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tv   The History of Comedy  CNN  August 11, 2018 9:00pm-10:01pm PDT

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can do. there's no other skills. so it's either that or nothing. by the way, i like documentaries. i just don't like being in documentaries. don't confuse the two. everything i needed to learn about comedy, i learned by watching warner bros cartoons. >> i think there's a part of us that's 12 years old. >> oh, my god, they killed kenny. >> comedians make great voice actors because they made a living making fun of themselves. >> the writing, the voice talent, animation, boom.
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there's something about moving cartoons that really delights us. a cartoon is comedy coming to life. that's kind of interesting and magical. >> that's it. i have had enough of your tom foolery. >> the wildest thing you can think of is accomplished just by drawing it. so whether it's "the simpsons," "the family guy," your imagination is unlimited in animation. >> in animation, you can like have people ripping apart each other's guts. >> yeah, yeah, yeah. >> one thing that i like to say is that live action is low budget animation.
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>> that's right, he can be taught. >> the visual jokes, the best of them are often in animated cartoons. >> don't be nervous, kid. >> he's the most gentle dentist in the whole wide world. >> it's just the drill that hurts. >> comedy has been to move more and more towards animation. >> cartoons, if they're done right, can convey comedy very precisely. and if you think of it and it's funny, you can make it happen. >> animation and comedy goes right back to the extreme beginning of film. >> at the end of the '20s, start of the '30s, comedy shorts were very popular in cinema. so the big stars were people like charlie chaplin, buster keaton, cartoons were film shorts shown in theaters. early cartoons are loaded with starring characters like cocoa the clown and felix the cat. but then mickey mouse comes
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along and is considered the first sound cartoon character. ♪ >> not only did walt disney add sound with the first mickey mouse cartoon, but they were funny sounds. [ laughter ] >> at the time there's no animation to look at because no one was doing animation. so they looked at chaplin or buster keaton or laurel and hardy. it was about silence. that was a good way for them to hone up animation skills. >> chaplin said, oh, my gosh, mickey mouse is going to put me out of work. the mouse could do, magically, almost anything. ♪ >> meanwhile, the fleischer studio was disney's biggest rival. they're grittier and dirtier and a lot of weird characters. >> max fleischer studios had a tendency to feel more adult than
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the other studios. betty boop had this garter that fell down and slipped up. there was a sex component to her. when popeye and bluto fought, it was violent. >> popeye, as far as art goes, it's a funny drawing. it makes you laugh. >> i'll squish your brains out, you bet. >> and he wasn't nasty or violent or anything, it was just he got put upon. he was not looking for trouble. meanwhile, he could kick anybody's butt. >> popeye cartoons had a beat to them. you can almost tell they're made with a metronome going back and forth. all moving with the same beat. it was fantastic. this is fleischer in the '30s. ♪ i'm popeye the sailor man ♪ >> walt disney was the only one who was genuinely interested in
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pushing the entire medium forward. >> there's a reason disney became famous. the quality of their animation was unparalleled. it was unbelievable. >> by the late 1930s, disney was now doing "snow white," these elaborate fairy tales, beautifully done, spectacular, the rest of the industry is trying to keep up with disney. but some studios looked at that and said we're going to make people laugh. ♪ >> looney tunes was all about gags making you laugh, when they showed those cartoons in movie theaters before a warner bros. movie, they would kill, the same way a standup comedian does for an audience of adults in a theater. >> shoot it now. shoot it now. you keep out of this.
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he doesn't have to shoot you now. >> he does have to shoot me now. i demand that you shoot me now. >> the duck season, rabbit season exchange to this day, if i watch it, i laugh hysterically because you know it's coming, but watching daffy duck step into it every single time is absolutely brilliant. >> not again. >> the timing in those cartoons is so great. and it was universal comedy. you don't need to know much to understand why bugs bunny and elmer fudd are funny. >> kill the rabbit, kill the rabbit, kill the rabbit. >> kill the rabbit? >> bugs bunny is one of the most influential comedians of all time i don't think there's anyone from my generation of comedy who didn't learn how to time a joke from bugs bunny. >> of course you realize this means war. >> warner bros. cartoons, i think they got personalities right. you had so many different stars, you had bugs and you had daffy
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and you had elmer fudd, yosemite sam, tweety and sylvester, foghorn, leghorn, pepe la pew, the coyote, the road runner about 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
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in 1950, because of tv, film studios started slashing their budgets. every major film studio had an animation division. suddenly by the late '50s almost none of them do. >> you've got people like hanna and joe barbera winning oscars for "tom & jerry" cartoons. they're out of work, what are they going to do? they pitched the idea of a primetime adult-oriented sitcom. >> "the flintstones," looking for something different on tv? well, here it is. >> the flintstones, that's a kids cartoon, that's not family guy. but it was in 1960. look at the first two seasons of the flintstones, they're all adult situations. the show itself is a parody of sitcoms at the time. >> don't you get it? this place is a gold mine, if we could buy it, we could get rich and be our own bosses.
