I like cartoons. I like 'Foster's Home for Imaginary Friends.' It's funny! It has things that kids wouldn't get. It's like, if you're mature, you get it. I like that and 'The Fairly OddParents.'

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.

I think a lot of the Disney cartoons are scary when you watch them at a young age.

I'm not up on today's television for children, because it's mostly cartoons that don't seem to interest me.

I want adults to be the last ones to switch off a cartoon on TV.

In television writing, you want to hear what the characters say as opposed to giving them something to say. It's the same with the cartoons.

Editorial cartoons should be smart and substantive, provocative and informative. They should stir passions and deep emotions. Editorial cartoons should be the catalyst for thought, and frankly speaking, if you can make politicians think, that is an accomplishment itself.

Editorial cartoons are about concept. The illustration is merely a vehicle to convey a point of view. We're here to protect and inform the public, to attack and repel those who do not agree with our long-term shared interest.

Around 2000, I was working on cartoons like 'PB&J Otter' and 'Doug.'

As crime writers, we put these characters, year after year, book after book, through the most horrendous trauma, dealing with grief and death and loss and violence. We can't pretend that these things don't affect these characters; they have to. If they don't, then you're essentially writing cartoons.

My wife, Katey Sagal, has transformed herself from a sitcom cartoon to a dramatic powerhouse.

I wanted to do an R-rated cartoon since I watched 1981's 'Heavy Metal.'

I used to spend summers in the Czech Republic with my grandmother. I'd watch Czech cartoons.

I don't think there's more than half-a-dozen cartoons that I've been really truly happy with in all the time I've been doing it.

I love classic animation, and I especially love classic cartoon music.

Most sitcoms and cartoons, especially, you can rely on, because they go back to square one at the beginning of every episode.

I've never really thought about competing with cartoons. If it ever gets to that point, then just shoot me.

If you're going to make a musical, don't cartoon it from the play. Make it better than the play. Have a reason for making it sing.

At one time Tribune Syndicate emptied out their storeroom. They put tables full of original cartoons down in the lobby and said take one if you want one. The comics were simply a burden to them.

I've loved cartoons all along. Most people outgrow that when they hit 10 or 12, I guess, but I never did. I'm not sure why.