing precious control of solo animation, I was forced to concede that it was time to stand aside for others and their new technology to take over."

"Success comes on God’s terms, in His time, and in His way. God only allowed me to have success after I’d been broken after I’d stopped seeking success for myself, and after I’d come to terms with the idea that my labors for God might not ever bring me a penny. It was only after I’d lost everything that God was able to get my heart right to the point where He could trust me with success."

"Make sure that you are next year's big success story. Don't fall into the pit of people who have given up on making something of themselves, and make sure you take everything out of yourself. I'm getting too old for this. And when I retire someday, I'm going to want to sit down at a computer and play your games, read your stories, and watch your videos. Don't fall in with the people who have already given up on themselves. You are tomorrow's next big thing."

"I’d made a family-friendly game about a beaver before this, when I went to put it online it got torn apart by a few prominent reviewers. People said that the main character looked like a scary animatronic animal. I was heartbroken and was ready to give up on game-making. Then one night something just snapped in me, and I thought to myself- I bet I can make something a lot scarier than that."

"I helped Stephen with the story and then I auditioned for SpongeBob, I used my Plankton voice, which sounds like a mix of Tony the Tiger and Gregory Peck. It’s actually an imitation of a friend from high school that had a really deep voice."

"The Plankton character was only supposed to be in one or two episodes, but I was a writer on the show and I really liked this character. Stephen told me to come up with more ideas for Plankton. I’m not just his voice. I get to create how the character is written and how he evolves over time. You very rarely get that experience."

"It’s a quality show and I think it came along at the right time, America wanted something stupid after the insanity of 9/11. The SpongeBob character is a naïve idiot but he also has a heart. He’s a dumb, well-meaning person, like Forrest Gump or Jerry Lewis."

"I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one, I thought he was a funny, nerdy, squeaky-clean square."

"It finally dawned on me that if I was going to do my own show, all those things I lectured about and obsessed about would make for an interesting world."

"I think we all thought the show would be good, but I didn't ever assume it would catch on in a mass audience sort of way, that's unexpected, and we're flattered and relieved. Our characters act silly, even totally ridiculous at times, and most of our jokes don't come out of pop cultural references, he added. It seems like we're aiming at a child audience, but everyone can laugh at the basic human traits that are funny. It's playful, the humor is playful, the world is playful. You can kind of let go."

"People have to come together and realize how important our oceans are. One thing I’m hoping will come out of the documentary is the realization that the show came from something that’s precious, and that we need to appreciate it. … Hopefully, if you watch ‘SpongeBob,’ you see the plankton and the crabs and starfish, and you’ll want to take care of our oceans."

"A lifetime career goal for me has always been wanting to lift up little girls. I feel like society has contempt for girls and little girl things. When athletes are performing badly their coaches call them ladies, or when somebody is being weak they say they're crying like a little girl, that's contempt. When somebody's trying to describe something as stupid or lame they say it's for little girls or only a little girl would like that, or when something is pink or full of rainbows and hearts people jump to the immediate conclusion that it's dumb, and if adult men are liking that sort of thing there's something wrong with them, because there's something contemptuous and unworthy about girl things and being a girl. .. We live in a society where saying that something is for girls is the equivalent to saying that something is stupid, or saying that something isn't worthwhile. I think that's awful and I think that kind of attitude needs to be changed."

"For reals one S1 character is trans."

"Primarily we write the show to entertain ourselves. Sometimes I recognize a joke that reminds me of something that I would've busted up at as a kid. I'm happy when I see those kinds of jokes. Because the show is for kids more than anyone else, but most of the time we are just trying to crack ourselves up and trying not to worry about much other than that."

"If you're an aspiring show maker, and you have the means to sit around for a few months, you should be making funny cartoons and uploading them to the internet. I feel like I've discovered this secret about the entertainment industry it's that they're desperate. They're super, super desperate for new talent and constantly developing and canceling things all the time. It's the nature of the business, so if you're one of those people who can make a cartoon so funny that it gets a ton of hits on the internet then the industry is going to be all over your business."

"Dark comedies are my favorite, because I love that feeling – being happy and scared at the same time. It's my favorite way to feel – when I'm on the edge of my seat but I'm happy, that sense of conflicting emotions. And there's a lot of that in the show, I think."

"Any new property is always risky. And my show really didn’t have a strong hook to it. I couldn’t come up with a tag line for it. I just liked that it was friendly and nice, just two friends that hang out in a weird world. I think that’s what was risky. It was boring and you couldn’t see where it would go. I mean, I could. But I don’t think anyone else could see where it could go, in the beginning."

"I had a lot of growing pains adjusting to the comic book writing format. The whole writing process just didn’t make sense to me. I had to somehow construct each panel just by describing it? But how many panels to a page? How much dialogue should be in each panel? How much time should pass between each panel? All these sorts of things were mind-boggling to me. By the end of writing the script, I sort of figured out some of my mistakes."

"I think whenever you write something you want people to like it. The best way to do that, usually, is to write what you think is good. That’s basically what everyone tries to do… just to write what they think is good. Part of that is staying true to the characters and the world (which makes it a kids show by it’s design)... and part of that is introducing deeper concepts that we, as writers, are curious about exploring (which makes it more interesting for adults)."

"My first exposure to Batman as a character was Batman the TV series. But honestly, I didn’t know it was supposed to be a parody or campy. I thought it was the coolest thing I’d ever seen. Of course, I was 5 at the time. But all in one fell swoop, I became an instant super hero fan. Later on, as I got older and started reading more comics and getting into the super hero scene, I realized that the Batman show was kind of a comedy. I was reading Neal Adams comics and thinking, "Batman is kind of cooler than that show, he’s kind of scary and mysterious." So my perception of Batman changed over time, and then I went through the periods with Frank Miller and the Tim Burton movies. So now I’ve got these warring Batmans in my head. I still love the Adam West/Batman show. I still love the Neal Adams take on Batman comics. I still love The Dark Knight. All of these things totally contradict each other, and yet it’s fine to me. I’ve said it over and over again, Batman as a character is such a strong concept, he’s the kind of character that you can take him in any number of ways and it still feels right."

"I wish I had the answer to that, because if I knew how to create an instantly popular character like that, I would do more of them. It’s weird to me because, on one hand, she’s appealing, but you look at her and she’s not exactly a good role model for girls. And in the past, we have definitely explored some of the darker edges of her story. She was kind of in an on-going abusive relationship with the Joker. So it is weird but maybe a lot of her appeal, at least recently, is because they have separated her from the Joker in comics. She’s become her own standalone character and definitely not in an abusive relationship with the Joker anymore. I guess that is somewhat empowering and people can relate to it. But truthfully, she was a really, really popular character even before all this. I think part of it is probably, to pat my own back, design. She was a really simple basic character in red and black, cute face, cute figure, one and done. So that definitely has to be a part of it."