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>> i admit that some of my past ideas weren't so hot, but this one is different, it's sure fire. >> many people say did you copy "the honeymooners?" that's the biggest compliment you can give me. but they didn't have all the guys in there which were the window dressing. >> just made it. >> oh, boy, we would have had to walk. ♪ >> the way to sell a tv show in those days was to make it as cheap as possible. >> in limited animation you're not going to animate the full body of the character. you've got more levels on each character. there's background, and then there's the head and the body. and we're just going to animate the lips on his mouth. >> hanna-barbera cartoons were bare bones, no budget. it didn't matter, because the dialogue was so snappy and so clever. >> did you get your paper, dear?
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>> yeah, and i'm lucky, it only comes once a week. >> once again, you'll know it's time for "the adventures of rocky and bullwinkle." >> the jay ward studio did rocky and bullwinkle because it was popular as adults. it kept winking at itself saying this is a kids cartoon. >> i wonder why they're shooting at us. >> must be from a rival network. >> it was probably the most meta humor going on at that time. >> the end of the theatrical cartoon era is kind of sad because the money went away and the enthusiasm went away with it and tv animation was more of a factory business than an inspired business. >> here come the bears. ♪ here come the bears ♪ here come the bears >> by the 1970s, the idea of a creator driven animated series was pretty much gone in general. there was much more of an emphasis on advertising. there was a big gap on saturday mornings.
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people said, well, who's watching tv at that time? the answer was kids. >> it was television that put cartoons into the arena or ghetto, if you will, of saturday morning. before tv, cartoons were for everybody. there's a straitjacket put on animation that you couldn't be as funny as you wanted to be, oh, it's for kids and it can't be this interesting. >> didn't anyone ever tell you it's not polite to grab? >> by the '80s, we were into pound puppies, strawberry shortcake, a lot of merchandising opportunities, but they were sort of ways to sell product rather than ways to entertain or amuse kids. >> eddy? >> yeah. >> bring in the guys. >> ralph bakshi was a mentor, and together with a lot of other animators, they conspired to create cartoons as a vehicle for comedy and have them reflect an
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animator sensibility, make them funny and whacky for the sake of funny and whacky. >> can mighty mouse save the day or at least saturday morning for network television? ♪ here i come to save the day >> oh, no, not this show. >> "the new adventures of mighty mouse" came on, and it was totally disregarding the things that you weren't supposed to do. and it's like, oh, there's something new happening in animati animation. there's something going on here. >> the mighty mouse show was fast paced, funny, silly, it had weird characters in it, little segments that almost made no sense, the non sequitur kind of humor, no one was doing that kind of stuff at the time. >> i haven't seen this much hair since brooke shields trimmed her eyebrows. >> the series had controversial elements, one of the best known being the supposed sniffing of cocaine. >> i know someone else like
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that. >> there was a famous episode where mighty mouse sniffed a flower, and became strong and flies away. this preacher led a protest saying that this was a metaphor for cocaine use and that this cartoon show should be cancelled. and the pressure campaign succeeded. so the network listened to this group rather than the animators themselves who said that was never on our minds to begin with. >> the artists were pushing, but they would get shut down because they had outrageous ideas and sub version. that's the meat of any cartoon. >> the new adventures of mighty mouse inspired a new generation of animators who made cartoons they wanted to make, that they thought were funny. ♪ >> "spike & mike" was a touring film festival. once created you would see animated shorts. they collected them, and they had this one collection that was
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like for grown-ups. >> it would feature early mike judge cartoons. bill plimpton cartoons. >> okay, but i'm going to set the building on fire. >> lupo, the butcher, a gory cartoon. spike & mike had taboo things you wouldn't see in normal cartoons, like gore, violence, sex. >> these animators had been let off the leash, so those early festivals were critical. before the internet, they were critical, they were connecting people with an audience that they otherwise wouldn't have had. >> all of us who are working in that business, we would try to slip something in that's funny or pitch a show that was funny. so when new opportunities came along to work on something that we thought could blossom into actually a funny animated show we were always eager to jump at that. >> there we are. >> it may be on a lousy channel, but "the simpsons" are on tv.
