A Quote by Jenny Slate

It makes a lot of sense to me that I would be a cartoon. I feel like a cartoon as a person. I really, really do. — © Jenny Slate
It makes a lot of sense to me that I would be a cartoon. I feel like a cartoon as a person. I really, really do.
One way to escape the universe in which everything is a kind of media cartoon is to write about the part of your life that doesn't feel like a cartoon, and how the cartoon comes into it.
The cartoon me writes the books cartoon people read in the cartoon world, because they need things to read there too.
Somebody once told me that if you laugh at a George Bush joke, or you send an email cartoon to your friends that makes Bush look like a fool, you feel like you've done something significant. But really, what have you actually done? Just expressing contempt for your leaders doesn't really accomplish anything.
For me, I think 'Jem' fans were expecting a remake of the cartoon, and the movie really is inspired by the cartoon based in a 2015, modern-day setting. It is going to be very different, but it's also going to be very familiar as well.
There was a time when watching a cartoon was a nurturing experience. You would watch a Warner Bros. cartoon, and at the end of it you could probably win 'Jeopardy.'
The humor is essentially dark for a cartoon and sophisticated. But at the same time, being a cartoon gives the writers more freedom than in a normal sitcom. It always pushes the line that, despite human failings, the Simpsons are really decent people.
I quite liked Sharkey and George and then there was a cartoon with rapper MC Hammer in it - Hammertime - I loved that cartoon, it was genius! They don't make cartoons like that anymore.
Ray Toro is a very eccentric, crazy genius type guy. I think he's a genius. He just got this thing at the VMA. The way he played, it makes you go 'Jesus!' He's really sweet, really kind of lovable. He's like a cartoon character.
I feel that so many sci-fi films and films in general have just become really dependent on and addicted to CGI, and that some of the big CGI films of the summer, you see these effects that look like crap. You don't know if you're watching a cartoon or something that's real. And I didn't want to fall into that trap. I really thought there was a way to use a lot of these old techniques to do some new and really neat stuff.
My father would sit and design furniture and cabinets - he was a carpenter and cabinet maker - and I would ask for my own piece of paper and pencil. And when I would say, 'What should I draw?' he would push a cartoon under my nose and say, 'Here, draw this.' So the cartoon became a kind of focus of attention.
I never doubted that if I applied myself and tried to learn that I would good at it. I've had a lot of lucky turns, no doubt. But it's actually been a fairly direct line from control-freak, cartoon-obsessed kindergartner to control-freak, cartoon-obsessed executive producer.
If you win elections on the theory that government is always bad and will mess up a two-car parade... a real change-maker represents a real threat. So your only option is to create a cartoon, a cartoon alternative, then run against the cartoon. Cartoons are two-dimensional; they're easy to absorb.
I was a top-notch cartoon model for Hanna Barbera, and they made me into a cartoon series called 'Devlin,' which ran for seven years, and I was on lunch pails and coloring books and all of that. It's really interesting being a coloring book when you're young - most kids colored in coloring books, but I made money off coloring books.
If I can finish a cartoon in 20 minutes, then that's the ideal editorial cartoon - it's to the point.
My very first professional job was a cartoon, doing voices for the Mr. T cartoon in high school.
Don't want to end up a cartoon in a cartoon grave yard.
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