"I love all the series I’ve done pretty much equally.I haven’t done a single series that I have been embarrassed by. Some of the movies are better than others."

"But... you can’t be Miyazaki, you can only be the second Miyazaki, and that isn’t something to aim for."

"Your Names success told me movies still have the power to connect with society. As a medium, it still has a power that resonates."

"I think animation can tell more than live action."

"If I had been born 10 years earlier, I don’t think I would be an animator."

"I think that science fiction can, by creating extreme situations and settings, draw out the essence of human relationships."

"You don’t want to be imitating his [Miyazaki] style. You’ve got to create something different, something that he hasn’t done."

"But I do want to trigger emotions like his [Miyazaki] movies triggered our emotions."

"I consider my anime as if they were children who, once grown up, are free to take their own path and personally I do not want to intrude in their lives. No father should snoop in the affairs of their children."

"It is a part of puberty that we just want to go somewhere far away. We only have a vague image, like behind that mountain or a place more beautiful..."

"But the thing about getting rejected is that you reflect and think and analyze about why you got turned down. You learn a lot more from stories about getting rejected than stories about becoming happy."

"I think most directors and people who make anime would agree that their latest film is probably the one they feel the most confident in, that they have done their best and put everything into."

"It’s the situations that these distant relationships create that interest me more than the distance itself."

"how do i get cowboy paint off a dog ."

"im little jesica. im dying because of obamas help care bill. im on my death bed and the doctor is ignoring me because my dady works hard"

"Welcome to the citadel of eternal wisdom. Behold, this crystal contains the sum of all human knowledge -- Except Rap And Country"

"icant come to work today.. on account of JERRY DUTY *SHoves every seinfeld disk into dvd player at once*"

"'im not owned! im not owned!!', i continue to insist as i slowly shrink and transform into a corn cob"

"fuck "jokes". everything i tweet is real. raw insight without the horse shit. no, i will NOT follow trolls. twitter dot com. i live for this"

""Is Wario A Libertarian" - the greatest thread in the history of forums, locked by a moderator after 12,239 pages of heated debate,"

"see this watch? i got it by Crying. my car? crying. my beautiful wife? Crying. My perfect teeth? Crying. now get the fuck out of my office"

"another day volunteering at the betsy ross museum. everyone keeps asking me if they can fuck the flag. buddy, they wont even let me fuck it"

"how come a baby born with a foot in its brain is considered a "Miracle Baby" but when I get my dick stuck in a drawer im just some asshole"

""jail isnt real," i assure myself as i close my eyes and ram the hallmark gift shop with my shitty bronco"

"THE COP GROWLS "TAKE OFF TH OSE JEANS, CITIZEN." I COMPLY, REVEALING THE FULL LENGTH DENIM TATTOOS ON BOTH LEGS. THE COP SCREAMS; DEFEATED"

"the doctor reveals my blood pressure is 420 over 69. i hoot & holler outta the building while a bunch of losers try to tell me that im dying"

"strongest blade in the world, however, it is so fragile as to shatter when handled by any force other than the delicate touch of a lesbian ."

"IF THE ZOO BANS ME FOR HOLLERING AT THE ANIMALS I WILL FACE GOD AND WALK BACKWARDS INTO HELL"

"who the fuck is scraeming 'LOG OFF' at my house. show yourself, coward. i will never log off"

"oh nothin, i was just buying some ear medication for my sick uncle... *LOWERS SHADES TO LOOK YOU DEAD IN THE EYE* who's a Model by the way,"

""This Whole Thing Smacks Of Gender," i holler as i overturn my uncle's barbeque grill and turn the 4th of July into the 4th of Shit"

"my disrespectful teen son somehow got hold of a gluten product and now he wants to become a cat girl"

"here's a list of touhou girls i want to have as a Mom someday & here is a copy of that list in case you accidentally throw it in the gabarge"

"Food $200 Data $150 Rent $800 Candles $3,600 Utility $150 someone who is good at the economy please help me budget this. my family is dying"

"if your grave doesnt say "rest in peace" on it you are automatically drafted into the skeleton war"

"big bird was obviously just a man in a suit. but the other ones were too small to contain men. so what the fuck"

"its the weekend baby. youknow what that means. its time to drink precisely one beer and call 911"

"it is with a heavy heart that i must announce that the celebs are at it again"

"the wise man bowed his head solemnly and spoke: "theres actually zero difference between good & bad things. you imbecile. you fucking moron""

"blocked. blocked. blocked. youre all blocked. none of you are free of sin"

"awfully bold of you to fly the Good Year blimp on a year that has been extremely bad thus far"

"[man leans into doorway of WTC bathroom] "Hey, you gotta finish up in there. 9/11 is happening." "Alright. Just a sec.""

"drunk driving may kill a lot of people, but it also helps a lot of people get to work on time, so, it;s impossible to say if its bad or not,"

"THERAPIST: your problem is, that youre perfect, and everyone is jealous of your good posts, and that makes you rightfully upset. ME: I agree"

"joke's on you; i actually love being body slammed by one dozen perfect wrestlers. and my mouth isn't filled with bloodm, it's victory wine"

"the numa numa man just bougt a $70million house and im here at the library trying to photocopy a fruit roll up"

"koko the talking ape.. has been living high on the hog, wasting our tax dollars on high capacity diapers. No more. i will suplex that beast,"

"and another thing: im not mad. please dont put in the newspaper that i got mad."

"do not be afraid to talk to that lonely boy on the train ... with the rosy red cheeks, sun glasses & big cigar... he just mmight be... angel"

"ah, So u persecute just because he has different beliefs? Do Tell. (girls get mad at me) Sorry. Im sorry. Im trying to remove it"

"the jduge orders me to take off my anonymous v mask & im wearing the joker makeup underneath it. everyone in the courtroom groans at my shit"

"its fucked up how there are like 1000 christmas songs but only 1 song aboutr the boys being back in town"

"Politic's is back baby. It's good again. Awoouu (wolf Howl)"

"donlad trump reportedly says that normal type pokemon are a waste of time. they're just dirty birds & rats who have no right being a pokemon"

"DOCTOR: you cant keep doing this to yourself. being The Last True Good Boy online will destroy you. you must stop posting with honor ME: No,"

"so long suckers! i rev up my motorcylce and create a huge cloud of smoke. when the cloud dissipates im lying completely dead on the pavement"

"user named " beavis_sinatra " has been terrorizing me since 2004, by sending me pictures of cups that are too close to the edge of the table"

"ME: there is a new type of beer called "Wine" shirtless guy witht 104 followers: Shut the fuck up ME: Yes sir"

"girls always love to telling people not to" Mansplain" but they do not care of, "Man's Pain""

"1st grade: Mastered. 2nd Grade: MAstered. 3rd Grade: Mastered. 4th Grade: Heres when they start trying to trick you 5th Grade:This ones hard"

"using the toilet when i hear Our national anthem start to play. i do what i must. i stand tall in complete agony; as shit runs down my leg,"

"im afraid you do not grasp the enormity of who it is you are dealing with. (removes diaper,. revealing two sub-diapers ) Shall we continue.."

