After I had done a handful of cartoons I was satisfied with, I started submitting them to the magazines.
Except for me, no one in my family could draw.
I was convinced there as only one actor to play Templeton the Rat, and that was Tony Randall.
High-level, big-deal publicity has a way of getting old for me, but what never fails to thrill me is when I make personal appearances.
That's what keeps me going: dreaming, inventing, then hoping and dreaming some more in order to keep dreaming.
In those days, boxing was very glamorous and romantic. You listened to fights on the radio, and a good announcer made it seem like a contest between gladiators.
While I have never been a regular churchgoer, I'm anything but immune to the power and the majesty of the religious experience.
When animators weren't sleeping, they were drinking.
What the real world of 1941 needed most was the release and relief provided by laughter.
Creating fantasy is a very personal thing, but you can't take the process too personally.
What about Mickey Mouse? Disney tried very hard to make him a star. But Mickey Mouse is more of a symbol than a real character.
There is no law that says a man who earned a hundred million dollars in his first half-dozen years on the job has to be a decent human being, but Mike Eisner is that and more.
Ted Turner sailed into the meeting, and I mean sailed. He holds himself as if he were at the helm of his sailboat, in the process of winning the race.
Publicity gets more than a little tiring. You want it, you need it, you crave it, and you're scared as hell when it stops.
Los Angeles was an impression of failure, of disappointment, of despair, and of oddly makeshift lives. This is California? I thought.