History Quotes / JohnKricfalusi

->If you thought some of his writing there was off-putting, imagine him yelling those things at you! He wasn't just musing in his own head [[Blog/JohnKStuff on the blog]]. [[BadBoss He actually talked to people at the studio like that, insulting and degrading them if they drew flat or "uninteresting" drawings.]] His anger isn't just reserved for imaginary Creator/{{Filmation}} animators. It's real, it's ugly, and it's devastating. The "nice" John you read on the blog, who just happens to have a curmudgeonly streak, is an anomaly we rarely saw. [[JerkWithAHeartOfJerk The whole thing is the streak.]] Some of his online fans got the Dr. Jekyll version of him. Others had a whole crew's worth of Mr. Hyde unleashed on them.

->Like many other people, I’ve grown accustomed to thinking of your Ren & Stimpy cartoons as [[Creator/BobClampett Clampett]]-flavored theatrical cartoons that have been squashed inside TV budgets. You've relied on “acting” through outlandish drawings, rather than through comic movement of the kind that made Clampett’s cartoons unique, and what you've done has seemed like an inevitable limitation, given TV budgets. I’ve come to doubt, though, that your budgets are most to blame. What your cartoons really are, I’m afraid, is true TV cartoons—that is, cartoons as deliberately mechanical as The Flintstones—but with a Clampett-like veneer. As a kid, you loved the early H-B cartoons; in your early twenties, you discovered Clampett's Warner cartoons. Now you've created a peculiar amalgam of the two, but with Hanna-Barbera as the dominating influence.

->Even ''Stimpy’s Pregnant'' is a conventional TV cartoon at its heart. The business with Ren as the chauvinistic, thoughtless father is pure sitcom, and when your characters pause between fits, they lapse into expressions as blank and “generic” as anything in Huckleberry Hound. You give your characters too much dialogue, using voices as a crutch, just as Hanna-Barbera and other TV cartoon makers have always done.

->Your comments about [[Creator/MelBlanc Mel Blanc’s]] voice for Piggy Bank Robbery are revealing in this regard. You say that Rod Scribner in his animation “is completely listening to every inflection in Mel’s voice—every single phoneme gets its own unique drawing to go with it.” You don’t acknowledge the possibility—actually, the likelihood—that Blanc created those inflections in response to Clampett’s direction, and that Clampett wanted those inflections because he had already envisioned the kind of animation he wanted from Scribner. That kind of subtle interplay among a director and his artists is what makes all the great cartoons so good, and I see scant evidence of it in your recent films.