Cartoonists

"The silence of the international community in these situations allows terror to thrive … as educated people we have a duty to stand against this type of terror and those who support it."

"I have great hope for the E-revolution … Twitter and Facebook are marvelous inventions and I use them to spread my work. I hope Palestinians will use these tools to gain their right of return."

"Sometimes, to make a little bit of change in people’s lives they just need a tent or a little bit of food, a bit of support or a little education."

"I read a lot of newspapers, magazines, books. The news are the fundamental resource to find ideas for the satirical cartoons but also for generic themes, for gag cartoons. Now all the media can give us a big number of inspirations."

"I’m only showing the harsh reality of the situation. I would love to show happy kids playing but this is not what is happening. At moments like these as I draw I am also crying."

"In these years there are a great number of debates about similar cartoons. Many ideas are similar, of course, because the themes are recurring: war, peace, pollution, society, etc. Condemning all artists isn’t right. Many of them have in fact similar ideas, at the same time even if in opposite sides of the World. It’s although important for all the authors to truly check if the idea is truly an original one… Even if checking the whole web, catalogues and magazines could be a hard task indeed."

"The future is mysterious,” he says. “Now we’re seeing an entire generation lost to war. My hopes for the future are not personal; they’re for my people. My hopes are for peace, and only for peace. I’m married to a Syrian woman and our son carries two nations in his heart."

"My main motivation is to communicate an idea and generate a personal dialogue or with the reader around each image. I think we draw to "rethink"."

"What are your impressions of the US and Americans from your last three weeks? During my presentation [to the AAEC], I tackled some topics that criticize Americans and I know there is a difference between the American people and the foreign policy, but what really frustrates me is the carelessness of Americans. They really don’t, you know, care about others outside the country. They don’t know what’s going on in the other parts of the world. They do not care about their countrymen who die on a daily basis in Iraq and Afghanistan. They didn’t learn from Vietnam."

"What is your impression of American editorial cartooning? I met two kinds of editorial cartoonists. Some of them, they deal with local and domestic issues and they never focus on U.S. foreign policy. One of them is Tom Toles, and I feel like he is not serving the people. And the others deal with international issues and understand the oppression and the suffering caused to other nations. One of them is Kal in The Economist. Really, I've started to change my mind and, you know what? I am going to be an international cartoonist. On the professional level, I was really impressed with Callahan's work--he talks about serious issues. I was so excited to meet such an iconic figure. The one lady, Jen Sorensen, I felt like she deals more with international issues."

"(I'm drawn to) all the issues that concern Egyptian citizen. I deal a lot with women's issues, gender rights, but I think I focus a lot of my work on Egyptian citizens and, because I think any reform should start with the Egyptian citizen, trying to get them to participate in this process. The purpose of editorial cartooning is to awaken people. Some media outlets, whether in the United States or Egypt, distort the facts. And normally the media is controlled either by government, by investors, by the people who have the money. So cartoons, they should look into issues and make it clear whether it is black or white, or whether there is a grey area. People can look and distinguish between sincere and honest cartoonists and from other kinds that are not. Even an historian can be under pressure and to fake the writing of history. But cartoonists, we have the freedom to say what we want."

"Throughout my my career – which began in 1990 right when the press became unionized – the themes have generally been social-political issues: police brutality, state terrorism, corruption, political maneuvers…And not just in Brazil, the themes I tackle looking abroad include war, armed conflicts, and torture. I’ve also done a lot about the Brazilian military dictatorship."

"The mainstream media’s side is money- it’s the same side as the financial markets."

"Journalism always takes a side, whether the journalist chooses to admit it or not."

"[Y]ou'll have people hijacking the Palestinian struggle as a chance for bashing the Jews, like European neo-Nazis who demonstrate against the occupation of Palestinian territories or the Iraq War. It’s important for the left to keep them apart from the legitimate struggle for the rights of the Palestinians; however, saying that anti-Zionism is antisemitism is a well-known tactic of intellectual dishonesty."

"As a first-generation immigrant, I want to make the soil richer. My kid will grow up in a free world without fear and will be thinking like an ordinary American. I envy him very much."

"This fear of the power of the totalitarian state is something normal people cannot understand."

