Cartoonists From The United States

"I don't think distributors are cheating or evil or anything like that, I just think that the business model is unsustainable so they truly don't have money. There's just not much money in this particular model."

"Total box office so far has been $22,350 … that trickles down to $3,000 for me. Which really isn't much, but it's fine. People are seeing the film and they're seeing it the the way it should be seen. I do not feel like the distributors are ripping me off. I feel like this is the model of film distribution and this is the reality of it and fortunately my income is not dependent on it."

"Mimi: Copyright’s all about balance: balancing creators’ and the public’s need for free expression… Eunice: with copyright lawyers’ need for paychecks!"

"Because I didn't sell it to a distributor, it can be in lots of film festivals. It's been in, I think, at least 200 festivals, it's won more than 35 awards which is great. I like that! If I had gone with a distributor they would have immediately said no to film festivals which I do not understand why distributors do, but that's what they do."

"You don't deserve to be paid because you choose to do something that somebody else may, or may not, want. If you want to be paid for your work, you negotiate that beforehand. Otherwise I would just be walking around talking. Here I am talking now. "You owe me money", right? … It's up to you whether or not you want to do work with no contract. I think artists do need to do work with no contract, because what we're motivated by is not money. We're motivated by a need to express ourselves and to get our ideas out. That's the motivation. It turns out that when people like it they frequently will support you if you give them a means, but this is not a contract."

"In ten years I think the [copyright] laws are going to be worse and I also think they are going to be less relevant. I mean, already the difference between the laws and people's behaviour, It's like they're different planets. I'm not hopeful for the laws changing. A lot of other people are, so maybe we will have meaningful copyright reform. I doubt it. I don't think it matters. I think the tools are available for people to create and share culture and they're going to do that and they might be doing it illegaly and at a certain point it's going to be more than the system can handle. I will say that if the power structure as it exists wants to continue they're going to have to reform because it's not sustainable. Copyright law as it is, it's just completely out of touch with human behaviour."

"♡ Copying is an act of love. Please copy & share."

"Our idea, which art in the ether, that cannot be named: Thy vision come, thy will be done, on Earth as it is an abstraction. Give us this day our daily spark and forgive our criticisms, as we forgive those who critique against us. And lead us not into stagnation, but deliver us from ego, for thine is the vision, the power and the glory forever. Amen."

"Copying is not theft Stealing a thing leaves one less left Copying it makes one thing more That's what copying's for. Copying isn't theft If I copy yours, you have it too One for me and one for you That's what copies can do. If I steal your bicycle, You have to take the bus But if I just copy it, There's one for each of us! Making more of a thing That is what we call copying Sharing ideas with everyone That's why copying... ...Is fun!"

"I love money! Just because it's free doesn't mean I don't like money. And actually I've made more money this way than any distributor said I could possibly make, which isn't much because independent distributors are notoriously without money. So the most money any distributor told me I could possibly hope to make on this film, total, maximum, in my wildest dreams was $50,000, and they said much more realistic would be $10,000 or $25,000 and the biggest advance I was offered, I think, was $20,000 and that's for locking up all the rights."

"Mimi: I like you! Eunice: So what? You like everyone. I want assholes to like me — that’ll mean I’m really special!"

"The corporations that hold these copyrights are media companies that also control most of the new media that comes out. Estimates vary, but it's said that 98 percent of all culture is unavailable right now because of copyrights. So the reason they hold the copyrights isn't because they want to get paid, it's because they don't want all the old stuff competing with the media stream that they control now."

"Yes, I know bad bad people can also use the .fla files for dastardly deeds (the dreaded hypothetical “Nazi Porn Version” that always comes up at Q&A’s). Bad bad people can use our shared Language and Technology for evil too, but I’m not going to constipate culture out of fear of imaginary worst-case scenarios. I’m confident much more good will come from this than bad, and that’s motivation enough for me. It’s Free Culture, baby. If programmers can tinker with the Free Software’s source code, artists can tinker with Sita Sings the Blues‘ source files."

"Mimi: Silencing you because I don’t like what you say is censorship. Silencing you because I can make more money that way is copyright. They’re totally different! Eunice: The profit motive makes it OK."

"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."

"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."

"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."

"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."

"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."

"[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."

"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."

"Life is incredibly short, yet we're always told that change takes time. For a race of mortals, dicking around just isn't acceptable."

"Thea: Didja make your quota, Lois? Lois: Yup. Kissed a woman from every state in the union. Rhode Island was a drag queen, though. Do you think that counts?"

"Miriam: Look, don't fixate on the due date. It's just an approximation. Only 5 percent of babies actually arrive on it. Most come later, in fact. Clarice: Great! How much later? Two days? Three? Miriam: Let me give you a friendly tip, Clarice. Don't get too hung up on keeping a tight schedule for the next, say, eighteen years or so."

"Mo: Thank you, Jillian, for that fascinating, uh, transsexual version of the Oedipus legend, "Oedipal Complex.""

