A Quote by Jules Feiffer

I'm not sure about that role any longer. The role used to be to mix things up and I think to a great extent it still is, but the quality of the work of the political cartoon has been succeeded by the wisecrack, the gag cartoon, so that the cartoonist becomes more of the equivalent of the Jay Leno monologues, or David Letterman monologues.
People think you get one idea for a cartoon every week, and that's not the way it works. You usually get 10 or 15, and you're - certainly when I was a cartoonist, before I was a cartoon editor, you're rushing to do what is called the batch. When I was doing that, I liked to have, in general, about 10 cartoons.
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.
I've been on Letterman a couple of times. I've been on Leno more than a couple times, and now Letterman hates me because I've been on Leno more than him. They're very jealous of one another, as you know.
The cartoon me writes the books cartoon people read in the cartoon world, because they need things to read there too.
The idea that I would ever end up on David Letterman or Jay Leno is horrifying. I am such a freak in comparison to most other twenty-five-year-old guys. I have no idea what other people are thinking. I’m not really in touch.
I think some days you should do a cartoon that is absolutely just for the laugh, and some days you should do a cartoon that just punches the reader right in the stomach. It's kind of nice to mix it up.
If you're a painter, it's simply taken for granted that you'll spend a lot of time in museums studying great paintings, but if you're a cartoonist, it used to be very hard to see an original cartoon drawing.
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.
The Practice I was on for seven years and it was a law show, so I really - a lot of objections and things like that, lots of long, long monologues that David Kelly used to write me, which were great. I was really lucky to have my first show go that long.
'The Practice' I was on for seven years and it was a law show, so I really - a lot of objections and things like that, lots of long, long monologues that David Kelly used to write me, which were great. I was really lucky to have my first show go that long.
What's interesting about playing Maura is that I get to use more of Jeffrey that I've ever used in any role, and I think that's the remarkable part about it and truly the most surprising part about doing this role.
Theatre aside, my penchant for the extended monologue began with my reading of Browning's dramatic monologues, in high school. My inclination to adopt the form for prose was confirmed by Richard Howard's book of dramatic monologues, Untitled Subjects.
Don't want to end up a cartoon in a cartoon grave yard.
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.
It's fun playing a more feminine part. I can identify more with a woman of passion and emotion than with a cartoon character. Who knows what a cartoon feels?
No one blames themselves if they don't understand a cartoon, as they might with a painting or "real" art; they simply think it's a bad cartoon.
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