find something else to buy. i just want to make that clear. on the other hand, we have never viewed ourself as being foreclosed from the acquisition marketplace either domestically or internationally. has to be the right deal. has to be something we'll take enhances the quality of the company, enhances returns to shareholders, has enhanced shareholder value as a result of that. i think there's no secret that overall this president and this dministration is likely less hostile to horizontal growth or even vertical growth in the telecom space and elsewhere. >> watch "the communicators" tonight at 8:00 eastern on c-span2.

announcer: this week on "q&a," .nne host: how would you describe the work you do? anne: how do i describe the work i do? i hope it's challenging. i hope it makes people think. you know it's an editorial cartoon. there's a big difference between an editorial cartoon and a regular one. it's meant to be visual commentary. i think people sometimes don't know that and i have a lot of people tell me or ask me, why aren't you more fair? but that's not what an editorial cartoon. it's a written column.

the cartoonist has a point of view and we do it with images. host: when did you develop your point of view? ann: probably in my later 20's. i am very embarrassed to admit i never read newspapers in my early 20's. i know that's bad. but i wasn't interested in politics until later on. that's pretty much when i --rted doing cartoons that host: how would you describe your point of view? ann: i think i am liberal. i know i am liberal. editorial cartoonists, i think people -- people say, oh, you're just a democrat. i am not a democrat. i am a registered independent. we will talk about anyone.

host: one of the things that pops out in your bio is where you were born. ann: sweden. host: what were the snirks ann: and here's fake news example for you. i am not swedish. i was born in sweden. my father, my late father was norwegian. my mother's german. he was working for i.b.m. at the time which in the 1960's i.b.m. moved and we moved every two years. we just happened to be in sweden at that time. everybody thinks i am swedish. i am not. i am norwegian and i started out as a norwegian citizen. my parents became american citizens when i was a young teenager. host remember when did you first come to the united states to live? ann: we left as soon as i was a baby but i went to a swedish school from first through third grade. we lived mostly in the united states, mostly on the east coast. host: how about school? where did you get your schooling?

ann: in the united states. except for those three years. host: do you have a college education to do this? ann: yes,. to be an editorial cartoonist, you don't go to school. i didn't start out as an editorial cartoonist. i went to college for a couple years and then i decided to go to art school. i found a school that teaches character animation so i started out my career as an character animation. i went to california institute of the arts and i actually worked in the -- i worked in he business for a few years. nd then i changed to the imagineeering division at disney. i was with the rides. i had no intention to become an editorial cartoonist but i felt there were a couple situations that happened that i decided i wanted to become one. host: what were the situations? ann: ok.

so i was working for the disney company and i was doing a freelance project late at night and i had my television on as background noise as i usually did and this was 1989. and the tiananmen square massacre happened. i was so upset about it at the time even though i had a freelance job i had to finish i decided to stop and just create my own editorial cartoon. i did not intend to get it published or anything like that, i felt the need to do one. i knew about editorial cartooning, but just from an art standpoint. i admire artistic opportunities. like paul who is an incredible drafts person so i was always looking at his work. so that got my interest. that somehow made me want to read the news. i started watching c-span then in 1989.

i became more interested in social issues. what finally propelled me to become an editorial cartoonist was in 1991, the anita hill-clarence thomas hearings. as a young woman who worked and had dealt with sexual harassment and had seen it firsthand, i was frankly appalled at all of the senators, both democratic and republican. they all had the attitude that they didn't believe her and they didn't believe that sexual harassment existed because they ad passed laws and i knew very well it existed. i put together a portfolio and sent it out. i had no idea what i was doing. absolutely none. brian: who did you send it to? ann: i found a list of newspapers and a directory and sent it to every newspaper in

the country. brian: where were you living then? ann: i was living in long beach up in demrendale working for the disney company. brian: when was the first time you name i get a chance to do that kind of work? ann: i just sort of drove ahead. i was working for disney and quit in 1992 and moved here, just thinking and my friend suggested, you're in distant politics so just go to washington so i did. i became nationally syndicated in 1995. i have never been on staff at a newspaper. i was always freelance but syndicated. i started in print. so i just gathered newspaper clients. brian: we have video of you working at your board. where is this, by the way? where do you normally work? ann: oh, i work in my apartment. yeah, i work at my kitchen counter. brian: how long have you done that? forever? ann: for the last 10 years.

