A lot of people get emotional in movies that are cartoons, but not in TV shows.
Aaron Paul
It's a spirit that was given me and the relationships and meeting all these great people, Duke Ellington, Louis Armstrong; through Max I met a lot of people too. My first album was with Benny Carter.
Abbey Lincoln
I was definitely more of a movie/cartoon guy than comics, but I really do like graphic novels - I don't have the time to sit down and read Stephen King like I used to, so I find picking up 'Saga' every now and then and just diving back into it is a great way to stay reading.
Adam F. Goldberg
One of my favorite things was I got to work with Avi Arad on a movie for Sony, and we don't realize this, but he's the reason toys were sold off of cartoons, more or less. He created the Gobots!
'The Pushcart War' is presented as a history of a conflict that has not yet taken place; in each edition of the book, the date on which the hostilities commenced is nudged forward.
Adam Mansbach
The Strand prides itself for its '18 miles of books,' and they are not kidding - that store goes on for da-a-a-a-ys. There are carts outside with dollar books, all sorts of fun merchandise inside, and an extensive selection of reduced priced books. If you're looking to buy a $30 hardcover for $20, The Strand is your new best friend.
Adam Silvera
Cris Carter and Randy Moss - they're the guys who made me want to play football and be a receiver.
Adam Thielen
I'm sometimes a cartoonist, and there's an audience for that, and I'm sometimes an illustrator, and there's an audience for that.
Adrian Tomine
The art editor in charge of the covers at the 'New Yorker' is Francoise Mouly. She's very familiar with the eccentricities and personalities of cartoonists, so working with her is very easy.
It's a strange thing to be a so-called alternative cartoonist, because in the early part of my career, I was really tethered to the superhero world.
I never really thought of myself as an Asian-American cartoonist, any more than I thought of myself as a cartoonist who wears glasses.
I really love New York, but I have to say, the humidity during the summer is a nightmare for a cartoonist. Not only am I sweating in my studio, my bristol board is curling up, the drafting tape is peeling off the board, my Rapidograph pens bleed the minute I put them to paper... it's a disaster.
I do think that many Americans have a limited view of what constitutes Japanese cartooning based on what gets translated, so it's great to see an increase in diversity.
The type of cartooning that I think is generally referred to as 'alternative' or 'underground' is usually - the distinction is usually in terms of whether it's made by one person, the entire thing is done by one hand or more of a production line process, which is how the comics that we grew up reading were made.
I love both real and fake jewelry. My kids make me necklaces, and I wear those, too. Every day, I wear my gold wedding band and the Cartier watch my husband gave me.
Aerin Lauder
I guess that if I was a normal cartoonist who did things properly, I'd think up the background information first and then come up with the story. Saying that, you'd think that I don't really think through anything.
Akira Toriyama
What I regret most after becoming a cartoonist is having used my real name. At first, I figured there was no way I'd sell anyhow, so I didn't even consider using a pen name.
It's a secret, but when I decided to apply to 'Shonen Magazine,' it was already past the deadline, so I had no choice but to go with 'Shonen Jump.' My motivation for becoming a cartoonist was... to put it bluntly, the ¥100,000 prize money.
I think it's best to know about lots of different things besides comics. I don't think you can become a cartoonist if you look at nothing but cartoons.
Cartoons are the best stuff on TV. 'Wonder Showzen,' 'Aqua Teen,' 'SpongeBob,' and, of course, 'South Park' - one of the funniest shows ever made.
Akiva Schaffer
I could take all the cartoons in the tabloid newspapers, but I couldn't take my daughter punching me in the belly and asking why I was so fat. That was my inspiration to lose the weight. And probably the last time anyone hurt my feelings.
The dedication of Don Winslow's novel 'The Cartel' is nearly two pages long: a list of journalists who were either murdered or 'disappeared' in Mexico between 2004 and 2012 - the period covered in this hugely hypnotic new thriller.
Way back in the day, when I first started and had delusions of adequacy as a cartoonist, I would listen to music. When I switched to a career as a writer, I would try to listen to music, but if the songs had lyrics they would get in the way of the words I was trying to write. So I switched to listening to purely instrumental pieces.
In many ways, my entire graphic novel career was a long diversion. Originally, all I wanted to do was to be an underground cartoonist and maybe bring out a groovy underground mag.