"if you ask me this election could end about 100 different ways: 1) trump gets 0% of the vote 2) trump gets 1% of the vote 3) trump gets 2% o"

"i refuse to consume any product that has been created by, or is claimed to have been created by, the (((Keebler Elves)))"

"trying to heal..... please donate to my go fund me... $10 will make me less racist... $100 will make me extremely less racist...thank you..."

"the human mind... perhaps the most powerful weapon. second only to the "GUN""

"issuing correction on a previous post of mine, regarding the terror group ISIL. you do not, under any circumstances, "gotta hand it to them""

"look, im not saying that martin luther king jr was a gamer. that would be ludicrous. im simply saying that if games had existed at the time,"

"reading a 900 page book on Dry Rubs and immediately forgetting all of it and just dumping a shit load of cocoa pebbles on my ribs"

"i lvoe and cherish all of the girls of this site, and other websites. you all become my wife more and more with each passing day. Thank you"

"people come up to me and say, "I will never use the bathroom. I will never shit" and i gotta tell them pal, sooner or later youre gonna shit"

"turning a big dial taht says "Racism" on it and constantly looking back at the audience for approval like a contestant on the price is right"

"revealing the gender of my baby by eating a whole bunch of food dye and taking a huge pink shit in front of my relatives. ah!! its a girl !!"

"DUMBASS: SHut the fuck up THE WISE MAN: No you shut the fuck up"

"im stupider then dog shit, i dont give a shit, and i dont give a fuck, and i will never shut the fuck up, and i'll always Respect my enemys."

"my favorite feature of this site is absolutely no consequences for my opinions sucking ffucking ass and me being 100% wrong about everything"

"i often disagree with DigimonOtis, but his efforts to keep Sharia Law out of the donkey kong 64 wiki are much needed in this wolrd of danger"

"im afraid i must say that i do not find the mysteries featured on "scooby-doo" challenging enough ."

"getting pissed off at the idea of someone going on to wiki pedia and changing the name of the japanese suicide forest to "Warios Woods""

"i hate i t when girls think im proposing whenever i take the knee at them in protest"

"VERIFY!! VERIFIY THIS ACCOUNT! THE TROLLS ARE BREAKING IN THROUGH THE WINDOWS!! I NEED THE CHECK MARK !! NOW!! NOW!! NOW!!"

"my friend the only crypto currency you wanna get your hands on is this: bird seed. There is a lot of birds and they all gotta eat"

"love when i lose aobut 100 followers immediately after making a beautiful post. the weak shriveling up into dust. Thats called darwin"

"i regret to inform you, that by resorting to Swear language, you have forfeit this debate. Farewell my bitch"

"i just need to say, to anyone reading this.. You are Important, You are loved, and You belong in this world, if you have over 5000 followers"

"go ahead. keep screaming "Shut The Fuck Up " at me. it only makes my opinions Worse"

"the worst part of nationalism is having to pretend the flag is really good, like "yeah the country looks exactly like that. they nailed it""

"i would take so many bribes if i was a judge. half my shit would be bribes. take bribes from the criminals until theyre too poor to do crime"

"a man asks God, how am i supposed to live, without George H.W. Bush God simply said "That is why I made 2 george bushs" The man just smiled."

"im not going to post about taking shits or shitting anymore . i Condemn all of my previous posts about shitting and asses"

"shitting on a Towel"

""The Godfather: Part Iraq" (2004) In this 4th installment of the Godfather series, the godfathers head to iraq to settle the score, of 9/11."

"just found out about Object Permanence... why didnt any one tell me about this shit"

"Im the only man here who injects himself with a CIA Grade Truth Serum before each and every post i make. Remember only that"

"i think it would be fucking stupid to be a fat ass caterpillar and have your entire body be made out of weak points"

"who cares. pick up a foot ball"

"the entire time youre watching the movie 101 Dalmatians, youre just thinking, This is so many more dalmations than usual. It is just fucked"

"theres a popular nursery rhyme in which the singer claims to be a teapot. this, for many children, is their first experience with "Trolling""

"playing the worlds most normal sized violin"

"Buffalo wild wing gets $0 tip for serving "Bones" to me in chicken, if i had wanted to eat bones i would take my Ass to the grave yard"

"the coolest thing the police ever did was invent their own flag thats just a desecrated version of the american flag"

"they are going to start calling the damn gas prices "Gasp prices" because thats what i do when i see then"

"i deserve th e most mentally ill president imaginable. 99 year old babbling doofus. Send us into the volcano sir"

"ive flattened the curve over 100 times. what have you pricks been doing"

"every generation deserves at least 5 movies named "Spider Man 2""

"guys who get off on being humiliated used to expose themselves at the grocery store or something. now they pretend to be journalists on here"

"if you ask me many of Americans have been wearing the mask even before from covid 19. the mask i refer to is of course the clown's mask."

"one thing the gamer world is certainly agreeing of, is that halo infinite is sure to be the highest numbered halo game yet"

"epic ; supreme court rules nabisco is legally allowed to label their products as "Homemade" after forcing the employees to live at the factory"

"i would rather go fuck my self than read one more post on the bird websitw"

"thinking about a "Cock Ring" for the neck that strangles all the blood into your brain and gives you what is essentially a mental erection"

"(hearing about a guy who died) wow thats like 0.0003 9/11s"

"should i learn Letters first? or choose the path of Numbers? a queston every baby must ask it self"

"everyone less mentally ill than me is Privileged, everyone more mentally ill than me is Toxic, everyone equally mentally ill to me is Cool"

"how about instead of drop the ball on new years we drop the damn gas prices for onve"

"for like 8 months i thought covid was one of those joke diseases where you ask "what's covid" and the other guy tells tou to suck his nuts"

"society is so much fucking Bitched ....."

"no heaven or hell when you die, everyone is just herded into a room with a big scoreboard saying which person blasted the most Cum"

"ive generated over 100,000 wordles in my head and completed them easily. what more can i say of it"

"marijuana did columbine"

"my biggest fear is that theres an earth quake while im jacking off and little pieces of cum start flyiyng into my mouth and all over my dog"

"you call this shit rotisserie chicken? I bet this shit hasnt even rotated 1 time in its entire life."

"(suddenly becoming very somber) no Woman should have to pay over $10 for a Brassiere."

"I am Donald "Penis" Trump, known & hated for my Inflammatory rhetoric, as well as my old mafia-style Racism. Looking forward to posting here"

"just clicking my mouse a bit. having a look at my files"

"i really dont care what Yankee Doodle did when he went to town. His toxic fanbase tells me everything I need to know about him ."

"Bad news folks! i waited in line for 16 hours to see the queen. But by the time i got there she was fuckin DEAD!!!!!!"