brian: this is a video of it we found. et's watch you do your work. [video clip] ann: i still draw by hand and i will scan it into whatever program i'm using. and the reason i am starting with this one because i need to place it correctly where you hit it on the top of the square peg. you of want the audience, the reader to understand quickly what you're doing but now i am just using motion. because in editorial cartoon, regardless of this print, regardless if it's animated, has to have a point of view. that was my kitchen. brian: that was your kitchen? ann: yes. brian: did you learn the animation stuff at disney? ann: well, when i was -- no.

at california institute of the arts i actually learned the traditional way, as you saw, flipping. this is before computer generated, before using computers and flash which was what i was using there. i did print for a very long time. in 2007 i decided i was going to try to animate them. i had a general knowledge of it. i hadn't done it for several years. i came back. it's sort of like riding a bicycle so i decided to try and do that. at that point i was doing flash. now i'm pretty much doing animated gif's. i just do it in photoshop. it's still the same for me. i do it on paper. you can animate, obviously, on your computer which a lot of people do. it's faster but i am more comfortable with the paper. brian: let's watch one of your gif's. and you can tell us what a gif is. it's china, russia and the u.n. 10 seconds.

[video clip] ann: that's not a gif. it's a movie file because there's sound. you can't do sound with gif's. i still approach it the same way. it's very simple. brian: let's get this on the table, very important fact. gif s's stands for graphics interchange format. n: and you pronounce it jiff like jiff peanut butter. brian: when did all that start? what's a gif then? ann: i don't know. you pronounce it jiff. brian: who watches one of those? ann: you know, the reason -- there are a couple reasons i switched over to them. one is they're very fast and you can do them on loops. it's a great thing to share on social media and social media has become very important for everyone. not just editorial cartoonists

but i find it's much easier and faster to do for me and since things turn around quickly it also -- you can put it directly on a blog. when i was doing the movie files which were the flash generated ones with sound, you have to go into a video system. which means apps which are longer than my animation pieces so that was a little problematic. brian: what do you call those again? these little 10-second clips? ann: the one you just showed -- the ones with sound are done in flash, moody files. quicktime. brian: i am going to run it in a second. what did we just saw? ann: i don't remember the year. there was a u.n. resolution that -- against syria that china and russia would not agree to. so i took the very old visual metafor of see no evil, speak no evil, say no evil and i just changed it to the gunshot at the end where he's shooting.

brian: that's assad. ann: shooting his own people. brian: let's do it again so people will know what you are' talking about. ann: sound effects help a lot but not always. brian: how do you get a sound effect? ann: i gist grab them off the web. you can do all this stuff on your own. [laughter] brian: let's look at animation about virginia requiring ultrasounds for women wanting abortions. brian: explain that. ann: very simple. i look it if the state is requiring you to have an ultrasound that, you know, it's basically putting their hands on your body. so that is my visual metaphor. to just see a hand print on

various parts of a woman's body tells you she's been violated and that's my point. brian: and how long did it take you to do that? ann: when you ask that question you have to understand that's a difficult question because it's not the -- once you have the idea, you know, couple hours. depending how complicated. i guess it's a couple hours. it's always about getting the idea because you're always looking for ideas. you're always sketching little ideas. i could have been thinking about that for days. i don't know. or i could have come up with that that morning. brian: when do you get your best ideas? ann: i'm a morning person. usually when i get up and i have my cup of coffee, take my dog for a walk. after a walk, that's usually pretty good. toward the end of the day my brain turns to mush completely. brian: do you draw early in the day? ann: i do. most cartoonists are night people.

i tend to be the other way around. i do my best work in the morning. brian: i'm sure you remember this. animation about mass shootings, n.r.a. responsibility, what brought to you do this one? do you remember? ann: which one is this? i did a lot on the n.r.a. brian: ok. let me ask you why then, why so much on the n.r.a.? ann: because it's one of the issues that i'm interested in. i think the n.r.a. is crazy, frankly. i think it's not that i am against someone's right to have a gun but i think it should be regulated. i mean, they're dangerous, you know? brian: why is the n.r.a. crazy? ann: because they're very -- because there's no leeway for them. they see any kind of regulation as somehow taking away the right to own a gun. although i think they are all about money. it's more about money. you know, gun issues have

