inspired by all of that warner brothers library. we re like, wouldn t it be fun if we made something like ourselves. wow, space ghost man, crack a window, will you? i would be violently sucked into space. how many people would tune in? space ghost is the turning point. it s a surreal, late night tv show that is unapologetically adult, using kids cartoons. now, a lot of the people that worked on that show today are the movers and shakers of adult swim. all kids out of the pool for adult swim. they branded a block of time on the network that would just be for programs aimed at adults. they satirized truly terrible cartoons and made it sea lab
well, it s easy to see where fiona gets her good looks from. working without props is something i was very, very used to. i never saw eddie murphy or antonio banderas the whole time. you re used to making something out of nothing. we can stay up late, swapping manly stories and in the morning i m making waffles. eddie murphy s voice itself sounds funny, but he can also do voices. but eddie can also do voices. keep our people down, but we can use it to keep those same people from stealing your go-cart. and voiceover for animated comedy, you need people who can emote through their voice. and standups are some of the best voice emoters. comedians are very in touch with how they come across. that skill lends itself to voice acting. the manatee is endangered,
think they got personalities right. you had so many different stars, you had bugs and you had daffy and you had elmer fudd, yosemite sam. twitty and sylvester. fog horn leg horn. the roadrunner, the coyote. that s quite a lot. they did pretty good. the animated stars were as big as any movie star, certainly, that we knew, and as children they were much bigger. audiences could relate to these characters. we saw ourselves in mickey. he was us. he was the small guy fighting against the system. bugs bunny who was kind of a brooklyn street fighter, they represented us. and usually the bad guys were the landlords, the boss, the hunter, the person who was taking away something from us. and we could laugh at their antics. what they re doing to get back. it made us feel better. it empowered us. bugs bunny, daffy duck, wile e. coyote, those guys to me were
there was an episode when i worked there that was a cape fear parody. it was all about sideshow bob coming to get his revenge against bart. what s great is you don t need to have seen cape fear. the beauty of the simpsons is you don t need to know the reference in order to still think that something funny is happening. how s it going, guys when south park happened the vessel of animation, it could look like [ bleep ], it could look luke your kid did it. it s doesn t matter how the car got there. it s the content that s traveling. ramadan. hey, look, an infidel. don t let the fact it s animated and don t let the fact that it s about a bunch of children fool you. it is about satire. this year we re taking the
by the time we got to the naked gun we knew how to do the plot and character. everywhere i look, something reminds me of her. we love doing visual puns. you have to stay ahead of the audience. a lot of people see the joke developing. it s always a contest to beat them to the punch. bingo. the audience can t be expecting it, otherwise, i mean, it won t be funny. nice beaver. thank you. i just had it stuffed. let me help you with that. there are certain kinds of jokes that the sexual content is in the eye of the beholder. we re just talking about this stuffed beaver up there. we don t mean anything sexual, you know. so, that s that s your fault if you if you think that. the zhuk ker brothers proved this time and time again. it s somehow not as funny to have some kind of goofy guy being goofy, but it works when you have serious people doing