By JOE MALONEYThe 80s cartoonist Joe Maloney is the first person to ever appear in a full length book.
His new book, Joe Maloof: An Icon in the Age of Cartooning, is a collection of the most essential, most beloved and most talked about cartoons from the 1980s.
Maloney, a cartoonist, director and writer who was a staff writer at Newsweek for 30 years, is an avid reader and is a regular contributor to the magazine.
The book’s first issue is a look at some of the best cartoons of the 80s, and his new book includes all of the cartoons in a wide variety of formats, from the hardcover edition to the digital format.
Maloney was kind enough to answer a few questions about his career and the 80’s.
What drew you to the 80ies?
I remember being very young when I started working in animation.
The first animated picture I ever saw was the short film “The Big Top” that appeared on the Disney Channel.
I remember thinking, “I want to do this someday.”
And I didn’t really want to be an animator until I was in my 20s, so I decided to go into film animation.
What struck me about animation was how much it looked like reality.
There was a lot of CGI in it.
It was a completely realistic depiction of the world.
I loved the simplicity of the drawings and the fact that the characters looked real and you could see them and interact with them.
How do you feel the 80 years have changed your art?
There was such a huge gap in the industry.
In the 1980, animation was a new medium.
In 1985, I started writing about movies.
In that year, I got my first major hit.
In 1989, I did the movie “Titanic.”
I started out as an independent, making shorts for children’s TV shows.
But the studio executives wouldn’t let me make movies that were even remotely good enough for kids, so in 1990, I joined Disney and began writing for Disney.
I did two feature films for them.
I worked on “The Jungle Book” for eight years, and “Aladdin” for a year.
I had the opportunity to write the “Frozen” sequel and the “The Lion King” movie.
The fact that I was so well known as a child in the animation industry and was able to create such a big hit was a huge thrill.
I thought the movie industry would take me in a different direction, but it did not.
It didn’t evolve in a positive direction.
You were a pioneer, but the rest of the industry was following you.
Did you find it challenging to become the animation artist you were when you were working on the early 80s?
I had been drawing for two decades when I joined the Disney company.
I didn and didn’t have the skills to draw like other artists.
I was always drawing the way I did.
The industry had never really given me the tools I needed to be successful.
I took advantage of that opportunity and made myself the artist I am today.
The cartoons I drew were all very different from what was going on in the world, but there was still a lot I loved about the world of animation.
I wanted to create a visual language that people could relate to, so it was hard to draw a cartoon that reflected what was happening in the real world.
The other thing I loved was drawing the world as a human being.
It felt very human.
What drew you away from cartoons in general?
The way I thought about cartoons was very different than what most people thought of cartoons.
I liked the cartooning that was done in the early 20th century, but I also thought cartoons were just as important and had more value.
The way we see the world today is very different.
I think cartoons are very important to people, and I thought they were important to artists as well.
Are there any cartoons that you feel should have been included in the book?
The ones that are really important to me are the ones that were very influential.
“Paint the Town” was my first hit.
It is a story about the creation of a new kind of paint.
It starts with an idea that the paint industry was a corrupt and destructive one.
I wrote a series of stories for the show and a film.
I would have loved to have done a TV movie or a feature film about it.
What do you think was your greatest influence in the 80 to 90s?
The great cartoonists of the time were people like Frank Frazetta, Don Bluth, Walt Disney and Ralph Bakshi.
They all had great ideas, but they all didn’t realize that they were drawing the real stuff.
They were creating worlds, worlds that were unreal.
You have to draw what you are doing and see what the world is like in order to understand how it works.
So I just followed my instincts, and my characters were based on my