I didn't watch cartoons, I was too busy playing football.
I loved cartoons as a kid, and so many funny moments in animation for me are nonverbal sounds, unarticulated mouth noise.
Two words guided the making of 'Babel' for me: 'dignity' and 'compassion.' These things are normally forgotten in the making of a lot of films. Normally there is not dignity because the poor and dispossessed in a place like Morocco are portrayed as mere victims, or the Japanese are portrayed as cartoon figures with no humanity.
When my friends talk about childhood, I've never heard of any cartoons or TV they remember. The only thing we share is Michael Jackson. That's how far his music travelled - to a remote village on the other side of the world.
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.
I watched the classics as a kid, and I could tell that Bugs Bunny in drag was a cartoon and a joke. It didn't make me start dressing in drag.
I can speak to my experience and say that CalArts worked out very well for me. After CalArts, I went to Cartoon Network, and then came to Disney.
As long as I can recall I've always wanted to make cartoons.
Not a lot of people get to say, 'I'm a cartoon character.'
When you're drawing from observation and experience, whether you intend to or not, you'll create a more relatable cartoon.
If you ask anyone in animation, how long they've been into animation, they'll pretty much always tell you that it's since they can remember, and I'm no exception. I've always just loved drawing and loved cartoons.
I remember when I was a kid, whenever you'd see cartoons cross over with each other, it always ranged from a delightful, magical surprise to a cynical, annoying cash grab.
When I went to California Institute of the Arts, I was classmates with a lot of like-minded weirdoes, some of who have gone on to create other cartoon shows-J.G. Quintel, 'Regular Show;' Pen Ward, 'Adventure Time.' We were all friends in school and pushed each other and made each other laugh.
Children's programming in America, I think it's pretty shoddy in terms of lack of diversity. It's pretty much cartoons and Disney sort of shows. I don't find any of that stimulating for children.
When I arrived in Champ Cars, which at the time used to be called Indy Cars and then got renamed CART and then renamed Champ Cars, I was racing against Jimmy Vasser, my team-mate, but more than him, I was racing against Michael Andretti, Emerson Fittapaldi, Al Unser Jr. - guys that had big names.
We want as best as possible to encourage emerging talent and galleries by their inclusion on Paddle8. Our exhibitions help bring interesting new works on the platform. We have to be agnostic in that respect and the galleries themselves have complete carte blanche as far as what they include on the site.
Then came the hostage crisis during which Carter did nothing to rattle the ayatollahs who hung tough until Ronald Reagan was inaugurated, when they suddenly backed down.
If you give me carte blanche for any destruction and any revolutionary transformations, if that is what you want, then for God's sake, we will do it. The issue is not me: the issue is society.
I don't want all of American cinema to be big cartoons that are just made to be digested by the entire world.
Helena Bonham Carter was one of my biggest crushes. And Rachel Weisz. I think I told her that when we were filming, which was probably a bit embarrassing.
I'm not satirical in a traditional way. What I do is more about creating caricatures and cartoons. I am commentating on the nature of how we live through photography, and how you can twist an angle to create a different perception of a person.
I have a doughnut every morning. The same kind, from a street cart. Vanilla frosted with sprinkles on one half, weirdly. How hard is it to sprinkle the whole thing?
To this day, I remember vividly Missy Elliott, Ludacris, and my grandma riding in a golf cart to set. My grandma went back to Ohio and told her bowling friends, 'Guess what? I was riding to set with Missy and Ridiculous!'
When women do take on traditionally male subjects, certain male colleagues can seem affronted that a woman has dared to trespass on their subject. I could given you dozens of examples, but here's one: Max Hastings's review in the 'Sunday Times' in 2009 of Miranda Carter's book 'The Three Emperors'.
When I read the news that Wonder Woman was going to be resurrected for a blockbuster movie in 2016, 'Batman vs. Superman', it made me excited - and anxious. Would the producers give her a role as fierce as her origins - and maybe some shoulder straps - or would she just be cartoon eye candy?
I guess I was the most unbohemian of all bohemians. My bohemianism consisted of not wanting to get involved with the stupid stuff that I thought people wanted you to get involved with - ... namely America... Dwight Eisenhower, McCarthyism and all those great things.
