->"What, all this junk, the yak-yak-yak? It would've broke my heart! Dialogue gags are a dime a dozen, but a good sight gag is hard to come by."
-->--Tex Avery on TV cartoons, quoted from pg. 199 of ''Tex Avery: The King of Cartoons''

->"A lot of it (his comedy style) comes back from those old slapstick comedies. [[Creator/CharlieChaplin Chaplin]]- I guess everybody's copied him. You can see some of the things they contrived with wires and so forth to get impossible gags- Mack Sennett with his ford going between two trolleys. We found out early that if you did something with a character, either animal or human or whatnot, that couldn't possibly be rigged up in live action, why then you've got a guaranteed laugh. If a human can do it, a lot of times it isn't funny in animation. Or even if it is funny, a human could do it funnier. They attempted to make a Laurel and Hardy cartoon series. Well, goodness, you can't copy their reactions and all of that. But if you can take a fellow and have him get hit on the head and then he cracks up like a piece of china, then you know you've got a laugh! Because they cannot do it live! I would also say that magazine cartoons were a big influence. Virgil Partch started going crazy like that- having a guy taking a shower inside a helmet, just his head sticking out. There have been times when a magazine cartoon has built into a funny cartoon gag- twisting it, and switching it around, changing the situation or something. Or distortion, we've gotten a lot out of distortion, a character getting into something he couldn't possibly get into- a milk bottle or something. You couldn't possibly do that with Charlie Chaplin, get him in a milk bottle."
-->--Tex Avery in an interview with historian Joe Adamson for his book ''Tex Avery: The King of Cartoons''

->"Avery was a genius. As one of his animators in the later 1930s (at Warner Bros.), I was as ignorant of his genius as I supposed Creator/{{Michelangelo}}'s apprentices were oblivious to the fact that they, too, were working with a genius. But Avery's brilliance penetrated the husk of my self-assured ignorance, the ignorance that encases most twenty-year-olds. In spite of myself, I learned from him the most important truth about animation: animation is the art of timing, a truth applicable as well to all comedy. And the brilliant masters of timing were [[Creator/BusterKeaton Keaton]], [[Creator/CharlieChaplin Chaplin]], [[Creator/LaurelAndHardy Laurel and Hardy]], (Harry) Langdon--and Fred (Tex) Avery."
-->--Creator/ChuckJones on Tex Avery, pg. 97 of ''Chuck Amuck''

->"Creator/ChuckJones' coyote can fall five miles from a precipice and still be alive when he gets to the bottom. Tex Avery's wolf would probably endure such a fall but is more likely to develop brakes on the way down. It is the creation of the director's own universe, and the maintaining of that universe, that makes animation a medium capable of individual, personal expression, and what allows us to tell one animation director from another."
-->--Historian Joe Adamson on Tex Avery

-> '''[[RidiculouslyCuteCritter Sammy Squirrel]]''': [[TastesLikeDiabetes My cartoon would have been cuter!]]\\
''' Screwy Squirrel and Meathead and their OffScreenTeleportation doubles [[EnemyMine together]]''': Oh, brother! NOT THAT!\\
''(cue BigBallOfViolence)''\\
-- ''Screwball Squirrel''