A Quote by Bill Plympton

I don't see why it's such a stretch for distributors, buyers, and studios to put cartoon characters into adult situations on film. — © Bill Plympton
I don't see why it's such a stretch for distributors, buyers, and studios to put cartoon characters into adult situations on film.
A lot of times, projects happen just to influence the distributors or buyers.
I can't look at TV without seeing something that's been influenced by rap. Even commercials for cereal. When I was small, I was a fan of cartoon characters - now the cartoon characters are rapping!
But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.
There are a million little things, but one of the best ways to get to know characters is to just put them in situations and see what they say.
Pablo Picasso would paint a painting and hang it on the wall, and you would go and see the painting exactly how he wanted it to be made. But if you have an idea for a TV show, for example, you're beholden to studios to produce it and distributors to distribute it.
I somewhere along the way became fascinated with exploring characters who are willing to put themselves into violent situations, whether it's football, hockey, boxing, being a cop, being a soldier. There's not a lot of people who are willing to put themselves into those situations.
So much emotion can be brought in an animated film that's very hard to get in a live-action film. I haven't quite put my finger on why, but it might be because the characters can make facial expression that, if you made them in a movie, they'd call them corny.
I see our veterans as American heroes, not as cartoon characters.
Fortunately, we have writers who very much respect the classic characters and the integrity of the classic characters, that are also terrific comedy writers and are able to put these classic characters in new and interesting, and quite funny situations for today.
I am a method actor, but I'm also a film actor as well as a method actor. Characters that don't have humility, whether they are heroes or villains, are hard to relate to. All characters in every aspect of what we do should have humility. If they don't, then they're a cartoon character.
I would like to see a lot more buyers and also a lot less bargaining by local buyers.
I think that the audience wants to see women being put into real situations where they can relate to them, rather than seeing some glamorous woman in a 'Bond' film.
There's so many characters they [studios] are not letting me play. And I thought, "Why don't you just go produce it yourself?".
When studios start telling me why a particular film project won't work, I remember 'Rocky.' I remember that the biggest success Bob Chartoff and I have had was a film nobody wanted to make.
The 1960s and 1970s were the real years for independent film, because they were really independent. Plus, there were hundreds of distributors. There were all these companies that basically did exploitation, but they were independent. Now, there are very few independent distributors.
I think distribution has become a lot harder. With the whole explosion of digital video, there's just a lot more people making films. Distributors have a lot more choice. I do think there's an audience out there for small films. It's obvious to me what the studios do: they've co-opted independent film. They all have their independent arm. They can afford to crush the competition.
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