List of Animators Who Smoke Weed
Animation and cannabis share a creative connection – From mainstream TV creators like Seth MacFarlane to underground comics pioneers like Robert Crumb, cannabis has played a role in animations most boundary-pushing work The relationship defies stereotypes – Several creators of the most psychedelic animated content have explicitly denied drug use, including Adventure Times Pendleton Ward, who stated Zero. Zero drugs Japanese anime has strict consequences – Unlike Western animation, Japans harsh drug laws mean cannabis involvement typically becomes public only through career-ending arrests Adult animation dominates confirmed cases – Most documented cannabis users work in adult-oriented animation (Family Guy, Rick and Morty, The Eric Andre Show) rather than childrens content Underground comics pioneers were most open – Counterculture artists like Gilbert Shelton and Robert Crumb documented their cannabis use since the 1960s, establishing the artistic connection Modern creators discuss cannabis for creativity – Contemporary animators increasingly frame cannabis use around creative process and mental wellness rather than purely recreational use
The animation industry exists at a peculiar intersection of corporate entertainment and countercultural art. While many assume that psychedelic or surreal animated content must be created under the influence, the documented reality reveals a more nuanced picture. As animation writer Miriam Hess noted, The animation world is more corporate and people often dont want to talk about it openly. For fans interested in exploring how cannabis might enhance their own animated viewing experiences, browsing cannabis strains can help identify options that complement creative entertainment.
The most prominent animator to openly discuss cannabis use, Seth MacFarlane created Family Guy, American Dad!, and The Cleveland Show while also training as an animator at Rhode Island School of Design and working at Hanna-Barbera. His openness about cannabis has made him a figurehead for normalization in Hollywood. Animation credentials: Creator of Family Guy (1999-present), American Dad! (2005-present); trained animator at Rhode Island School of Design; worked at Hanna-Barbera Public admission: Has openly discussed cannabis use in mainstream media appearances, including on The Tonight Show where he stated It is the truth. I smoke some pot. Im not ashamed to say I am a supporter of the legalization of marijuana Late starter: Has stated in interviews he didnt smoke until age 28, contradicting assumptions about his work being drug-influenced from the start Family bonding: Discussed smoking with his parents during holidays on The Tonight Show and Jimmy Kimmel Live, with his father remarking it was the first time you and I have been stoned together as father and son Cultural impact: Represents mainstream acceptance of cannabis among successful entertainment professionals MacFarlanes approach to cannabis reflects a broader trend of established creators speaking openly about their use. For those curious about cannabis products that creative professionals enjoy, exploring Herbs product catalog offers various options.
Before his 2023 departure from Rick and Morty, Justin Roiland co-created one of the most influential adult animated series of the 2010s. His cannabis use became well-documented through social media and public appearances. Animation work: Co-created Rick and Morty (2013-present); voiced both title characters; created animation for various Adult Swim projects Public confirmation: Has discussed cannabis use in multiple interviews and social media posts, including references to using edibles Artistic style: His visual aesthetic became closely associated with cannabis culture, with his designs frequently appearing in dispensaries and on cannabis-related merchandise Edible preference: Has mentioned using cannabis edibles in interviews discussing his creative process Show content: Rick and Morty frequently references cannabis and drug culture, reflecting the creators personal relationship with substances
Eric Andre created and hosts The Eric Andre Show on Adult Swim, known for its chaotic, surreal comedy that subverts talk show conventions. Despite his wild on-screen persona, Andres actual cannabis use is surprisingly measured. Animation role: Creator and host of The Eric Andre Show (2012-present); the show features significant animated segments and visual effects High Times interview (March 2021): Provided detailed commentary: I only smoke a little bit at the end of the night for sleep. Weed inherently makes me antisocial I smoke in isolation, I take a little puff, and I go to bed Policy stance: Stated I think all natural drugs should be decriminalized. The fact that vegetables are illegal is insane Controlled approach: His measured, sleep-focused use contrasts sharply with his chaotic on-screen persona For those interested in cannabis for sleep like Andre describes, understanding different cannabis strains and their effects can help identify appropriate nighttime options.