always been something for me. one of the issues that i have done a lot of cartoons on. brian: what about the millions of people who pay money to the n.r.a. to represent them, what do you think they are about? ann: i know people who are n.r.a. members. some of them -- they don't have a problem with regulation. some of them are rethinking their membership. i think editorial cartoonists -- and you'll see this with most issues is, you know, we go after people that actually have power and institutions. and the n.r.a. has a lot of power. you know, just because of their size and the amount of money they have in their lobbying efforts. i am not attacking people who necessarily think they should own a gun. if they are doing it irresponsibly i might, but i'm talking about, you know, the n.r.a. and the policies that they have. as you'll see with any other issue that i address, you don't attack individual people necessarily. brian: ok. let's watch the one that we

have of the n.r.a. ann: ok. [gunshots] ann: this was right after sandy hook massacre and, of course, the first thing that happened was, you know, we couldn't get any legislation passed because all the forces went right in and started lobbying and you didn't see very many representatives, you know, talking about it. it went nowhere. i mean, it's really -- i think it's really telling when you have a group of children being massacred and you can't even start having a conversation about it. brian: what do you expect gun owners to do? what kind of regulation would you want? how often have you tried to bring that about with your cartoons? well, i just -- i try to

show people perhaps how absurd it is that you are not even considering that. u know, i -- obviously i was born overseas. my parents are european. you know, the gun laws are a lot different overseas. and i mean, to think the numbers bear it out about how many murders we have here by guns and not just murders, self-inflicted as well. so it's just -- for me i just want to bring up the question in my work. i'm not here to give you solutions. but i do want to bring up the question. brian: the next one is a perpetual war on terror. you looking -- ann: i've done so many cartoons. you're asking -- i can't remember what i did yesterday. brian: by the way, people watching will say, if they like what they're hearing i want to see her work. where do they go?

ann: they go to "the washington post," opinions page. brian: it's not on the paper -- ann: i have been with the "post" since 2008 and it's basically online. occasionally they'll print one but it's usually online. brian: what do they expect from you? ann: "the post"? brian: yeah. ann: i have a certain amount i have to do a week. we have an agreement. i have editors that reviews what i do before it's posted but, you know, pretty much they let me do -- they let me comment what i want to comment on. brian: many of those are the moving kind, the flash kind or the gif's? ann: this is the beauty where i am in. i started out just doing animation because that's what we negotiated. they wanted to have a certain amount a week. they really liked it. we did a trial period. and i did that for a couple years. then i said to them, you know, we're social media and how things are changing so quickly so what i like to have is a

blog because i have the option of doing an animated gif's, if i need movement i can do a still drawing. i have written about things about issues and i did the live sketches like when we had all the about a zillion debates during the -- bazillian debates during the presidential campaign. brian: so over the years, what are the couple that have gotten the biggest response from the audience and what kind of response do you get on the internet? ann: the biggest response that i received was one that i did about -- remember the burkini issue? it was in france where the french -- it is a covered -- completely covered swimsuit for devout muslim women and remember in france they have laws against covering yourself in certain areas so it was ridiculous. there were some awful photos of

a woman on a beach that had covered herself. and the police were making her undress basically. so i had a gif with two men, one western and one muslim costume with a woman in the middle and they are just -- one is pulling off the burqa. the other one is putting it back on. when the burqa is being pulled off you see the bikini and the woman is just standing there like having no say in it. and this was on social media. i think it received over a million views on "the ashington post" facebook page. what i loved about it was i received positive reviews from both women who chose to cover themselves and those who did not. because all they were seeing in the cartoon was, let us make our own decision what we want to wear which is exactly what the point i was trying to make. i wanted -- we had so much conversation about this but it

didn't seem like women had a big role in it. brian: let's watch this one on terror i talked about before we went off there. ann: ok. ann: ok. i was in washington during 9/11. i lived in the city so i experienced it. i think every single time we have a terror issue or possible one it seems like there's lways an overreaction. unlike other countries, i think specifically of when i went to a cartoon festival in israel which is -- they always have

threats of terrorism there, but people don't live their lives according to it. you go into a restaurant and are aware of security, but people laugh and they have a good time. i think in this country, i see people being paralyzed by it. and i do think the politicians have a lot -- you know, have a lot of responsibility about that because of how they talk about it so that was kind of -- that was the point i was making in that cartoon and we -- you know, we give up things thinking we can gain security and i don't think that's true. brian: how long are these, usually? ann: oh, there were no more than -- brian: that one was 18 seconds. ann: 15 seconds. it's a lot of work, by the way. brian: how long would an 18-second take? would that be half a day? ann: yeah. the animations take longer

because you're doing basically the same things you would do in a print, a static cartoon. you have to do the research. you have to come up with the ideas. you have to do the drawings. then in animation you have to do several drawings. you have to map it out and figure it out. when you're using sound effects you have to gather those, lay the tracks. when i was doing only animation, that was taking a very long day. i'd say 14 hours probably from beginning to end. brian: the next one i have to say is something i did not see until we had asked you to come talk to us about what you do. you'll see why i'm smiling about. let's run this one. ann: ok. >> the person you worry there's too much money in politics. >> you know, i really don't -- i forget what the figures are but i think we spend less on our presidential campaigns each year when there's a presidential election.