"People who live in totalitarian countries experience educational brainwashing and real fear of the government. They are not brave enough to stand out and express different opinions."

"I kept on reading, observing and reflecting on China’s political and social problems. Then in that year I suddenly felt a strong need to express my ideas. Comics is what I am good at, so I began to create political comics."

"I felt a narrowing of freedom of speech. The change was very pronounced when you compare Xi Jinping to previous eras of Jiang Zemin and Hu Jintao."

"Whereas RSS spokesmen can easily be put on the defensive with hostile questions, Thackeray is more clever. His approach is: if journalists call you "communal", "Hitlerian" or any other name, just accept it, and don't start spending your energy on trying to prove that you re a nice secularist whom the interviewer could respect. If you try to live up to his standards, you will never be able to satisfy him, so instead you should show that you don't care for his approval."

"I have great respect for Balasaheb Thackeray and we are the ones working to take his legacy forward. He is one of the most important and influential leaders in the history of our country. Throughout his life, Balasaheb stood for politics that furthered national interest and was against appeasement politics. I have also maintained decorum and dignity with every member of Balasaheb's family, irrespective of the political dynamics. But as an admirer of Balasaheb, I am pained by certain things. Today, it pains every admirer of Balasaheb, including me, to see the actions of those who claim to be torchbearers of his legacy. Mumbai and its people were so close to Balasaheb's heart. What would he have felt if he would have seen these people using those convicted in Mumbai bomb blasts for their campaigning? What would he have felt about these people allying with those who openly say they want to destroy Sanatan Dharma? What would Balasaheb have felt looking at these people aligning with those who celebrate Aurangzeb and abuse Savarkar. Can anyone claim to be upholding the legacy of Balasaheb after doing such things? Balasaheb always put principles above power. But now, it seems, power is everything for these people."

"I am a great admirer of Hitler, and I am not ashamed to say so! I do not say that I agree with all the methods he employed, but he was a wonderful organizer and orator, and I feel that he and I have several things in common. Look at the amount of good we have done in just six months in Maharashtra. Actually, we have too much sham-democracy in this country. What India really needs is a dictator who will rule benevolently, but with an iron hand."

"(What’s the last great book you read?) ...I tore through two volumes of “The Arab of the Future,” by Riad Sattouf — it’s the most enjoyable graphic novel I’ve read in a while."

"So the reader thinks: “My God, this man is saying horrible things in front of a child!”…It’s more sincere ... I wanted to try to describe the dark side and the positive side – if there was a positive side – all together ... I wanted to express the paradox that was in my father between modernity and tradition. It is a very common and human paradox. How can you be modern and progressive and still respect ancestral tradition? It generates conflict in the mind, I think."

"I don’t want to read modern comics, comics that are made today. I take care not to read too many contemporary comics, because I’m afraid it will influence me. Or it will complex me in a way. I see someone doing something great and I will say, “Oh, my god, I am shit — what am I doing?” So I prefer not to read them. Sometimes, when it appears to be incredible, I will read it — but I’m very afraid of reading modern comics. I read only old things and things I liked when I was young…"

"I tried not to generalize. But a lot of guys are like my father. He came from a poor family — the gap between where he started and where he ended up as a doctor was too big, and he was thinking he had a destiny! He was a little bit crazy. And he was so proud of this. He also hated Israel. It was a huge humiliation for him and his friends — the defeats by Israel. It was like a personal defeat. So he hated the United States, of course; he hated Europe because they had good relations with Israel. It was, like, biblical. As if Europe and the United States prefer the Jew to the Arab. And he wanted to say, “But I am as intelligent as them.” It was very strange."

"I waited so long to tell this story partly because when I started to make comics I didn’t want to be the guy of Arab origin who makes comics about Arab people…I didn’t want to be the official Arab comics artist. So I made a lot of comics in France which weren’t related to this part of me. I made a movie. But even during all that other work, I was thinking I have this good story, how could I tell it?"

"Everyone can draw, and a drawing doesn't have any mistakes."

"Religious people are looking everywhere for blasphemy, but we cartoonists are just trying to make people laugh."

"Never give up hope, try with confidence; you will be successful."

"Freedom of speech is very important because it is a fundamental part of our rights. Everyone must be allowed to say what they mean."