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and i'll tell you where i was, watching that episode of "the flintstones" or "the jetsons." i always thought that those tv shows could have been better. they were disappointing to me. i said some day if i have my own tv show i'm going to do it different. >> in the '80s there was a young crew of animators and a young crew of writers who didn't have preconceived notions of what animation should or should not do. so there was a lot of breaking out of the three camera sitcom that you could do in animation, to quote monty python, make it up as you go along. >> are there any jive talking robots in this play? >> i don't think so. >> bart, don't ask stupid questions, is there any frontal nudity? >> no, homer. >> the lines on "the simpsons" are so sharp and i'm so impressed the volume of good jokes and the quality of the jokes. it was a legendary writer's room, long before i got there. >> this subverted the family sitcom. in fact, it was the most
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realistic portrayal of the family, which is crazy because it was a cartoon. >> "the simpsons" is the hottest new series on television. if you haven't seen the animated series, it's about a family just like yours. >> we had kids back talking to their parents. and maybe it was because it was in animated format, you didn't expect to see that. >> here's bart simpson the most popular character on television right no and we talked to the school principal who is banning bart simpson t-shirts. because he celebrates being an underachiever. >> there's always somebody lying in bed awake at night seething because kids find something really fun. it's the controversy of the week. >> all she needed was for that big slob to she her some respect. at least that's what i thought. i have a history of missing a point at stuff like this. >> no, homer. you got it just right. >> the reason that show holds together is that it's a family. it sounds corny, but it is a family. they do love each other and
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they're trying to maintain the family unit. that's the oldest story there is. >> is your mother there? no? >> good, welcome to our secret headquarters. deep inside the lower intestine of a sperm whale. >> oh, god, god -- >> animation is most successful when it is fully creator driven. you then have john kay making "ren & stimppy" passing it as kid's fair, but really an adult cartoon on a mild kids network. animation had never been that gross, the boogers. animation wasn't the same after that. >> i picked them myself. >> it was really different, the gags were different, drinking from a toilet bowl. they broke all these rules and
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you wonder why were those rules in place? >> r "ren & stimpy" had this really great crew of artists and animators. the more they could do it all themselves, the better the cartoon was going to be. they were adding funny animated touches and twitches. >> ren & stimpy created a renaissance of new animation with dialogue and visual gags and characters and voice actors that we still experience today. >> this new era of animation, creator driven animation is exploding in the early '90s. and mtv sees this and goes, we need some way to harness this. >> maybe you should stick your wiener in the bug zapper. >> yeah, yeah. that's a really good idea, butt head. >> let's get this down here. there we go. >> "beavis and butt-head" was amazing because adults didn't
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get it. >> what is it? >> it's part of the dumbing down of television. so what they do is they celebrate underachievement. >> yeah, and he keeps saying he needs tp for his bung hole. what the hell is a bung hole? >> those same forces that had harassed john chris and john bakshi with the new adventures of mighty mouse were now harassing mtv and mike judge saying it's a bad influence on kids. not realizing it wasn't an influence on the generation, but a reflection of the generation. >> it was great for exactly what it was, two imbeciles that had nothing to do all day. you can write a lot about that. >> hey, butt-head can i set this down, my hands are getting tired. >> no way, beavis. when the girls walk in, they need to see it in your hand.
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>> they're all succeeding. it's all happening at the same time that cable is taking off. and now the studios were wising up. well, if we get one great nut to run a show, and they really know what they're doing, it could work out. >> we got out of school. no more school today. we got out of school. >> oh, you guys, my eyes. >> if you haven't yet heard about "south park," you're about to. critics have praised the show as brilliantly funny, but many see only a lewd, offensive cartoon unsuitable for children. >> it was the next step in the evolution of animation. "the simpsons" opened the door, and "south park" kicked the door down. >> children, i'm glad you're here. i call them chefs chocolate -- >> these are good. i love your salted chocolate -- >> "south park" like "the simpsons" pushed the culture. challenged the culture. i think adults connected to it because of that reason. they appreciated the satire and
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how it attacked certain institutions. >> oh, yeah, because it was a cartoon. you put your defenses down. >> comedy by its very nature is disrespectful, and animation is a great way to really turn the disrespect into a whole world. >> don't bother with new ghost busters, not funny, chicks ruined it. can we get ice cream now? i want to get the taste of ass out of my mouth. >> they have no fear of boundaries. >> they address so many things so smartly, and there's a lot of poo, poo, fart jokes in there, but people don't consider it when they consider smart cogent an matesed comedy. or even comedy. it's really [ bleep ] good comedy. >> this week "south park" has gone out on syndication. it's amazing. look how much they have to cut out. to watch the first season, they don't cut anything out. >> it's very interesting to me how enduring some of those shows are. that's unusual for tv shows to be on this long, guys, especially comedies.