then the country spends -- than the country spends on cosmetics. brian: people are worried that the corporations now can buy -- >> i think this is a real -- if you believe that, we ought to go back to monarchy. [laughter] ann: so did you like how i drew you the best? brian: that's a real experience. i remember justice scalia saying that very thing and you dropped an apple and orange on his head, why? ann: i thought he was talking apples and oranges. he was talking about potato chips. first, there are so many things going on in that interview. i enjoyed it immensely but the whole thing about him, you know, talking about that issue and then the fact that he's completely against cameras in the courtroom. he was completely against it. and here he is on camera and he's talking because he has a

book, i thought, wow, you know, this is a great opportunity for one of these cartoons. brian: how often do you see that in american politics? ann: people are hypocritical? a lot. that's what editorial cartoonists looks at, i suppose. brian: what's a day like? where do you -- do you start watching, reading, where do you go for your material? ann: my day starts early just because i am an early person. i get up. i will turn the radio on. i'll actually check -- now with the internet, which is great, i'll check the overseas news first. i'll go to the bbc. i'll go to the guardian and see what they have been talking about because they've been up for six hours and then i'll go to "the washington post" and all others. for me as a freelancer. it's really changed for me because i have all this at my fingertips now. i can get research, i can read anything online.

unlike before when you got your newspaper at the front door and this is basically what you're reading. i don't get a newspaper anymore. i do everything online. so i'll look at a few things. i'll -- i'm a big twitter person. i'll look at that. and then i'll just start doing little -- tiny little sketches in my sketchbook. i'll just jot down some things that catch my eye and then, you know, by probably -- little before lunch i'll decide on something and then i'll do it. but it really depends. i could be thinking about something the night before and say, i know exactly what i want to do in the morning. i'll just get up and do it and then it will be ready to be posted by 10:00. brian: take that last video with justice scalia, what would you call them, pages that you -- ann: poses. that was a long one. that was more involved. brian: it's 40 seconds. ann: really? brian: yeah. ann: that was probably a record. yeah. that probably took me 14 hours.

i bet. you know, i had to do your mouth. i had to do his mouth. oh, i can't even -- there was a lot of drawings in that. probably over 20. yeah. it took me a while but it was a good piece. i mean, the audio is a good piece. brian: interesting. you are the president of the cartoonists -- editorial cartoonists association. ann: the aaec. brian: how did you become president? ann: i lost -- no, kidding. we're a pretty small organization. we all pretty much try to serve at some point and this was my year to serve. brian: what's it mean? ann: hurting cats basically. brian: how many are there in the association? ann: there's probably about 100 -- 154 regular members. 200-and-something includes retired, student, overseas. we're small.

it's changed, too, in the sense we used to have about 200 members that were full time on papers. now it's about 55. you know, we're basically all freelancers now. so every president has something they want to pursue that year and then, of course, news gets in the way and completely changes that. i thought i would be president when we would have a woman president which that opens up other issues. instead, we have president trump and i find that i've been going around trying to figure out what to do if one of my members gets sued or worse. so that's what i've been pretty much doing all year. we also have a convention that takes up a lot of time to plan. we have one coming up at hofstra university in november. brian: why would you expect some of your members to be sued? ann: because this administration obviously does not understand what a free press does. and i'm just concerned that -- especially my members because

there are cartoonists, we deal in images. they create a lot of controversy sometimes. and i'm just -- we always have members that get some kind of legal action against them. not necessarily it goes to court but somebody will threaten them with legal action because of the image they used. copyright issues. but i'm just concerned that now with this administration, with this president's obvious -- doesn't understand what the first amendment is all about, that at one point somebody's going to get it. so that's what i've been doing. brian: i'll use your word, jiff instead of gif, and i will stay constant on it. this one doesn't have sound. this is a gif depicting senator mcconnell on health care and you can talk as we look at this on the screen. what am i looking at?

