The cartooning was always just an abstraction. It was an income. It was making me famous. It was allowing me to go and do other things that I’d wanted to do.
BERKELEY BREATHEDThat’s the conundrum of cartoon stripping, as opposed to political cartoons. When your anger is the driving force of your drawing hand, failure follows. The anger is OK, but it has to serve the interests of the heart, frankly.
More Berkeley Breathed Quotes
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I can say that even in the midst of my most cynical comic stripping: Opus shone through with a bit of heart, anchoring the ugly proceedings with a comforting pull of emotion.
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I was never asked to join the Editorial Cartoonists Of America. No fraternity would have me in college, either. I think they know something.
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He comic page is dying; I didn’t want to go with it.
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And just as it is with all proper grannies, she ordered me into my pink bunny jammies.
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My kids hear me behind my door, giggling like an idiot, and they roll their eyes at the blatant indignity of it all.
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I happen to think nearly everybody – especially those one might find in the odd issue of ‘People’ magazine, including me – is frightfully boring, especially me. And Tom Cruise. Tom and I are alike in only this way.
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Irony can elude the genius among us, sometimes.
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Steve Dallas…a frat-boy lawyer who I knew in school. He’s never written me. I suspect he was shot by an annoyed girlfriend, which has saved me many legal fees.
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I drew the last image ever of Opus at midnight while Puccini was playing and I got rather stupid. Thirty years. A bit like saying goodbye to a child – which is ironic because I was never, never sentimental about him as many of his fans were.
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Doonesbury had the requisite and overwhelming influence in 1980, as it did on any college cartoonist who was paying attention, of course.
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A turkey which was no doubt a lively, intelligent bird… a social being… capable of actual affection… nuzzling its young with almost human- like compassion. Anyway, it’s dead and we’re gonna eat it. Please give our respects to its family.
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The fan letters were mostly answered by professional people that’d done them for a living. And I didn’t have any daily connection with their response to my work. I didn’t have a relationship with my audience. And every artist should have it.
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It’s not terribly dignified to have anyone seeing one laugh at one’s own material.
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It was a huge challenge to learn digital painting well enough so that computers don’t pop into mind when one sees one.
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If I could have drawn a cat yelling for lasagna every day for 15 years and have them pay me $30 million to do so, I would have.
BERKELEY BREATHED