"now that elon has disposed of the left wing woke brigade I can finally post pictures of my COCK!!!"

"ripleys suck my dick or not"

"you just paid $8 to eat my ass stupid #BlockTheBlue"

"Having a bad one; First my Lockheed Martin investment tanks after the ceo posts his penis. Now Cold stone Creamery just called me the N-Word"

"HELP ELON!!ELON!! HELP! HELP! POST "DOG COIN""

"CHIEF: dracula is in our sights. Take the shot! SNIPER: I can't, Sir. I'm Woke! ME (watching through binoculars): He's woke! He wont do it!"

"if you drop a chicken cutlet on the floor it absorbs all kinds of dirt & particles that make it undesirable. Thats sort of how AI works"

"many claim to have seen me walking around the Las Vegas strip with a Device attached to my penis. This is untrue #NoDevice"

"is it true that if 3 adult men are jacking off in a bunk bed their hand movements will eventually Synchronize ?"

"" You know Gru been Fucking those minions " No , i don't know that. But thanks for showing your ignorance."

"born to be bull shit"

"the last time i stopped jacking off for 1 week I went insane and wrote the movie The God Father"

"my thoughts on the post "Georg Jetson Sucked Me" . First off you spelled his name wrong. Second off youre an idiot even thinking that"

"Twitter, as I understand it, is a sort of "Hell" that I was banished to upon death in my previous life. In this abstract realm, the only thing I am certain of is that my cries are awarded "Favs" or "RTs" when they are particularly miserable or profane. These ethereal merits do nothing to ease my suffering, but I have deliriously convinced myself that gathering enough of them will impress my unseen superiors and grant me a promotion to a higher plane of existence. This is my sole motivation."

"it is absolutely a full time job, dealing with this Shit. i'm talking True full time, 24 hours. Listening to the perverts scream at me in the instant dm box while I'm trying to cobble together a coherent post. Standing on thje median strip at a busy intersection, next to the guy with a 20% off mattress sign, failing to shill copies of my Horrible book. Waking up screaming from Night terrors involving complete strangers accusing me of "Selling OUt." There is no clocking out. The clock is a part of me, it's always inside of me, and I'm fucked."

"My posts are the bible. My brain is the bible. The books I'm releasing are bibles. It's all bible, baby"

"You may have heard of a character from the batman movies, called the Joker. The joker just lives a normal life like you or me, going to the grocery store, and the office or what have you. But WHen the joker puts his mask on, he becomes the joker, and he mercilessly goes out there and gets Paid. Thats what I try to do in my life and the way I live life, and I do do it every day, and it is the essence of understanding my pain."

"I think the important thing is maybe allow the fans to see what they want to see. We don't want to put anyone into a corner where it's like—So other people feel like they're not represented."

"It was exciting. The idea of having this character, who had been so much to so many people. And none of that was based on his sexual orientation, And just to reveal that he is a gay man, and that in no way changes his relationships with any of these people, anything that he’s done. Sometimes it’s amazing to have the stories where the character is finding themselves, but then it’s also incredibly important to have the stories where this character is fully formed, and he’s a gay man, and he’s doing amazing things. And he’s flawed, and he has his own problems. That was why I loved the idea of having Shiro be our representation."

"It was something that came up right from the get-go, but as you know, from the beginning we kind of thought we were going to kill Shiro at one point. And so we’re like, ‘Y’know what? We don’t really want to kill off our gay representation. Maybe we’ll find it somewhere else.’ But then we found out pretty soon after that, Shiro wasn’t allowed to die. Well, all right, we go back to plan one and yeah, it just took us a little while to get to the point in the story where we were able to reveal it. But he was kind of always in the works to be our [gay] representation. It’s a very normal part of his life and it’s just a very normal part of our story. It wasn’t supposed to be, like, scandalous or surprising or-- It’s just daily life. And I think we kind of try to envision a world where all of those things are just normal and accepted and people don’t freak out about them. It doesn’t change who he is at all."

"He is Shiro’s significant other, They weren’t married yet, but that’s the road they were going down Him being gay was just something that we had always wanted to do with him from early on."

"Anna and Elsa's parents didn't die. Yes, there was a shipwreck, but they were at sea a little bit longer than we think they were because the mother was pregnant, and she gave birth on the boat, to a little boy. They get shipwrecked, and somehow they really washed way far away from the Scandinavian waters, and they end up in the jungle. They end up building a tree house and a leopard kills them, so their baby boy is raised by gorillas."

"A wedding. According to Chris, they didn't die on the boat. They got washed up on a shore in a jungle island. The queen gave birth to a baby boy. They build a treehouse. They get eaten by a leopard..."

"A wedding. According to Chris, they didn't die on the boat. They got washed up on a shore in a jungle island. The queen gave birth to a baby boy. They build a treehouse. They get eaten by a leopard..."

"10 February 2014 in response to "Where were the King and Queen planning to go when they lost their lives out at sea?" speaking of Chris Buck"

"Because Launchpad appeared in 'DuckTales' and we used Roboduck as the Superman character, the hero who gets all the glory as opposed to Darkwing, fans try to connect the two realities, They are two different universes in my book. We work in the alternate Duckiverse."

"I don’t have a job - I have a career. This may sound like semantics, (maybe it is) but to me a job is something you depend on from an employer. It’s theirs to give and theirs to take away... A career is something i have to be responsible for based on my reputation, my ability, and my preferences."

"When business executives are making the artistic decisions and don't understand animation, things can go awry. Now they call in all of the authority figures they can find and hire them – the cost has gone up. The picture may or may not get better, but definitely, it gets more cumbersome. It's like trying to turn around an army of tanks, instead of being able to move lightly on your feet or being able to listen to what's going on inside of you – because that's what's telling you what to do. It gets bogged down."

"I think the destiny of all men is to be kings, the destiny of all women is to be queens. In some fashion or another, that's the destiny that we call it family but it's supposed to be that."

"My whole goal, besides trying to get more production value back into animation, was really to provide an environment like there was at Disney at one time, where you felt secure as an artist, filmmaker, contributor, animator. You could plan your life, have a place to raise your family, have a home and not worry about living like a gypsy. Personally, I can say I've been in the business for 28 years and have never been unemployed...though sometimes not paid. We've done our best to try to take care of our people. We've done our best to try to make good stories. How many people have gone out and hired sometimes over 500 people and come up with over $450,000 a week in salaries and still tried to create a quality product? It's not an easy thing to do...but it gives a great feeling of accomplishment."

"God just put a love for it inside of me, I love telling stories, drawing and painting. Animation is a fairly solitary art form. But what happens when you sit in a theater with an audience and you hear their audible responses to your work—the crying, the laughter—there is nothing like it. I just love storytelling. I am a ham actor with a pencil. I love performing on canvas or on paper or right now on a digital screen."