ann: oh, when was this? this was -- i guess this was before trump became president. just one of the many times they were trying to, you know, get rid of obamacare. and, you know, i'm just saying that there are pulling the rug out from under everybody that now has health care coverage. but i could use that again, you know, now. i hear they are going to try yet again. brian: is a gif like this available on the archive of "the washington post"? ann: i think you can do search. if you do a search probably online it will be somewhere. rian: here's a gif depicting dylan rough who killed the nine african-americans in charleston, south carolina. ann: i know which one this is. yeah. ok. so this is where i think animation works so well for an

editorial cartoon. because what i wanted to say is that he's not any different. what he did was not any different than what isis does. so i just had him flip over, which is -- and turn into him. i mean, you could do it as still but i think it -- i think the motion adds to it. brian: here's a gif about the republican platform on women's issues. i assume this was back during the campaign. ann: yes, it was. that was -- that was early on when i believe bush was -- excuse me -- trump was -- had just announced and they were worried that he was going to be bad for them in terms of women voters and i thought, really? you're worried now? considering how far back woman e had an anti- platform with reproductive

rights, equal pay. brian: speaking of president gift hasn't he been a for cartoonists? ann: yeah, i get that a lot. a gift. we don't have to look for anything to do but now it's a -- now it's an issue of trying to decide what you want to comment on. we're like anyone else. this is our country. we're worried about where it's going. i'm -- i'm not looking for anything to comment on. this summer has been amazing. summer is usually a time cartoonists is looking for things to do because congress is out of session. people are on vacation. you are doing cartoonists about reading on the beach. there's been no letup at all. brian: do you have any sense which cartoonists in history have had the biggest impact,

editorial cartoonists? ann: depending on, you know, the time in history, obviously. i mean, obviously herbwalk. he was around for so long and did so many wonderful pieces. waledon. i think he was with the st. louis paper. he did some very hard-hitting cartoons about civil rights. which actually the syndicate didn't want him to do because he came fresh out of world war ii, you know, with joe and willie, the strip, but he didn't want to do that. he wanted to comment on civil rights. .e did some very hard-hitting the sexual abuse scandal in the catholic church. very hard hitting. got a lot of pushback on those and he never let up. it really depends what time in history. you know, when do you have the

most impact? what's going on in the country? what is -- i think right now for us, especiallyly cartoonists, the whole issue about -- about what this presidency is doing just to the constitution and what that means and how he's used a free press. i mean, we deal -- we deal with cartoonists overseas that are having issues. as you know in turkey, that president doesn't have much of a sense of humor either and likes to jail people who criticize him. including a cartoonist who is is now on trial. i never thought this country would ever have a president that seems to think along those same lines. that the press isn't there to question him. that the press is there to give him validation. i would have never thought

that. brian: here is a gif about governor scott walker from the state of wisconsin. let's watch. ann: ok. brian: what are we seeing? ann: scott walker considers building a wall along the canadian border. he said this during the primaries. so i have a bunch of americans jumping over the wall. americans looking for universal health care, since we do not have universal health care. the canadians do. i thought this is a good image to do. brian: did any of the canadian papers or canadian websites run this? ann: i don't know. brian: do you have any sense how many cartoons are used every day when you do them? ann: you know with social media you don't know because people will repost it here and there. i don't honestly know. brian: what is your sense about the static cartoon in the newspaper versus the motion you now do? and you were one of the earliests to do the motion.

from an impact standpoint. ann: yeah. i think a static cartoon can be incredibly powerful. i mean, i've done them most of my career. brian: we are going to show some in a minute. ann: yeah, the animation, like i said, i think there are certain ideas that work better with animation. and now with the internet, we actually can do that. we couldn't obviously do that in the newspaper before. it's just another avenue. you know, it's also a way to -- you know, we -- we want to -- we also want to attract younger members as well. and they're used to being online. and they're used to using different mediums so i think it's a different way to show them they can be an editorial cartoonist but not in the traditional sense. it's -- i find it exciting because i just think it's another way we can express an idea. brian: you say 55 active members now doing cartoons -- editorial cartoons for newspapers. ann: on staff.

brian: on staff. how many editorial cartoonists are conservative? ann: we have some. we don't have a lot. brian: i know ramirez has been here. he did a show. ann: right. . i think it is because cartoonists, by their nature, are irreverent. that does not fit in with the conservative persona. we tend to push. we want to create friction. i think that is mainly the reason. but i do not know. brian: here is one last gif. a saudi official heading up the u.n. human rights council.

