"[A]lthough Tartakovsky is a good storyteller, in a silent film sort of way—expressing what’s happening moment-to-moment through picture and sound rather than in dialogue—I never watched either of these programs for their plots, and I don’t re-watch them for narrative, either. I re-watch them for the same reason that I visit art museums, attend live concerts, and pause during journeys from point A to point B in New York to watch dancers, acrobats, or street musicians: because I appreciate virtuosity for its own sake. And that’s what Tartakovsky’s Clone Wars and Samurai Jack give you, scene for scene and shot for shot .... [T]he plot was never the point. It was always about the visual music that Tartakovsky, his designers, and his animators created onscreen."

"Grumpy Boogie: I don't like Noogie Boogie! And I don't their Noogie music with their porch Noogie jungle Boogie beats!"

"Chauncey: I'm gonna' kill you Middle America, when you most expect it! I'm gonna' cut the brakes on your balloon!"

":Dante: I found a yearbook. Look, there I am in the team picture."

"A pen and ink disaster."

"Here we were with a brand new thing that had never been done before, an animated prime-time television show. So we developed two storyboards; one was they had a helicopter of some kind and they went to the opera or whatever, and the other was Fred and Barney fighting over a swimming pool. So I go back to New York with a portfolio and two half-hour boards. And no-one would even believe that you'd dare to suggest a thing like that, I mean they looked at you and they'd think you're crazy. But slowly the word got out, and I used the presentation which took almost an hour and a half. I would go to the other two boards and tell them what they did, and do all the voices and the sounds and so-on, and I'd stagger back to the hotel and I'd collapse. The phone would ring like crazy, like one time I did Bristol-Myers, the whole company was there. When I got through I'd go back to the hotel the phone would ring and say "the president wasn't at that meeting, could you come back and do it for him." So I had many of those, one time I had two agencies, they'd fill the room I mean God about 40 people, and I did this whole show. I got to know where the laughs were, and where to hit it, nothing; dead, dead, dead. So one of the people at Screen Gems said "This is the worst, those guys...." he was so angry at them. What it was, was that there were two agencies there, and neither one was going to let the other one know they were enjoying it. But I pitched it for eight straight weeks and nobody bought it. So after sitting in New York just wearing out, you know really wearing out. Pitch, pitch, pitch, sometimes five a day. So finally on the very last day I pitched it to ABC, which was a young daring network willing to try new things, and bought the show in 15 minutes. Thank goodness, because this was the very last day and if they hadn't bought it I would have taken everything down, put it in the archives and never pitched it again. Sometimes I wake up in a cold-sweat thinking this is how close you get to disaster."