"There was no great awakening or such. I did some magazine cartooning years before, but never perused it much. It was just a "freak" opportunity that came up at Hanna-Barbera"

"In very many ways, Joe was the quintessential cigar chompin’ Hollywood producer. In far many others he was atypical in that role. He could keep his focus when everything about him was going completely bonkers, either from network fiat or his own crew running riot. And he always retained his compassion and empathy. I’m sorry he didn’t get to do more projects that he wanted to do, not stuff the networks forced him into producing. I’m glad I had the chance to work for him."

"[Question from the audience]: "If you could pick only one thing, what is the most important thing when it comes to creating and running your own series?"Craig McCracken: Characters. Great, likable characters that resonate with audiences. That's the most important thing. Concepts will get you to try out a show, to tune in to a show maybe, but concepts don't keep you watching over and over again. If you're not engaged with the characters and the personalities of the characters, you're not going to continue to watch that show."

"A lot of people come up with these really elaborate concepts, and they get into the weeds of the concepts and how the story's gonna be. That's not what executives wanna see. They wanna see characters that they can engage with, and, also it sounds a little cliche, but the so-called "elevator pitch" or seven words, "try to describe your show in seven words", is a really good exercise. I found it just... work through, y'know, what your idea is about. That elevator pitch is basically "I've got a few seconds to tell somebody my idea, how would I say it?""

"The main inspirations for Powerpuff for me were the '66 Adam West Batman show, and Underdog."

"When I first did my first short for Powerpuff Girls, and we focus-tested it, I'm sure people have heard this story, we showed it to a group of 11-year-old boys, and they said "this is the worst cartoon that has been ever made and whoever made it should be fired." I'm sitting in the room with all the executives watching these 11-year-old boys destroy the show, and... I was like, I went back to the studio and I started redesigning the characters and I gave 'em fingers and I made them more accessible, and I was like "they didn't get it, they didn't get it..." [...] I took that criticism and went, "what did I do wrong? What wasn't I communicating? How I was I not telling this idea clearly?" And what I realized I was doing, is I had been making it in my head for so long, I made an episode that was like a third season, middle-of-the-season episode. And I'm like, "No, you gotta go back to the very beginning of the idea" [...] and just kind of step the audience through the idea and introduce them. Even though it seems like old hat to you, and you're like "well that's boring", but that's what the audience wants. Tell them a story. Who are they, these characters? Why should I like them? Don't be so ironic or high-concept-y."

"When I was a kid I spent a lot of time playing with the artisticly rooted pieces of junk that George was selling me. My wife Lauren did the same the only difference was her junk was pink and had combable hair. Either way these toys were far from junk, in fact they were our lives. Everyday we would make up characters, worlds, and adventures for them. Lauren's My Little Pony world was no less valid than My Little Star Wars world.So imagine little Lauren's surprise when she heard there was going to be a cartoon of her favorite toy! Imagine her dissapointment when the cartoon didn't live up to the world she had created in her head. Maybe she wouldn't have been so upset if she realized that cartoon was only bad because it was produced by a bunch of dudes who couldn't believe they were working on My Little Pony, uggggh. Imagine if they let HER make it, she knows why girls like Pony, she knows what will make it fun and cool.Now imagine 30 years later in some crazy cosmic coincidence she actually does get a get a chance to finally bring that world she's had in her head since she was a little kid to life! Maybe just maybe if she can traverse the waters of notes, schedules, and executives she can finally inject a little a artistic integrity and creative vision into it and make a MLP that girls will actually really like.Heck I even like it now and I hated that lame Pony junk, it wasn't cool like my Star Wars junk."

"When [Powerpuff Girls] was tested, everyone hated it. There were 11-year-old boys telling me I should be fired and it was the worst cartoon they've ever seen in their life."

"What a lot of people have found out about Powerpuff Girls is initially they just think it's this little girl thing that's lame like My Little Pony or whatever. Then they watch it and they’re like "Wait a minute, this is really funny, and this is really good, and it's actually, you know, entertaining.""

"As far as I can remember, I’ve always thought in pictures and had a vivid imagination. In my animated films the design of every frame is of great importance, as if it would be a painting. Most of the time, and particularly in a mythical, fabulous context, my human characters, even lead characters, are only a minor part of the whole image. To try to express realistic human behavior in animation has limitations. Such attempts in serious animation are often absurdly ridiculous. Why would one imitate reality? Just leave it to living actors! Earthbound reality is not for animation. Animation is a stylized, fantastic world."

"We try to give a voice to not just the writers or our directors, but even the story artists. We make it in a way that they also get to be participants in the writing and in the brainstorming so that they can put their contributions in. It becomes this amazing hive mind of, how can we make this as authentic of a feeling and experience as possible? I do think a lot of that is just getting the right team that gets along and just cares enough about the show or the movie. That even extends to the art team and the production. It really makes a difference when they care about what’s being said and what the message is."

"If you’re a parent, you want to teach your kids to be kind, you want to teach them to care about other people and you want to teach them not to discriminate for no reason."

"I think everyone will tell you that we live in a time that technology has given everyone the ability to make their own things and create exposure through the internet and social media. Those things weren’t available when I was starting out. So, without question, you should take advantage of those things. What everyone neglects to mention is the importance of personal growth and development. So much of what you create is shaped by your background and the things that shaped you. The better you understand your background, the sharper your voice will become."

"It's been a dream working with a bunch of guys who all love Batman, and have been reading the comics for years. We're staying true to the essence of Batman, but also trying to give it our own spin."

"It's basically every kid's dream to work on a Batman show."

"You know, I'm not at all against CG. I really admire many films that are made, especially when they have such great design sense to them. I think that's so important, whichever medium. You use a medium for a reason."

"I think if you’re true to yourself then it will have a universality to it, that’s my belief."

"I like the process. It’s a very comfortable world to work in. I like the people as well. I’m surrounded by great artists and craftspeople who do it. Really experienced people. Finally, I’m really happy and proud to do something different. There’s a million CG movies out there and it’s good for the audience to have something different."

"Once you start thinking about what kids will find funny it’s very dangerous territory and you’ll end up with a film that lacks sincerity."

"I'm not one for the trappings of success. I drive a one-year-old Citroën Xantia and I hate shopping. I did have a share in a glider - that is as far as it goes."

"We use the word authenticity, it’s about being honest and uncynical. We strive to make the characters true; they believe the world they are living in, however ridiculous it is. We know how to make the films, but getting the story to land absolutely spot on – that’s the hardest bit."

"When you write a project your imagination just flows! You usually have some idea about budget and schedule but still try to write freely and honestly. Then when you get the budget and you do have to compromise, but this is part of the process."

"If you can schedule two pairs of animators to work parallel on different sets for the same issue, you can make up a lot of time. Rather than slavishly produce episodes in eight weeks, it is much nicer to be able to do occasional ‘specials’. Some films are basically chat shows, but then the full action ones give the animators scope to extend themselves and scheduling restores the balance."