"Sparrow: Listen, Mo. I have been doing crisis intervention with battered, homeless women and kids all week long. Tonight, I am going to vegetate in front of the TV. If you're so worried about Bosnia, go join the Red Cross."

"Mo: Uh... sorry. I was just wondering why you're... you know... using that if normally you just use crutches. Thea: Well, the chair is so much more dramatic, don't you think? I use it when I want people to feel extra sorry for me."

"Lois: [intercepting a man in the women's bookstore] Can I help you find something, sir? Man: Um... just browsing. Lois: Hmm... I find that publication rather tame myself. Have you ever seen this one? This month there's a hot photo spread of three totally tattooed babes with strap-ons doing an armpit shaving scene. And if you're looking for a real thrill, check out the story, "She Came in Waves," in this new female ejaculation anthology! Man: 'Scuse me, I think I left my car at a hydrant."

"Lois: Hey, Ginger! Are you masturbating in there or what? I wanna show you something! Ginger: [in the tub] If I'm masturbating, will you leave me alone? Lois: No! Check it out. How do I look? Ginger: Like a white girl in a black bra."

"Carlos: Manly-Man Training Academy, Butch speaking! … OH! Señor Ortiz! Sí, this is Toni's number. ...¿¡De qué estás hablando?! ¡No! I'm not the father! I'm just the babysitter, I swear! ¿Qué?! You want me to marry your daughter? Well okay, but I'm keeping my own name!"

"Mo: Ginger, how can you think about sex at a time like this? Madmen are about to destroy the earth! Ginger: Can you think of a better time? I don't know about you, girl, but I want to have a G-spot orgasm before Armageddon hits."

"Ginger: Get off it, Mo. If I can't ogle, I don't want to be part of your revolution."

"Clarice: To most people, it's obvious that the Whitewater allegations and the sexual harassment suit are politically motivated. And everyone else is too jaded to care if Bill fucks his cat. Raffi: Fucks! Toni: Do you want the honor of recording that under "Baby's first word," or shall I?"

"Clarice: [getting cold feet] There's still time! Toni: We can just call everyone and say we're terribly sorry but something came up and we have to leave town! Clarice: ...But what about the five gallons of baba ganoush, and all those tofu pups? Toni: Shit. I forgot. Well, I guess we'll just have to go through with it, then."

"Ginger: [hauling Clarice up stairs in a wheelchair]: This ivory tower needs some ramps! Clarice: What are you saying, Ginger?! Build ramps and anyone could get up!! The whole school would be overrun by black commie dykes in wheelchairs! Really, now!"

"Mo: Toni, come on! I know you're in a lot of pain, but you hafta look at the grand scheme of things! Listen, the environment is polluted beyond the point of no return, nickels and dimes are allocated for AIDS research while billions go into radar systems for blowing up civilians in the Persian Gulf, and we've got to spend the next two months being assaulted with hypocritical hype as two morally bankrupt white boys gear up for another electoral farce! Having a rough time in your relationship kinda pales in comparison, huh? Toni: Gee, Mo... thanks. I can always count on you."

"Mo: I... y'know, um... I'm really attracted to you! [thought bubble:] Omigod! Who said that?! Caption: A horrifying silence ensues. Is it an hour, or merely several seconds? Harriet: I've had a crush on you for months. Mo: Thank goddess! I was about to commit hara-kiri with my teaspoon!"

"Toni: Well... straight couples get respect when they marry. Maybe we need to make some kind of symbolic affirmation of our commitment to one another! Clarice: You mean... Toni: Yes! Let's open a joint checking account! Clarice: Oh, darling! But this is so sudden!"

"Harriet: [making an excuse] Um... I'm looking for a copy of The Wheat-Free Guide to Creative Visualization in Co-dependent Past-Life Relationships. Mo: Huh. Jeez, I never heard of that one... Wonder if it's in spirituality or cooking."

"Lois: Good coffee, huh? Emma: Lois, I think you're a very attractive woman and I'd like to sleep with you. Lois: [chokes] Gak! Ahem! You don't - coff - fool around, do you? Emma: No, but I'd like to."

"Mo: Thanks for the lentils! I have to go home now and rethink my priorities!"

"Clarice: [proposing to Toni] I'll be your lawyer if you'll be my accountant."

"Toni: Mamá... MAMÁ! I'm paying peak long-distance rates here. Could you save the Hail Marys until we hang up?"

"... I couldn’t begin to count the films in which women are overlooked, stereotyped, or treated as little more than eye candy. It was for this reason that cartoonist Alison Bechdel first devised a test to measure women’s representation in fiction; a story passes the Bechdel test if it has two named female characters who talk to each other about something other than a man. But even with such a low bar, fewer than half of best picture winners pass."

"Of course I’m delighted that Fun Home has met with such success, but it still strikes me as very unlikely that an odd, cerebral story about a lesbian and her closeted gay suicidal mortician father would have struck a chord with anyone but me."

"Raffi: Okay, it's time to make another deposit to my therapy fund."