[video clip] brian: i assume that is ahead. ms. telnaes: it is a head. it is rolling. i think the rolling shocks people. it is commenting on the ridiculousness of having a country like saudi arabia on a human rights council. that is not the first cartoon i have done on that issue. i have another one on that. brian: what do you think of the united states paying 22% of the u.n. bill and getting something like this on it? ms. telnaes: i think the u.n. s important. i do not have a problem with that. i am not criticizing that. i am criticizing what the u.n. is doing. but the u.n.'s political, just like anything else.

brian: why would they have somebody from saudi arabia on the human rights council? ms. telnaes: you should be asking someone from the u.n. that. ot a cartoonist. brian: december 24, 2015 news eport that involves you. >> kruse who have been gaining ground on donald trump in the post is angry over a political cartoon featuring his daughters. this as he intensifies his > the washington post ran this >> after the 5 and 7-year-old at ooh-r period at a christmas theme campaign ad on television. >> like the grinch who lost her emails. >> i know just what i'll do, she said. ail use my own server and no

one will be the wiser. brian: how much trouble did you get in for that? ms. telnaes: a lot. i had four days of continuous emails, tweets, people getting essages to me. bitch was probably the nicest bitch was probably the nicest word they said to me. one guy wanted to hit me in the head with a baseball bat. another guy said i should be raped to death. it started an avalanche. i have to say, thank you for showing the part of the video where his daughter read from the script. that was an issue. editorial cartoonists are very used to getting criticized. they tell us we are stupid, an idiot. we get that through letters, emails. but this was interesting ecause social media definitely

was the reason why this took off the way it did. i do not work in the office, i work at home. that probably also contributed to it. it happened very fast. i remember when i sent the cartoon in for the editor to upload. as soon as it was published, i watched my twitter feed. it was rolling like a slot machine. and i quickly emailed him and said, you have to look at this, omething is happening. what happened was supporters of the cruz campaign got a hold of t and ran with it. immediately, the post pulled it down. in social media it doesn't matter because it's already up there. somebody's done a screen grab.

i talked to my editor about it. he has a policy of not doing anything about children. editorial cartoonists do, as well. we don't go after children of politicians because they do not have any say in who they are. but this one grabbed my attention because i was working on something else, i watched the parity video you showed of ted cruz reading to his children christmas stories that had been doctored. and i thought -- i was listening to it, and i heard his daughter read. i said that's different. he actually has his daughter read interesting a script. political script. i thought i can comment on that. my cartoon was not attacking children, it was attacking ted cruz for using his hildren. the image i used was an organ

grinder, not many people know hat an organ grinder is. when it got online and the social media train took off, that's when everything started happening. like i said, it was four days of continuous abuse. it took me two days to go through everything because i was looking for threats which i had to tell the post about. but it was a unique situation. i see it happening now. we just had something happen in olitico. the cartoonist doing a cartoon on the flood in houston. he was criticizing the conservatives who are always saying they do not need government in our lives.

some of the online took it, someone from buzz feed, a journalist no less, talked about he was criticizing all the survivors of the hurricane. that is not what he was saying at all. but if you get somebody in social media putting forth the arrative, it is hard to stop it once people start retweeting, reposting. that is one of the things we have to deal with that we did not have to deal with before, is social media. brian: are the cartoonists fair game, now that you get kickback all the time? people have been sitting out there for years watching the cartoonists. ms. telnaes: i am a free speech absolutist. you can call me any name you want. brian: are the cartoonists fair but if you threaten me, that is different. brian: let's go back to the language that you got when people came back on you on the internet. what does that tell you?

ms. telnaes: because i am a who has perceived that. ms. telnaes: because i am a woman, this is different. my male colleagues do not get this. i am not the only woman online women in gaming get abused on social media. two women sports journalists who did a video called more than mean, which is an eye-opening video. i encourage everyone to watch it. what they have done is, they have two women journalists sit across from a man from the set who reads these emails the women have gotten. they are exactly like the ones i got. violent, sexually violent, misogynistic. that is different from what i received before social media. brian: you mentioned earlier about you being sexually arassed years ago. can you give us details and how that impacted you?