"There are plusses and minuses on both sides, really. You gain in the quality and get a really nice depth of field, but you kind of have to readjust your thinking when you're directing as to how you can get the shots that you want. But it's fine and we've all got used to it by now. It's much easier to post-produce, obviously in online edit suites, but it takes more time on the floor when you're setting up shots and all the checks that you have to do and the management of all the data."

"It’s not as if we’re specifically thinking of jokes for adults and jokes for children. We think of jokes, and occasionally we’ll think of an adult one, but it’ll detract from the story. People will say ‘I don’t understand that, what’s going on’. So if that happened, we probably wouldn’t use it. There’s the occasional joke that kids won’t get, but it if doesn’t interfere and it’s fun, then that’s fine."

"I don't believe you could be narrow culturally or intellectually when you're creating cartoons. If you look at the old classics from the '40s, from anybody, it's loaded with culture, and references to things that people have experienced, to music and sound effects to even writing gags, social commentary, parody. Those were people that are very, very aware. They didn't put out gags superficially."

"When you think about it, even little kids can draw the face of Spider-Man. But no one can really draw Bumblebee from Transformers. We've deliberately chosen these designs so even little kids can take a crayon and draw an I or an X and make these characters. We made their characters red and blue so they can pick up one crayon and draw them. This is the simplicity we were going for, so anyone can easily draw these characters. I'm designing these characters as if they were actually American comics, so we are going on the idea that there were simpler designs that gradually became more complex until there's a movie. When they're in a movie, it's even more complicated!"

"Japanese manga is accepted in foreign countries. I could say the opposite is true too: American comics didn't click with Japanese people at first, but compared to 20 years ago, more people in Japan who recognize Spider-Man and Batman. So after Japanese people started to accept American comics, and American people also started to like manga"

"If you're judging any creative effort, longevity is the reward."

"Comedy is a lot harder to do if you don’t go to the mean place. The cheapest laugh you can get is an insult or snarky comment, so if you take that off the table you have to write smarter."

"If it's a good project and I feel I have something to add, it's really rewarding."

"I keep up on the news, and there's all this noise out there, with all of the media and people on their phones all the time. I think we've become a schizophrenic culture primarily as a result of the genie getting out of the bottle with all this media stuff."

"The reason I created Jimmy in the first place was I’ve always been a huge fan of science and technology and space, but I was never smart enough to actually become an astronaut or become a scientist — my math skills aren’t strong enough."

"From a cinema major’s perspective, philosophically, theoretically it’s easier for people to imprint on that character what they think they’re feeling. I don’t know why, but it seems easier for kids to identify with someone like Ferb, or Perry, when they say nothing."

"There was something wonderful about being able to look up and see what that physical representation was going to look like. It is one of the things that I miss, now that we’re in a much more digital age."

"I like to tell my thoughts in a funny way and as short as possible"

"I was born 40 years ago in Isfahan, Iran. My childhood is not my life's favourite part. I was impatient to grow and get old enough to be able to control my own life. However, that period gave me a deep knowledge of how pain, sorrow, fear and inequality feel like. It gave me sharp eyes to identify them and be empathetic with people who experience those feelings. This is the main power of my art process. As a child, I felt deep love for animals, and I have been having many pets ever since. I loved watching cartoons and painting, and I wanted to be a big painter like Leonardo da Vinci; but I had not the chance to attend any art course until I was 18 years. I have never stopped making art after that. I married when I was 21 years with an animator, and he has helped me a lot in my art career during those years."

"In my early childhood, I liked to draw but my love for it decreased when I went to school. Our art teachers asked us to draw from a picture and never cared about our own thoughts and imaginations to be drawn. I liked drawing but not what I was asked to draw. When I was 18 years old, I attended an Iranian painting (miniature) course, but there I was not allowed to draw my thoughts too. So, I dropped from that course and attended a cartoon course; and then it was exactly what I was looking for. It was all about drawing your thoughts and feelings, and I had lots of thoughts to draw. While I was trying to learn drawing cartoons, I attended an animation course too and I found it so amazing. Those were the best art forms for me to share what I was feeling Then I became an animator and cartoonist."

"(My cartoons) convey a short, unique and humorous message. It is what I like to do. I spend lots of time in the first step of the creative process to find such an idea, then I write it as a short story. Only after that I decide which art form - cartoon, comic or animation - can express that story in the best way. The right choice can increase its chance to become viral. A short humorous content has more chance to be shared on social medias and thus reach and impact more people too."

"I want to mention artists who inspired me so much like cartoonist Quino and Yuriy kuzubukin, Pete Docter's ideas and animations, the novels of Fyodor Dostoevsky and Charlie Chaplin's comedies. Their art talk about human deep feelings. mostly their pains and sorrows, social inequalities, what is life and how loneliness feels, loving nature and other creatures. These are the main foundational concepts of most of my artworks too."

"We have animation studios in Africa, but I am yet to see anybody that can say I am an independent animation studio owner. We are trying to see that animations are well generated in Africa. We want a platform where young people can dialogue and be part of the game."

"Animation can be used to tell stories. My film, The Legacy of Rubies, which won Best Animation at AMAA, tells a story and to make these young ones know that they can do it too. All we need is the capacities to be established."

"I already knew what I wanted to be at the age of seven, but there was no capacity for it here. But I was able to achieve my dream"

"“Timmy’s a ten year old all-American boy who just so happens to wear a pink baseball cap. He’s the star of our show. The nucleus. The center. Without him, the Godparents wouldn’t be here and we wouldn’t have any fun now, would we?”"

"“When you have a character like Superman -a guy that can do anything- you have to give him some sort of limitation. That’s the only way to make the stories interesting. That’s where Kryptonite comes in. And Superman’s been around for sixty years. Cosmo and Wanda have Da Rules. Da Rules is a book of rules that the Godparents have to follow. It’s their how-to manual and part of the whole Godparent package. It’s a text that dictates their every move and severely limits them in the way that Kryptonite limits Superman.”"

"“Drawing is telling a story with pictures. Writing is telling a story with words.”"

"“I don’t care how talented you are: be nice to the people you work with. The person you’re rude to today could be your boss tomorrow”."

"“My real name is Elmer. I looked it up. It’s a German name. It means “please make fun of me my entire life.”"

