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People still think of me as a cartoonist, but the only thing I lift a pen or pencil for these days is to sign a contract, a check, or an autograph.
If you want to find out what a writer or a cartoonist really feels, look at his work. That's enough.
The comedians I liked were Bill Cosby and Steven Wright, like just always as a comedic actor. I always liked Gary Larson, who's really funny for a cartoonist, obviously.
I've always defined myself not as a cartoonist, but as an entrepreneur. That was true before I tried cartooning. I always imagined cartooning would be how I got my seed capital. I always thought my other businesses would be the less dominant part of my life.
I really wanted to be a newspaper cartoonist, but nobody liked my work. I didn't have the control or flair that was necessary to create something that didn't look childish.
Cartooning at its best is a fine art. I'm a cartoonist who works in the medium of animation, which also allows me to paint my cartoons.
It's always a nice feeling, having people think that you feel things much deeper than you're allowed to say, but this isn't true. If you want to find out what a writer or a cartoonist really feels, look at his work. That's enough.
One of the perks of being a 'New Yorker' cartoonist is that you get to hang around with interesting people. My fellow cartoonists are all interesting, and all highly creative.
I stay out of politics because if I begin thinking too much about politics, I'll probably... drop writing children's books and become a political cartoonist again.
For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.
It seems so absurd to get really mad with a cartoonist over a comic strip. It's sort of like getting in a fight with a circus clown outside your house. It's not going to end well.
Most success springs from an obstacle or failure. I became a cartoonist largely because I failed in my goal of becoming a successful executive.
Obviously there's not much options when you're a cartoonist - you pretty much either work at home or rent an office I guess, and working at home just seems easier.
I felt so painfully isolated that I vowed I would get revenge on the world by becoming a famous cartoonist.
Way back in the day, when I first started and had delusions of adequacy as a cartoonist, I would listen to music. When I switched to a career as a writer, I would try to listen to music, but if the songs had lyrics they would get in the way of the words I was trying to write. So I switched to listening to purely instrumental pieces.
I went through a phase where people would introduce me at parties as a cartoonist, and everybody felt sorry for me. 'Oh, Matt's a cartoonist.' Then people further feeling sorry for me would ask me to draw Garfield. Because I'm a cartoonist, draw Snoopy or Garfield or something.
'Diary of a Wimpy Kid' is my first book, and it's the fulfillment of a life-long dream. I had always wanted to be a cartoonist, but I found that it was very tough to break into the world of newspaper syndication. So I started playing with a style that mixed cartoons and 'traditional' writing, and that's how 'Diary of a Wimpy Kid' was born.
I wanted to be a cartoonist when I was young.
My dad used to draw these great cartoon figures. His dream was being a cartoonist, but he never achieved it, and it kind of broke my heart. I think part of my interest in art had to do with his yearning for something he could never have.
If you're a kid wanting to be a cartoonist today, and you're looking at Family Guy, you don't have to aim very high.
I really wanted to be a cartoonist, and I was in 4th or 5th grade and I would bring my drawings in, and I'd look around, and everyone could draw better than me. Everyone. My drawings were just awful. So that's why I had to write.
R. L. Stine
There is a relationship between cartooning and people like Mir= and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.
You can't just count on becoming a syndicated cartoonist. I actually tried to calculate the odds once, and the best I could come up with is a 1-in-36,000 chance. And the odds of getting hit by lightning are 1 in 7,900 - which kind of shows how long those odds are.
I would think a sense of the absurd is more important for a political cartoonist, because that could define things like a sense of hypocrisy or a sense of the things one has to be skeptical about.
As a cartoonist, I am not interested in defending the dominant, the powerful, the well-resourced and the well-armed because such groups are usually not in need of advocacy, moral support or sympathetic understanding; they have already organised sufficient publicity for themselves and prosecute their points of view with great efficiency.
I started doing cartoons when I was about 21. I never thought I would be a cartoonist. It happened behind my back. I was always a painter and drawer.
Martin Luther King, Jr.
Image of the Moment
Do right. Do your best. Treat others as you want to be treated.
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