A Quote by Al Jaffee
Almost every cartoonist, when he's sitting down to draw a funny face, if you watch him closely, his mouth is gonna curl to the expression that he's drawing. But when I would write a story - I know it's going to sound almost ridiculous and infantile - I would, in a way, start living it.
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Never having been in love, this is going to be a real trick. I think of my parents. The way my father never failed to bring her gifts from the woods. The way my mother's face would light up at the sound of his boots at the door. The way she almost stopped living when he died.
To draw does not simply mean to reproduce contours; the drawing does not simply consist in the idea: the drawing is even the expression, the interior form, the plan, the model. Look what remains after that! The drawing is three fourths and a half of what constitutes painting. If I had to put a sign over my door to the atelier, I would write: School of drawing, and I'm certain that I would create painters.
I used to write things for friends. There was this girl I had a crush on, and she had a teacher she didn't like at school. I had a real crush on her, so almost every day I would write her a little short story where she would kill him in a different way.
Nobody even mentioned the word losing, losing games. We know we've been a losing franchise. He just wanted to say something back like he's always running his mouth. That's what he does. He runs his mouth all the time. Nobody was blaming him for anything. For him to come back at me was a personal attack. I feel that if there is anything that he is unsure about, tell him I would be more than happy to say it in his face, or any kind of other way, that would make him understand.
I used to live with J.D. Souther, and I would watch him write. He's be sitting, he'd say something, and then he'd write it down. That's craft.
The only one who didn't know was George Lucas. We kept it from him, because we wanted to see what his face looked like when it changed expression--and he fooled us even then. He got Industrial Light and Magic to change his facial expressions for him and THX sound to make the noise of a face-changing expression.
Donald Trump gets things done. That's all there is, getting things done, accomplishing objectives. And you watch. The reaction to Trump is, "We can't do it that way. This is not the way we do it. That's not the way it's always been done." It's almost cliched, but that is what I expect is gonna happen, and the Democrats, I think, are gonna end up falling even flatter on their face than they have to date because they still are living in a state denial.
David Whitmer wrote: ' Joseph Smith would put the seer stone into a hat, and put his face in the hat, drawing it closely around his face to exclude the light; and in the darkness the spiritual light would shine.'
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.
If you ask almost any of them, do you stand behind your theory, is this the answer, I think they would almost every one say that no, no, no, I'm just trying to expand the range of possibilities. We really don't know what is going on.
I have three kids. Now they're all grown up, but when they were little, every time I would start a new project, they would say, 'So dad, are you making a movie we can watch or one we cannot watch?' That's the kind of stuff they would ask. People around me - family and friends - usually know when to watch and when not to watch.
I tend to write my beginnings and endings first - as a cartoonist and storyteller, I couldn't sit down every day if I didn't know where the story was headed.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
By the way I also don't know anybody, so I would have to Google almost every single partner of mine - other than Ian Ziering because I used to watch '90210.'
I myself, as I'm writing, don't know who did it. The readers and I are on the same ground. When I start to write a story, I don't know the conclusion at all and I don't know what's going to happen next. If there is a murder case as the first thing, I don't know who the killer is. I write the book because I would like to find out. If I know who the killer is, there's no purpose to writing the story.
Down through the years my face has been called a sour puss, a dead pan, a frozen face, The Great Stone Face, and, believe it or not, "a tragic mask." On the other hand that kindly critic, the late James Agee, described my face as ranking "almost with Lincoln's as an early American archetype, it was haunting, handsome, almost beautiful." I can't imagine what the great rail splitter's reaction would have been to this, though I sure was pleased.
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