"“My mother Carol, really nice lady, lived in Las Vegas, my mom worked at a hotel called the Rio. Was a big casino where, it was a big fancy hotel. Really nice. And, after you lost all of your money there, you could just feel nice about being in a nice hotel. But then you would get kicked out of the hotel because you didn’t have any money. And she was tired of living in Las Vegas. She wanted to come live with me and I live in California with my wife and two daughters. So, I flew up to Las Vegas, you know with a cape and boots, and I landed next to her house. So we packed up all of her stuff in a moving van and proceeded to drive back from Las Vegas to Los Angeles. Now, the drive is about four hours. If you’re in a moving van, it’s about eight hours. We’re, you know, talking and stuff. We pass the world’s biggest thermometer … we’re driving along and I knew that Nickelodeon was looking for a boys’ action show because that was, kind of, the talk around the studio at the time … and I thought “what would I do?” What would I call it? And I really realized that if I could call it something cool and have a great title that would be step one. ‘Cause I used to watch a show called Johnny Quest and I thought if I could come up with a show name that was just as cool as Johnny Quest, that’s half the battle. So I’m trying to think of really cool words that can be in the name like, you know, power or thunder or lightning or McDonalds… I finally settled on the word phantom. And I thought ‘phantom’, that’s a cool name… And I needed a first name. I thought, okay, Billy Phantom, Jimmy Phantom, by the time I was driving into Los Angeles, I had come upon the name Danny Phantom. And, then I started thinking ‘what could the show Danny Phantom be about?’. … It could be a show about a kid who does something with ghosts. Maybe, he catches ghosts, right? So I thought, like a Ghostbusters type of show first. I originally thought like a Scooby Doo-ish type of show. Danny Phantom and the Spector Detectors. Him and his friends would go around and look up ghost mysteries and they would catch ghosts and things like that. None of them were superpowered. And I thought no. That has been done, obviously with Scooby Doo. I really wanted to give Danny a white owl named Spooky … and when I was developing the owl, the movie Harry Potter was coming out. And there was an owl in the movie and everyone said no, you can’t do the owl because Harry Potter has an owl … I really wanted to make Danny Phantom kind of a comic book character because I love superheroes … and so I decided to give Danny ghost powers… he could walk through walls, disappear and fly. He was much more unique than the other guys… and one day, I finally drew this drawing. I was gonna colour his hair in last and I coloured his whole outfit black, white boots, white gloves, and I got to the hair and I left the hair white. And I thought, that’s really cool. His hair can be white when he turns into a ghost. And that was the look for me … and finally when the head of Nickelodeon took me out to dinner, the following year, and was gonna pick up more Fairly OddParents, he said ‘hey, do you have anything else?’… and I said to him ‘well, I’ve got this show called Danny Phantom. It’s about a kid with ghost powers. And the first thing he said to me was,’can you have it done by March?’ And I thought ‘wow, that’s exciting. He was ready to give me a brand new show right there and I was ready with a show idea.”"

"“Whenever you put yourself out there to do anything, there’s always someone who’s going to, like, try and bring you down ‘cause they’ve never done anything on their own. And so if someone doesn’t do anything and they want to like, you know, criticize, I have no time for them.”"

"If you guys can't do it yourselves, you shouldn't criticise anybody else. You shouldn't do it. Now another cartoonist wants to have a problem with me, that's a different story."

"“People say to me, ‘Oh, you’re a cartoonist. I thought computers did all that now. I say ‘right, like we just press a button and Pinocchio happens.”"

"March 30, 2016 was the 15th birthday of Butch Hartman’s The Fairly OddParents. It’s not like I use the term “cartoon superstar” lightly. Let that sink in for a minute. Friends was 10 seasons, Mad Men was seven, The Sopranos was seven too. FOP is right up there with The Simpsons, Scooby-Doo, Where Are You?, and Spongebob Squarepants. An amazing, uncommon, accomplishment."

"Fred Seibert, May 15th 2016, 7 Questions for Butch Hartman Cartoon Superstar. https://medium.com/@fredseibert/7-questions-for-butch-hartman-cartoon-superstar-9a77815094cc"

"But, not so astonishing if you’ve ever met Señor Hartman. A man of deep faith, he’s an artist and writer (and director and producer), talented, confident, funny, motivated, Butch might be one of the hardest working men in show business."

"One of the traits I’ve most admired in Butch is his ability to keep learning, and as he says in the interview, to never give up. It’s something I stress to many of the young folk who come by, but rarely heeded. Keep learning, never give up. Butch Hartman, in a nutshell."

"TV fans will, more often than not, pay close attention to cancellations and renewals happening with long-lasting broadcast series or hugely popular cable shows, not giving much consideration for how that process works for more niche fare, such as animated programming. I recently spoke with The Fairly OddParents creator Butch Hartman at Comic-Con, and he floored me by saying just how many times the beloved series had been cancelled by Nickelodeon over the years."

"Thankfully, Nickelodeon's sporadic decisions don't seem to have Hartman pessimistic about The Fairly OddParents' future on the network."

""Dear Butch Hartman,"

"Justin Cummings, An Open Thank You to Butch Hartman, February 8th, 2018. https://www.overlyanimated.com/2018/02/08/an-open-thank-you-to-butch-hartman/"

"Hartman's cartoons are instantly recognizable: visually, his character designs tend to be angular and have thick outlines. Most notable is that his are the few characters in TV animation to have colored eyes rather than black circles. Writing wise, expect the characters to be so self-aware that you might be asking them if they are holding up the fourth wall, as well as including a healthy dose of pop culture references, both modern and not so modern."

"Unlike many of his contemporaries, Hartman is admittedly one of the few who isn't at all interested in creating cartoons for adults, and has often expressed his disappointment in other animators for implying that there is anything wrong with cartoons that are exclusively for children. He even has a pet project Noog Network, an app which hosted exclusively "kid safe" shows. Regardless of one's agreement with him, it is clear that the career path he has chosen suits him."

"Hey you, sit down and listen! Don't be flippant and don't be dismissin'. Think you're a Flash encyclopedia? Eating, breathing Macromedia? Think you're cool sayin' "All Your Base"? Get that Xiao Xiao outta my face! You gotta be kidding me with that crap, Animutation's where it's at."

"Suddenly, there's a ring in my cell phone; I pick it up: It's the Angel of Death, and he says "Wazzup?" I say, "What is it this time?" And he's like, "Well, hello, goodbye, I'll see you in Hell." He can be like that sometimes, he's such a nut. So I snicker and say, "I'd love to, but Gravity's calling, I've got some falling to do""

"Prance omelette stalking chimneysweep Eleven hatred earmuff okay rathskeller My elusive hula yellow sketching creamy helium gentlemanly communique."

"This is the ultimate showdown of ultimate destiny. Good guys, bad guys and explosions, as far as the eye can see And only one will survive, I wonder who it will be. This is the ultimate showdown of ultimate destiny"

"But something keeps me as a pet: the only house that's not on fire yet. I made it when I was an architect. This is just a side effect."

"It's not the nothingness at the end, so much as the message nothingness would send."

"Lost in solipsism, he then slowly pulls a lever which sets off a mechanism which does nothing whatsoever, but the nothing that it does negates the everything we know because it's screaming just because, because it's neither friend or foe, and so we label it a menace or a grandiose work of art. From its finale to its genesis, we slowly pull it all apart."

"Two trucks having sex, two trucks having sex. My muscles, my muscles, involuntarily flex."

"Due to my strong personal convictions, I wish to stress that this record in no way endorses a belief in the occult."