ms. telnaes: it was a long time ago. i do not want to go into details. but in terms of -- sexual harassment has different forms. i was very young in my areer. i was sexually harassed and did not get a job because of that person. thankfully, i did get the job. you see it, being a young woman in business. it is hard to speak out against it. that is something i have always found interesting speaking with people, especially when i was younger. people are confused as to why anita hill did not come forward. when you're starting your career, the last thing you want eople are confused as to why to do is be known as a troublemaker. i was in the animation business and that was a small group. if they knew i was a problem already, i would not get a job. it is different now. i am an old woman now. i will stand up to anyone who

says anything, because i have the career now. brian: do you have a family? ms. telnaes: my mother is still alive, and i have a dog. brian? no children? ms. telnaes: no children. brian: let's look at your still cartoons. you can make some comments. we will start with this one i'm sure you have seen before. ms. telnaes: this one was in reaction to the charlottesville protests and violence. brian: in the center, it says many sides. ms. telnaes: that is what president trump said. brian: next up. ms. telnaes: i used the metaphor here no evil, see no evil, speak no evil. -- speak lots of evil. brian: on the left is senator mcconnell? ms. telnaes: senator mcconnell, speaker ryan. i have done plenty of work on those two. i think they are just -- the

fact that they do not seem to acknowledge what our president does is amazing to me. brian: here is one about the antiabortion vote. what is this? ms. telnaes: this is vice president pence. i do not remember who did the interview. he was interviewed and he said he never goes to any washington inners without his wife. brian: he does not go anywhere ithout his wife. he is not go with any other dinner unless his wife his with him. ms. telnaes: and i thought, this is a gift. you do not have any problem voting about a woman's personal reproductive choices, one of the most personal and intimate things a woman can deal with, but you won't go to dinner where a woman fully clothed is at the same table.

brian: explain this one, the popcorn. ms. telnaes: i have done as many times, criticizing the media. as soon as we start having any war or military action, all of a sudden it is ratings, television. they make it seem almost romantic. and it is war. it is violence. it is killing. brian: there's one on the f.b.i. ms. telnaes: james comey. this was during the presidential campaign when he gave the press conference about the hillary clinton investigation. i thought, wow. that was so wrong. brian: at the bottom it says if you have any information concerning this person, call 1-800-callfbi. when you draw a person, do you want them to look -- what's

your attitude about how closely they have to look like themselves? ms. telnaes: that james comey was not -- i should have labeled him. that was my first james comey. brian: here is hillary clinton. ms. telnaes: this was sketching during debates. this was a quote she gave when they questioned her about the money she was making for speeches. brian: how much impact do you think that made on her not winning, that she was making money on speeches? ms. telnaes: yes, i think it had an impact. it appeared that she was elitist. i think it is a little hypocritical, because a lot of politicians take money for speeches. brian: who is the next person in this cartoon, we will see it in one second? s. telnaes: that is newt

gingrich and the ambassador to the vatican. you will notice the vatican olors. brian: he is holding -- ms. telnaes: the jesterâs rattle. brian: the ambassador to the vatican. mrs. gingrich. here's one with the thinker. had this statue in bill clinton's oval office? ms. telnaes: this one was a response to the football layer, the one who knelt during the anthem. everyone is criticizing him. brian: what was your personal reaction? this one is complicated, we start on the left. the justice says, i am not

going to answer, you nswer. you are the chief justice and you are the chief justice and that is ruth bader ginsburg. then someone says you have to answer that. that is justice scalia over at the far right saying i bet it's a camera. ms. telnaes: they recently put all the cases online. they announced it a year ago. this is prior to justice scalia passing away. i thought this was so funny, just the fact that they will not allow cameras. this just kind of came. i love drawing the supreme court. brian: what is the reason why you watched them discuss this, what's the reason they won't allow cameras in the courtroom? ms. telnaes: i do not know. it is ridiculous. they claim it is because they do not want it to become a circus type atmosphere.

