Top 1200 Cartoon Character Quotes & Sayings - Page 2

It's all about being comfortable, being easy and having you be able to wear something and not having it wear you. It's classic. Every time I've tried to be bold and crazy, I feel like a Japanese animated cartoon character.

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.

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.

Scooby's the greatest cartoon character ever. He isn't cute like Mickey or smart like Bugs or fearless like Woody and Buzz - he's a talking dog who's more human than I am. It's his humanity and imperfections that make him special.

My biggest regret is that I've assisted the media in making me into a cartoon character. I don't regret what has happened to me, but I regret the way I have dealt with it.

When you work on anything, you want to find the range of impulses - which ones get portrayed is another question, but you want to have that complexity and that fullness, even if you're playing a cartoon character.

If I was to pick a cartoon character I am most like, I would say Daisy Duck because she is very stubborn, she has a very feminine sense, and she knows what she likes.

I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.

In a story, for example, you'll start off with a character who is a little bit of a cartoon. That's not satisfying and you start revising. And as you revise you always are making it better by being specific and by observing more closely, which actually is really the same as saying you love your characters. The close observation equals love of them.

Generally, we try not to write down to kids. We really just try to write a visual, character-driven cartoon that has a lot of slapstick and really appeals to us. I guess we are just lucky that other adults find that amusing, too.

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.

People will always consider me a cartoon character, a bimbo. They will never give me credit.

I think my craziest hair was when I first went red for my 30th birthday. My idea was The Little Mermaid because I always wanted to be her and then I was going to be I love Lucy and every red-haired character that you can imagine. It was really cartoon red and now I'm in the more natural believable tones.

I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.

My first job now is as a mother, everything else is secondary. My kids understand that I am an actress, and they are always so surprised to hear my voice on a cartoon character, or see my face on a video box. If it ever gets to be too much though, the career and the kids, I will simply set the career aside.

I had a very specific goal and I think kids, more than adults, don't understand obstacles and competition. I wanted to be this one cartoon character [Porky Pig], couldn't figure out why I couldn't do it, other than living in the midwest.

Finn crossed his arms and glared at Volusian. It was kind of a bold move, considering Finn looked like a cartoon character and Volusian looked like he ate the souls of small children. For all I knew, he probably did.

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.

When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.

'Wonder Woman' is much more than a cartoon character. She's fighting for truth and justice and the secret self that exists in all women and girls. There's a moral fiber and a goodness about her that all women have.

'Cinderella' the cartoon scared me. I watched the bits with the mice, and the scenes with the stepsisters ripping her dress apart scared me. Cinderella was never even my favorite character in 'Into the Woods.'

I wouldn't do my roles if I really hated it. I've done things I hated, but I didn't go into them thinking I would hate them. I want to have fun. I don't want to go to work and not enjoy it. So if I'm swirling around on some wires, talking to Fred Flintstone, I make it the funnest I can. I also want to be good at it. I don't want to be a crap cartoon character. I want to be proud I'm a vitamin!

I don't think it's so important to be a movie director. It's a beautiful profession, but no more than to be a cartoon writer. A very rich cartoon writer. I've done a lot of films, and I know deeply that, in all of cinema, there is no director who is as good as Shakespeare.

Like a cartoon world, where the figures are flat and outlined in black, jerking through some kind of goofy story that might be real funny if it weren't for the cartoon figures being real guys.

Suburbia is the insidious cartoon of the country house in a cartoon of the country.

I’m a human being, I’m not anyone’s mascot! And I am America’s conscience. And that’s what they don’t want to look at. They would rather look at a cartoon character than at the deceit of this country and this government.

I started to look like a cartoon character with the fringe and the catsuits. Yes, I want to change and mix it up. I want to change my hair, change my style. I want to be allowed to grow.

I am definitely not scared of Mike Tyson. I am at the top of the food chain and he is looking to knock me off. Mike's an arrogant imbecile. He sounds like a cartoon character.

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.

I've been around a long time and I've found that these forms, whether it's the cartoon, or whether it's a play, or all these dying forms refuse to die. Something happens to rejuvenate them and it will certainly happen to the political cartoon. It will come back. But whether it's on the internet, or whether it's in some other form, however that works, whether it looks the way it looks now, or entirely different, I have no idea. And thank God I don't have to worry about it.

I'm often asked where my nickname 'Kun' comes from. My parents says it was a Japanese cartoon I used to watch on television when I was very young, set in the Stone Age, where the main character was a boy called Kum Kum, the little caveman.

You work like hell to get yourself ahead in the business. You could go anywhere before, and suddenly you can't go anywhere. It's like being a cartoon character.

I love wearing Converse or Vans and wear a lot of bombers or denim jackets. I'm also a bit of loser, so wear a lot of film and band T-shirts. My friends say that I look like a cartoon character because I'm always wearing the same kind of stuff.

I've jumped off pianos, I stopped climbing up curtains when the screws popped once and I fell to the floor like a Looney Tunes cartoon character, and ended up off for six months because of a broken ankle.