"A marker on a grave, marker on a grave Marker on a grave and I know I'm the one who died And underneath the name, underneath the name Underneath my name it says, "He Earned His Life""

"You can't remember where you came from (In a spiral of ants) You can't remember where you're going (In a spiral of ants) You can't remember knowing You are one ant Over, it's over The pheromones, the self-avoiding odyssey Consuming the colony The Circle rules your life"

"Any outlaw tryin' to draw with a pen and a pad Can draw Jim West with a pen and a pad Don't even think about a pen and a pad weighin' a ton Just tryin' to draw just for fun."

"Animation wasn't so much an imitation of life - it was a punctuation of conversation. We always stayed on the one who was talking. It made for a very simple film that was very clear, and there were no unnecessary things going on all around the edges. If I'm going to say something to you then I'm going to do it with a certain amount of gestures; in-between the times I'm completely still. This was how we managed to get through 120 seconds of footage a day, when most studios were getting through 10 seconds. We'd never move a mouth, we'd change the expression, because people were watching the hands."

"[Responding to the perceived surrealism of Clangers] They're surreal but logical. I have a strong prejudice against fantasy for its own sake. Once one gets to a point beyond where cause and effect mean anything at all, then science fiction becomes science nonsense. Everything that happened was strictly logical according to the laws of physics which happened to apply in that part of the world."

"We would go to the BBC once a year, show them the films we'd made, and they would say, "Yes, lovely, now what are you going to do next?" We would tell them, and they would say, "That sounds fine, we'll mark it in for eighteen months from now", and we would be given praise and encouragement and some money in advance."

"What matters most is the story, and it should never be sacrificed to the method. These days immense quantities of money are spent making something that doesn't call for it. As a result, to raise enough backing, children's films have to be dumbed down for the widest possible market."

"Come to think of it I must have produced some of the clumsiest animation ever to disgrace the television screen, but it didn’t matter. The viewers didn’t notice because they were enjoying the stories."

"That was all, but I was fizzing with excitement. It didn't matter what the picture was of. It didn't matter that Master Ho had stumbled rather than walked… I had done something momentous. I had opened up another dimension to the still picture. I had given it the extra dimension of time. I had made it come to life."

"I was also invited to give a couple of informal seminars to the Animation School at the RCA. These were so informal that they could hardly have been said to happen, but they taught me more than I really wanted to know about the way in which our simple craft had been inflated into a maniac pretentious pseudo-art."

"The films we made were aimed at the Head of Department at the BBC, who was about 57 at the time, and she was a nice lady called Ursula Eason, and very humane and ordinary, and full of fun. If we had studied children in any way, apart from having children, we wouldn't necessarily have succeeded in selling the films, because the woman at the BBC had fairly clear opinions of what she would find acceptable, and these were conditioned in some ways by the fact she was a middle-aged, English (well, Irish actually, if you go all the way back) lady, who was brought up as I was on Beatrix Potter, A. A. Milne, and Lewis Carroll, and all the sort of 'Founding Fathers' of English Tweeness."

"Being creative, having to do something new, invent something, alter things, in order to show you're still there is a personality fault, basically. I think a lot of people who have done creative things do so because if they don't, they cease to exist. This, I know, is true of myself, and I wouldn't wish it onto other people. There is nothing quite like as frightening as having a wife and six children and a blank piece of paper, which is your next year's feeding, and you have to pull out of the sky your livelihood. The idea of being able to live on one's creativity, where you are dubious of its continuity, is a recipe for terrible anxiety."

"All the way through, if you look at my films, you will see that my animation is very economical, but very powerful. Because, I'm not recreating life, I am illustrating a story and telling a story by an extension of the pen. I'm coming at it from the other direction, and what is the minimum amount of visual delivery that I have to do to get this to appear to be alive, which one has accepted more or less anyway that they're there, and to convey the movements, and it is surprising how much one needn't do, and how much better it is from not doing those things that animation doesn't do well."

"Their [politicians] words and phrases are skillfully chosen to keep us complacent and confident in our fairly comfortable world. We don’t usually notice this because ours is a world in which whether or not the words we are offered are true rarely makes much difference to our lives. But, out in the real world, the way words are used or misused can make the difference between life and death."

"That voice of his was loved by the nation. I mean, if I could've been Oliver Postgate, with that voice, and with his mind, and those wonderful, wonderful stories, I would have given my teeth. He puts his arms round you, figuratively speaking, and says "Look, it's all right. Don't worry. Whatever I'm on about at this moment, there's security here with me." And that's the voice that does it; I had to work to be loved, Oliver Postgate, lucky man, didn't."

"And they [Smallfilms] had a superb ear for creating sound effects that children could easily mimic the moment the programme had finished: just think about the swanny-whistle voices of the Clangers, the beatbox rhythm of Ivor's engine, or the marvellous carousel of just bloody lovely sounds that made up most of Bagpuss […] These are the sounds I hear in my own head when I remember my own childhood, and Oliver Postgate put them there."

"And all of these things, the selection of just the right characters, just the right soundtrack, and just the right tone is an incredibly hard thing to pull off in TV; incredibly hard. You can't fake it, you can't screw up your face and slog your way through it: it only occurs when an innate facet of someone's character is allowed to bleed into the production, giving it a unique personality and resonance all of it's own."

"Yeah, that story’s not finished. We have more things written already and figured out for it to finish, but somebody’s got to want to finish it. .. It’s not up to me. It’s not like I can go, ‘Okay, Genndy, here’s $10 million or whatever.’ My life doesn’t work like that. It’s still, well, ‘Why should we do it? Why was this canceled?…Are people going to watch it?’ You still have to resell it and have people want to pay for it. It’s not up to me. .. Yeah, that’s probably the only thing I would return to. Obviously there’s more Primal planned, and hopefully I’ll get to do it, but looking backwards, I have too much new stuff that I still want to do. Unicorn is just scratching the surface of where I want to go."

"The kids’ business of animation is pretty much gone at this point, but adult animation has been steadily rising for the last twenty years. It’s incredible to see, and all the original shows feel like they’re adult, and I want to open that up to features. Why can’t viewers watch animated movies for adults in the same way? An R-rated raunchy thing is fine, but maybe we can do an action, epic thing in the future. Primal proved I had that muscle, and I want to be sincere, because if I’m not, it’s going to fail. If there’s an emotion I want to convey or something I’m experiencing, that’s where I’m at."

"When my career dies, and I can’t sell a project or do anything else, that’s when [Dexter’s Laboratory] will return to save me and help pay my mortgage and everything,” Tartakovsky joked. “But I think [Samurai Jack] was very organic because we never finished the story. I never looked at it as a revival, but more of a continuation to finish it. And I think, the problem with [Dexter’s Laboratory] was the woman who played Dexter’s voice [Christine Cavanaugh], she passed away a while ago. I feel like her voice was the soul of the show, so it’s very hard for me to do an imitation. Unless we reimagine it in some other way."