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make your acquaintance. hello. >> animation is often driven by distinctive great voices, and those voices contributed as much as anything to the personalities and the success of those characters. >> i have to create a voice for each character. they show me the character, and bugs i could see was a tough little stinker, and i thought, which is the toughest voice in this country, either brooklyn or the bronx? >> so i put the two of them together, doc. what's up, doc? >> mel blank was an unbelievable actor. every one of those characters had a soul and a personality and a history. he wasn't like a witty collection of voices. >> voice acting isn't as easy as we think it is. you don't have your face now so you have to use your voice to convey the comedy. >> once you create a voice you never forget it. >> pepe le pew, you know, the
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french stick. and then porky pig will come along, suffering succotash. i tawt i taw a puddy tat. >> he led the way for guys like me. >> crusty bran seal of approval. you can only find it on products which meet the high standards of crusty the clown. >> the voice talent on "the simpsons" is a point of inspiration, there's always something great from the voice acting that you can mine for performances, how you're going to direct the shots, and overall the look of the characters get inspired by the vocal choices. >> you almost start drawing characters for the voice person you have in mind. people like tress macneille and billy west. >> i got to do voices on futurama. i looked at these characters and i thought long and hard before i opened my mouth. phillip jay frye. >> shut up and take my money. >> dr. zoidberg had all this cool meat hanging on his face.
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i thought he would have an impediment. >> you didn't invite zoidberg to eat? zoidberg can eat. >> here i come. >> from "the simpsons," i loved doing agnes skinner, it's a voice easy for me to do, i'm going to be her one day very soon. and dot, of course is the one sister, she's the cute one. >> that makes me feel all kind of warm and squishy. either that or i need to wear diapers. >> brilliant voices carry these cartoons, all you have to do is sit back and let them do their thing. >> often intimidated, but never duplicated. genie of the lamp. >> that's robin williams, of course, as the voice and inspiration of the genie in the bottle in "aladdin." he's the real star of the movie.
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it's an extraordinary performance. the perfect melding if you think about it, of a talent and an art form. robin williams is an animated character. >> he wasn't just reading the script with his funny voices, he was winging it, he was improvising. and they knew they were going to use some of that. this genie is going to be what it's like to watch robin williams on stage. >> can i talk to the kid? thanks. >> the horror. >> look at those fangs. >> i could have been a contender. >> i can't imagine what robin williams was like as that genie. it is definitely robin's deal to ad lib. >> this opened up a door for putting actors in animation. >> you weren't the real buzz light year, you're an action figure. you are a child's play thing. >> you are a sad, strange little man, and you have my pity. farewell. >> they tried a disk jockey voice.
