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Cartoons drove the photo back to myth and dream screen.

 

Marshall McLuhan

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Dream is personalized myth, myth is depersonalized dream; both myth and dream are symbolic in the same general way of the dynamics of the psyche. But in the dream the forms are quirked by the peculiar troubles of the dreamer, whereas in myth the problem and solutions shown are directly valid for all mankind.

 

Joseph Campbell

 

The main thing missing from cartoons is today that old cartoons were cartoony. They did things you can't do in any other medium. Today's cartoons are very conservative and are more like live action. The characters look the same in every frame of the damn cartoon. The old cartoons squashed, stretched, and did crazy expressions. They were imaginative and crazy. A lot of cartoons aren't imaginative, they just say things. It might as well be radio. There is no point in having anything to look at in modern cartoons. But you can't say that about every cartoon. Genndy Tartakovsky's cartoons are beautiful. The closest thing now to what I'm saying is SpongeBob but even that doesn't go very far. It's like a conservative version of Ren & Stimpy.

 

John Kricfalusi

 

I was just livid, out of hand. I got madder and madder as we drove along, and just as we drove by the Chelsea Hotel I did something. I've never done anything to hurt anyone, and yet I was so furious that I pressed the button and rolled down the window screen — the glass plate between the front and back seats — and I told the chauffeur that the man in the back was molesting me, he was a junkie! I was so horrified by what I said, so I flipped out by that, that I jumped out of the car into the path of oncoming traffic, certain that my head would be crushed. All that happened was that I got bruised, badly bruised, but no broken bones. I mean, I was conscious, not destroyed at all. But I'd done such a terrible thing! I couldn't reconcile that. I had been about to explode. The hotel people came out, and they and Bobby carried me in. I had to pretend I was unconscious because I couldn't comprehend the fact that I had tried to get him busted, to hurt him seriously. He was the only person I had ever gotten violent about. I take whatever violence comes into my system much more heavily on myself than on anyone else. But that was a pretty tight squeeze. I really craved making love to him.

 

Edie Sedgwick

 

Sergeant Bill Mauldin seemed to us over there to be the finest cartoonist the war had produced. And that's not merely because his cartoons are funny, but because they are also terribly grim and real. Mauldin's cartoons aren't about training-camp life, which is most familiar to people at home. They are about the men in the line — the tiny percentage of our vast Army who are actually doing the dying. His cartoons are about the war.

 

Bill Mauldin

 

The Wizard of Oz (M. G. M.) should settle an old Hollywood controversy: whether fantasy can be presented on the screen as successfully with human actors as with cartoons. ("The New Pictures," August 21, 1939)

 

Whittaker Chambers