"This is past, and it really comes from a very dark moment of my life. Dying is...When people say there is no alternative, there is always an alternative - to die, for example. It's a choice. You always have this choice."

"Well depressive, I don't know. If you have a little sensibility or a heart you have all the reason to be depressed once in a while. But the depression is like a motor for creation. I need a little bit of depression, a bit of acid in my stomach, to be able to create. When I'm happy I just want to dance.""

"When they talk about “The men ruined this, the men did that,” it is a person, and their sex comes after what they’ve done. I believe that we say too much “We the women” and “We the men,” but should say “We the human beings.” There are really two types of human being -- the ones who care about environment, who want a more just society; and the other ones who care about greed and war. So it’s not a question of East and West, and American and Iranian, and women and men."

"The words are not the same and the feeling is not the same. You know, they say in France that translation is like a woman. She is either beautiful or faithful. So it’s better when she’s beautiful because when she’s too faithful it might be very ugly. This is French people. This translation, though, is very well made. This is my American editor, who knows me very well who has made the translation. But in any translation you lose a little bit."

"If the majority of people were right, we'd be living in paradise. But we are not living in paradise, we are living in hell. What does it mean? That means the majority of people are wrong. So I never believed what people told me."

"You are born with two things: existence and opportunity, and these are the raw materials out of which you can make a successful life."

"It is easy to prime the pump and have the words gush forth in a torrent of pious phrases but the proof of what we really want – regardless of what we say we want – is evident in the way we live."

"I was born near the Po and it is the only respectable river in all Italy. To be respectable, a river must flow through a plain because water was created to stay horizontal and only when it is perfectly horizontal does it preserve its natural dignity. Niagara falls is an embarrassing phenomenon, like a man who walks on his hands."

"Minutes and seconds are strictly city preoccupations. In the city people hurry, hurry so as not to waste a single minute, and fail to realize that they are throwing a lifetime away."

"The party delegate was one of those gloomy, tight-lipped persons who seem to have been made for wearing a red scarf round the neck and a tommy-gun slung from one shoulder."

"Those were the days when there was a great deal of argument about that piece of international machinery known as the ‘Atlantic Pact’, which may have owed its name to the fact that between words and deeds there lies the breadth of an ocean."

"But the young people of today are benighted creatures born with telephone numbers imprinted on their brains, and where passion is concerned they have about as much grace as a pig in a cornfield."

"Italian humorist Giovanni Guareschi–a staunch anti-communist journalist and writer–coined a famous sentence to mock Stalinists “Contrordine, compagni!”, i.e., “Counter-order, comrades!”. It was the sudden announcement of an impromptu change in policies and ideas that activists ought to support with the same enthusiasm and dedication they previously displayed for their blatant contrary. Guareschi’s amusing assumption was that, no matter what, communists dully obey whatever kind of order comes from the party, inhaling the “official truth” (even typos in articles and manifestos) from a “third nostril” that nature provided them with."

"In the valley a bicycle is just as necessary as a pair of shoes, in fact more so. Because even if a man hasn’t any shoes he can still ride a bicycle, whereas if he hasn’t a bicycle he must surely travel on foot."

"‘Don Camillo, the system of teaching Christian charity by knocking people over the head is one that doesn’t appeal to me,’ the Lord answered severely."

"I first followed the comics of Tagawa Suihō and Yokoyama Ryūichi. But suddenly, once I became devoted to Disney, I set out to copy and master that stuffed-animal style, eventually ending up with how I now draw."

"Those American comics themselves were heavily influenced by Keaton’s comedies, Mack Sennett, those sorts of films from the golden age of comedy. The gagmen that appeared there, for example Roscoe Arbuckle or Ben Turpin, there were lots of comics that used their style, their faces just as is. Especially Chaplin with his bowed legs and over-sized shoes. Those sorts of features were used directly in comics. In that era, all American cartoonists imitated the stars of comedy. That is what I worked so hard at copying, and so that’s why my comics are bowlegged and big-shoed. At the level of content too I was deeply influenced by the strong social caricatures of Chaplin’s comedies, the tears mixed with the laughter. The biggest influence of all was the rhythm."

"Q: It’s been pretty rare that we’ve gotten good adaptations of Tezuka’s work. Pluto is one of the rare ones that's really good. Why do you think that is?"