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hi, buzz light-year here. very self-aware, and also very confident. and i went a little dumber. he's filled with bravado, he's got nothing but heart, but he is also oblivious. fine, woody, we'll do it your way. >> voice acting, the value on it has changed completely. it used to be about a guy like mel blank who could do multiple voices, now you hire an actor to do one voice, and it's usually theirs. >> now my evil power will be unlimited. can you feel me? >> i can feel you. >> comedians have an inherent understanding of timing and they understand improv more so than a traditional actor. >> the joke delivers. when you put them in a booth, they know how to hit the punchline. >> with somebody like mike myers, he always did characters. and so he was born to do animation. >> i'd like you to meet my
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husband, "shrek." >> 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 eddy murphy or antonio banderas the whole time. you're used to making something out of nothing. >> oh, this is going to be fun. we can stay up late, swapping mad lib stories, and in the morning i'm making wafrls. >> eddy murphy's voice itself sounds funny, but he 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,
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and i think it's because it's out of shape. doesn't a manatee look like a guest on the ricki lake show. >> what you've got to do is get yourself an education and a job. i don't know what you're doing to talk about. you're fat, you got to go to weight watchers. >> i have a layer of blubber to keep me warm in the water. >> jonathan katz created this show. he would interview comedians in squiggle vision. >> i thought the manatee was such a weird animal, and so i came up with some jokes and i had this voice that went with it. it lent itself to this dr. katz bit. >> there was some bits that were dr. katz because they were visu visual. in fact, i thought the animation was competing with the jokes. it took me a while to realize that we were a team. people asked, how do you get into voice acting? he says do 15 years of standup
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comedy. standup comics are the greatest voice actors in the world, if they're willing to loan us their voice and all the wisdom cont n contained in that voice, you're going to get the great voice almost by definition. >> you'll finger anything with a pulse. >> i'm pretty sure the slogan is, the finger's on the pulse. >> no, it's right. how do you win at business? stay at la quinta. where we're changing with stylish make-overs. then at your next meeting, set your seat height to its maximum level. bravo, tall meeting man. start winning today. book now at lq.com start winning today. ...most people. but on the inside, i feel chronic, widespread pain. fibromyalgia may be invisible to others,
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tonight, we're going to present a special feature taking you inside the world of the artists and the funny men who create the modern tv cartoon. >> a truly great animated show is everything coming together perfectly. the voices, music and animation, timing, the directing, editing, everything. >> we, as students of the masters, always want to emulate these great animators of the past. ♪ >> once we have a drawing, we put down the drawing, talk to the animator, then we have to decide how the characters differ in terms of their postures, by the way they stand, who are they? ♪ >> chuck jones' character
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animations, the facial expressions in cartoons like feed the kitty where the big bulldog is protecting the little kitten. the facial expressions, that's all chuck, literally his drawings on the screen. chuck jones, who is a great master, timer of the held -- you know, the eyes that go -- which i just learn a lot from that. we knew we were in a cartoon when you watched a tex avery cartoon. he pointed you toward it constantly. >> visually, and verbally, i would play to the audience an awful lot. >> that wasn't in the script. >> i wanted them aware that they were out there, that i knew they were out there. >> tex avery is known mostly for his outrageous or zany types of animation. his sensibility is to push the boundaries of that as much as
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possible. >> i've always liked extra jokes, i guess you could say, and cartoon world is a land of extra jokes. classic tex avery joke i'm sure you've seen was based on how people viewed movies in the theaters. there was always something wrong with the film. hey, you out there, get that hair out of here. >> that's the beauty of animation. that's really what you want animation to be used for, to do and see things that you've never seen before. and can't be shown in live action. >> the tape you're watching is just a taste of the cartoon network, an appetizer, a mere morsel of what you can expect from the first and only 24 hour cartoon network. >> cartoon network was owned by turner broadcasting who now owned the hanna-barbera library. they owned the rights to all these characters. whether it was yogi bear or space ghost. >> basically, you have a group of people that are working in programming on air making commercials, clearly very
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inspired by all of that warner bros 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
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2021, dubbed over the old animation, and had them saying ridiculous weird and preposterous things. >> it's like a koala bear crapped a rainbow in my brain. >> okay, captain. >> the whole thing was keep it as absolutely cheap as possible. keep it clean, what can you do? just get weird. >> smokey. >> yeah, kid. >> how did you get your name? >> well -- >> smokey, you always got the best weed. >> hello, little paw. >> adults not only provided certain visions, but like the most pure version of a vision. >> oh, man, why didn't we think to bring no guns? >> adult swim is fearless. they find voices that are normally marginalized on the major networks. they're finding these countercultural voices and giving them a platform.
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doing things traditional networks are afraid to do. >> i appreciate you. >> cool. >> are you a simulation? huh? >> no, no. >> i'm sorry, morty. you're a good kid, morty. >> geez. >> you're a good kid. >> oh, my god. >> with animation, you can do any joke you want. you can have the characters be a bit meaner, you can have the jokes pop a bit more, because it's already not real. it's animation. so, there's more wiggle room. >> sorry, honey. >> ah, yeah, we'll bring you a present. >> oh, blow me. >> why? you couldn't feel it. >> what animation allows you to do is to be anonymous in your assault on other people. >> i can't believe this. two weeks in prison on trumped up charges, that trial was a total sham. >> i know we were in trouble the minute i saw the jury. well, at least they're a jury of
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our peers. >> i don't think they see it that way, peter. >> if you cast family guy, south park and the simpsons with real people, you can't get away with much. you could never make all in the family now, because archie bunker would not come off the same way. peter griffin is archie bunker. >> peter, not every jewish person is good with money. >> well, i guess not the retarded ones, but why would you even say that, for shock value? geez, cleveland. there's edgy and there's offensive. good day, sir. what will you discover with a lens made by essilor?