It hurts that, you know, the media's made me into sort of this like punching bag or cartoon character-they think that I don't have any feelings, and, you know, it hurts like anyone else.

We have to know cognitively what another mind is thinking and also empathically what they're feeling. And of course, in general, that's always the case, but it's often very generic. Like with Leo Cullum's doctor, it's just the fact that people in general are cruel and insensitive. But in the Barbara Smaller cartoon, we understand it's this particular person or this specific sub-class of person and her particular needs and desires, and that's different than a pun cartoon in which it's just semantic.

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.

A good cartoon is always good on two or three levels: surface physical comedy, some intellectual stuff - like Warner Brothers cartoons' pop-culture jokes, gas-rationing jokes during the war - and then the overall character appeal.

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'm not particularly an expert on the genre. Correct me if I'm wrong, but usually you see most of the super-villain in his villainous role. He's the Green Goblin, or whatever various bad guys in Batman, or something like that. It's the excessive, larger than life, cartoon-ish, costumed character that is the personification of evil and has to be destroyed.

We tried to make it more than just a cartoon. It was a cartoon, but we tried to make it more than it was to begin with. And I have 300,000 followers from Turkey, Romania, Poland, and places over there that love Life With Louie, where it was translated into their language. They love it. They are absolutely in love with it. And it just goes to show you: no matter where you go, it's always about family.

I did speak out about celebrities because I thought it was appalling. I thought that if the cartoon became popular, it was only going to last as long as the career of the people who are in it. They didn't make up timeless voices. They used their own. They brought nothing to the table, in other words. There was no alchemy. That's why a cartoon was so alluring, was that a human being went into a place and created this supernatural sound, or whatever sound it was supposed to be that was totally unlike their own, and did it in multiples.

I was the singing voice of a cartoon character. I did dog food commercials. I did a lot of commercials, actually, and helped pay my rent and my classes. Then I'd get one good line or two good scenes. I was building my career and building my own experience and learning technically what it was like to be on a set and all of those things.

I laugh when I end up on the worst-dressed lists. I'm not trying to be fashionable. I know I'm kind of a cartoon character. Do people honestly think I'm wearing a kafkan in order to be fashionable?

People just expect you to show up, be a cartoon character of yourself, take your money and go home. But don't screw up to the point where you're gonna be out of the picture.

If you watch a stretch of TV for a few hours, there is a good chance you'll hear me on some commercial or in some documentary or on a cartoon as some voice of a character.

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.

If you're a cartoon character or most TV characters, sure, you'll fight, because the punches are juicy-sounding and they don't leave marks. But in real life, if somebody punches you in the eye, it doesn't make any noise and your eye is swollen for, like, six months. It's a nightmare to get punched in the eye.

I love wearing the exact same thing all the time because I think it makes you like a cartoon character. They always wear the same outfit and everybody always remembers them for it, so I feel like I should do the same thing.

Saturday morning cartoons do that now, where they develop the toy and then draw the cartoon around it, and the result is the cartoon is a commercial for the toy and the toy is a commercial for the cartoon. The same thing's happening now in comic strips; it's just another way to get the competitive edge. You saturate all the different markets and allow each other to advertise the other, and it's the best of all possible worlds. You can see the financial incentive to work that way. I just think it's to the detriment of integrity in comic strip art.

With The Brood, it was cool because it had the music, it had the different look and at the time reality-based characters were really starting to take the forefront as opposed to the cartoon character stuff that you'd seen in the past. We were already into the Attitude era. It was kind of a gimmick, but it was a cool gimmick. It wasn't corny.

Freedom of speech trumps political correctness. I would say our magazine would publish an anti-Semitic or Holocaust denying cartoon if it meant Jews around the world were rioting because of it and burning embassies because of a cartoon. We would want to show our readers what all the fuss was about.

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.

I'm the kid who wanted to grow up and be Bugs Bunny. I was very, very disappointed when I realized I couldn't grow up and be a cartoon character.

My grandmother was probably the first person who I thought was beautiful. She was incredibly stylish, she had big hair, big cars. I was probably 3 years old, but she was like a cartoon character. She'd swoop into our lives with presents and boxes, and she always smelled great and looked great.

Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don't know how to draw.

It's very hard to take a character out of nothing, and put a hook on it, especially because it's only sonic. Futurama is a sonic world, and everyone's attention is focused on that sound and that little cartoon image. You can change it.

All I know is it’s silly to chase fun when all you need is the ground underneath you to be solid. And I don’t expect to be one of those people that does cartwheels in yogurt commercials. I wanna be the cartoon character in that antidepressant ad who has, like, little lines under her eyes, and the divot in the middle of the pill is the pill’s mouth... have you seen this ad? It’s very good. It’s for Abilify, which is not a word.

My grandmother was probably the first person who I thought was beautiful. She was incredibly stylish, she had big hair, big cars. I was probably 3 years old, but she was like a cartoon character.

Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you