i can kind of understand the reasoning for that. we have cameras in congress. we get to watch that. of course, there is playing to the cameras. but i find it very hypocritical when every justice will go on camera to sell a book. i do not understand what the difference is. i think cameras should be in the courtroom. it is not easy to get in there to watch. when it is an important case, there is always a long line. i would love to get in there and draw. it is not easy to get in there to watch. i have not been able to get n. brian: right now in the library of congress, they have a big exhibit of sketch artists. brian: right now in the library of congress, they have a big most of them are women who sketch. but you cannot get in there? ms. telnaes: i guess i stood in line, i could try. it is hard to get a press pass to get in there. brian: if someone was watching

and said they would love to do what you have done, and you go back to when you started, what do you put your finger on as how you got to be successful? what did you do? ms. telnaes: i tell anyone who wants to become an editorial cartoonist that you have to to have a passion for this. you have to want to get up every single morning and read a bunch of news and be interested in it. not everyone is. there are a lot of great cartoonists out there that do not do editorial work. you have to because it is relentless. you are doing it everyday. that is the main thing. you have to have a passion for it. you have to be interested in it. even when you go on vacation, you are thinking about it. brian: how did you become successful when you look back on it? there must have been something that happened. ms. telnaes: as i tell anyone starting out, it is a common

-- combination of working really hard. you have to practice what you do. so when that opportunity comes up, when that luck comes to you, you are ready for it. i just worked. i loved it. i was still working for disney at the time and getting up at 3:00 in the morning and working n my editorial cartoons. that is when i was young enough i could do that. brian: let's go back to some more cartoons. this is president obama. what is that? ms. telnaes: you found an old one. s it supposed to move? brian: no. brian: you have money behind him. on the left, a piggy bank. ms. telnaes: that is a screenshot from and animation. i do not remember. he was talking about money and politics. brian: let's go to the next one. whether this is an animation

also. would you like to explain it? ms. telnaes: i am trying to remember. i do not remember specifically what gun incident this was about. in this country, we do not seem to have a problem with violence. we see all the time on television, movies, everywhere. but anything about sex, that is ensored. brian: the next one i'm sure triggers a memory. what impact did this have on cartoonists? ms. telnaes: that morning, i had the news on. we were eight hours behind france. i heard it. i remember walking around thinking, did i hear correctly? five cartoonists were killed? we are a small group. even internationally.

we know a lot of each other. of course i was reading, listening to the television, contacting colleagues, finding out what happened. then when i realized the enormity of it, i had seen online this photograph of one of the cartoonists, the editor. there is a famous photo of him standing in defiance after their offices were bombed for printing the mohammed cartoon. he is just doing a fist. hen tragedy strikes, it is hard to do cartoons until you find out exactly what hard to do cartoons until you find out exactly what happens. you are almost doing an emotional cartoon. that is what that is about. brian: this one is from 2014. ms. telnaes: yes.

it was the whole, i can't breathe. you're asking me to remember all of these things. brian: the guy who was killed in new york who said he can't breathe. ms. telnaes: a lot of americans just cannot see what he is going through. brian: we have time for one last cartoon. here are a couple of cardinals. on the left, he says, oh no one altar boy. on the right, there is another one. they are drinking the wine and toasting your comments about. this one? did you get any feedback? ms. telnaes: this was before social media. this was in response to the sexual abuse cases in the church in boston. i did so many cartoons about that. this one, i thought, drinking

wine, standing around. you talk about what your limit is drinking. that is when you use one thing and tweak it a little bit. brian: what is the future of cartooning? ms. telnaes: i do not know. but, i think it is good. with the internet, we have a lot of opportunities. i think we're in the very beginning stages. it is hard to make money like anyone else online. but in terms of the medium, we have so many different ways of expressing ourselves now. i think it is important. i am hoping more young people will get interested in it. brian: as we told you earlier, and was born in sweden and with the internet, we have a lot of opportunities. works in her kitchen. are you distributed to the post or others? ms. telnaes: i am not syndicated now.

i am exclusive to the washington post. brian: thank you for joining us. ms. telnaes: thank you. [captions copyright national cable satellite corp. 2017] [captioning performed by the national captioning institute, which is responsible for its caption content and accuracy. visit ncicap.org] >> for free transcripts or give us your comments about this program, visit us at "q&a."org. "q&a" programs are also available at c-span podcasts. >> if you enjoyed this week's "q&a" interview, here are some other programs you might like. artist and writer molly crabapple on her drawings of

the israeli-palestinian conflict. editorial cartoonist michael ramirez talking about his career and his book "give me liberty or give me obamacare." and our 2012 interview with supreme court justice antonin alia on his book, "reading law." you can watch these any time or search our entire video library at c-span.org. >> the house is currently in vees, but members return at 2:00 p.m. for speeches and 3:00 p.m. for legislative work. today will consider several bills, including one that extends f.a.a. funding for six months. also expected, work on a measure that re-authorizes north korean human rights and democracy programs for five years. follow the house live here on c-span. today when members gavel back in at 2:00 eastern. also startinin