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♪ ♪ ♪ raindrops on roses and whiskers on kittens ♪ ♪ bright copper kettles and warm woolen mittens ♪ ♪ brown paper packages tied up with strings ♪ ♪ these are a few of my favorite things ♪ ♪ ♪
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some box office gold for you now. the minions overran the box office this weekend, raking in more than $115 million in the u.s. and canada. that is one of the biggest openings ever for an animated movie. >> you look at the full roster of feature films that are put out each year by the major studios, if you're really paying attention, you see the big money is going to these animated features. >> be cool. this wave's got to crash. >> they're all alive and looking at me with your gloves and your little shoes. >> seeing the movies that are coming out now, and i'm in awe. the level of the craft seems so high. >> the brightest comedy i've
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seen this year, last ten years are in the animated movies. >> hey, guys? i think we're about to crash into the sun. >> yeah, but it's going to look really cool. >> animated comedy couldn't be more popular than it is today. there's no question about it. with the lego movie, all the cable cartoons. it's an explosion. >> the reason animation is a huge deal is because even if you only made 30 episodes, you can rewatch those episodes 1,000 times. it's only going to keep going and there are only going to be more big shows. >> you have a lot of animation now coming online, which is another avenue for it, because it can be produced with much greater speed than it once was. >> carl, i watched you fire a harpoon into the captain's face. >> that sounds dangerous. >> the fact there are 700 different outlets and youtube, you can realize your dream precisely, and if it's a good one, people are going to pay
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attention. >> i'll make short work of that grime. or my name isn't senor clean fist. and it is. >> ah! hey, what the hell, man? >> we're going to continue to see the kind of fruit that that bears, because you want to attract unique minds to animation to keep it flush with new ideas. >> there's a lot of young people who are inspired by that ren & stimpy generation, and they heard about the passion for animation that the creators of shows like that had. they would hear them talk about bob clampett and text they' ave. so, for that reason now, there's a whole generation of animators who are inspired by both generations, and in doing so, have emulated what is sort of a combination of retro and contemporary design, and it's beautiful. >> one should take great care in
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unpacking the fragile components. items can shift slightly during shipping. >> with the new version of mickey mouse, it's a combination of the old, classic disney style that we love and a modern sensibility. >> finally, people are allowed to like animation, even if they're not under 10. there are teenagers and young adults and even old adults that are really enjoying cartoon network, adult swim. >> one of the biggest shows on television right now is "rick and morty." the landscape is so fractured now that people can really make these amazing niche, interesting shows that do well enough to be able to make more of them, so, we're really seeing fascinating stuff right now.
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>> the possibilities are endless. the technology's improving. i think we're getting quicker turnarounds. it can be incredible. >> you ready, key? >> i'm ready, kenny. >> oh, boy. hey, look at us, believing in ourselves. >> what the -- >> the future of animation is very bright. kids love cartoons. and adults love cartoons. animation can make anybody laugh. >> i'm going to tell my dad you swore at me. he's a cop. >> then he can solve your murder, you nosey little -- >> frank no! >> there's going to be more talent coming out and giving us a show we haven't seen before, and i look fwrd to thaorward to. >> what should we watch next? >> oh how about this. >> i brought you some flowers. >> i think i still probably do the homer simpson, like, ahh. >> sunset. thank god there's only one of these a day. >> ah, we've been looking to do a project together for a long
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time. >> hello, nurse! >> yogi, why don't you eat nuts and berries like all the other bears? nuts and berries, sheesh. what a grouch. the ranger can't going to like this. that's all folks! to understand humanity is to understand the sweet, lovely, wonderful foolishness of the human condition. >> the best comedy comes from your living experience. >> every comic sees the world through a prism that the average person doesn't see through. >> all we do is point out the obvious really and then twist it somewhere. >> i just can't believe the way people are, what is it with humanity, what kind of world do we live in? >> you're not alone ultimately. i think that's what the comic's saying. >> rlity is fodder for comedy.

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