Seth Green co-created Robot Chicken, the stop-motion sketch comedy series that has run on Adult Swim since 2005. His discussion of substance use and consciousness came through a podcast appearance exploring creativity and mindfulness. Animation work: Co-creator and executive producer of Robot Chicken (2005-present); voice actor in Family Guy Podcast disclosure: Appeared on the Bialik Breakdown podcast with Mayim Bialik, where the episode description notes he opens up about psychedelics in conjunction with mindfulness and research Consciousness exploration: Frames substance exploration within context of consciousness research and creative process Stop-motion focus: Robot Chickens meticulous stop-motion animation represents the labor-intensive side of the medium
Gilbert Shelton created The Fabulous Furry Freak Brothers, the underground comic that became synonymous with cannabis culture and was later adapted into an animated series. His cannabis use dates back over six decades. Comics legacy: Created The Fabulous Furry Freak Brothers (1968-present), later adapted into Tubi animated series (2021) Long-documented use: Has openly discussed his cannabis use since the 1960s in multiple interviews Cannabis judging: Served as a judge at a cannabis contest in Amsterdam, receiving thirty samples to evaluate Cultural significance: The Freak Brothers defined how comics portrayed cannabis counterculture for generations Longevity: Continues creating at over 80 years old, representing the longest-documented cannabis use among animators Sheltons work helped establish the visual language of cannabis culture that continues influencing animation today. For fans of his aesthetic, exploring cannabis culture guides provides context for the movement he helped create.
Robert Crumbs underground comics were adapted into Ralph Bakshis Fritz the Cat (1972), the first animated film to receive an X rating. His extensive documentation of drug use shaped counterculture visual aesthetics. Animation connection: Created Fritz the Cat comics, adapted into 1972 film by Ralph Bakshi Documented use: Confirmed LSD and cannabis use throughout the 1960s and 70s in NPR Fresh Air interviews and the documentary Crumb (1994) Recovery timeline: According to Lambiek Comiclopedia, in 1974 [Crumb] quit marijuana and LSD. It left him with more time for his comics, which resulted in more detailed drawings LSD emphasis: Stated I started taking LSD in Cleveland in June of 65. That changed my head around Artistic evolution: His post-drug work became more detailed, challenging assumptions about substances enhancing creativity
Alex Greys visionary artwork appears throughout animation-adjacent media, including Tool music videos and album covers. His documented cannabis use spans decades and includes professional judging. Animation-adjacent work: Created visionary art featured in music videos and animation; Tool album artwork High Times interview (March 2007): First tried cannabis on the road to a rock concert in Cincinnati when he was 16 and began smoking a little more seriously around 1975 Professional cannabis role: Served as celebrity judge at the 19th Cannabis Cup in Amsterdam, testing nearly 90 varieties Creative philosophy: Stated The visionary properties of marijuana are so perfect for an artist, because they dont disable you—they enable a kind of opening up to higher vision I can imagine [flowing energy forms] much more quickly if Im high Spiritual integration: Frames cannabis use within broader spiritual and artistic practice
Peter Maxs psychedelic pop art style influenced 1960s animation aesthetics, though his relationship with drugs proved temporary. His evolution mirrors many artists who moved away from substances. Animation influence: Psychedelic pop art style heavily influenced 1960s animation aesthetics Period admission: Told Observer.com: Drugs were a period we all went through, but yoga is what I got into If I wasnt an artist Id be a swami right now with a full-blown beard Transition: A 1976 People profile discussed his move away from drug-associated psychedelic art Alternative path: Replaced substances with meditation and yoga practice Cultural legacy: His visual style remains associated with psychedelic culture despite his personal departure from it
While technically a composer rather than animator, Hideki Taniuchis arrest for cannabis possession ended his anime career and represents the severe consequences in Japanese entertainment. His work on Death Note reached millions of anime fans worldwide. Anime work: Composed soundtracks for Death Note, Kaiji: Ultimate Survivor, Hajime no Ippo, Otogi Zoshi Arrest details: Was arrested in 2012 in Yokohama on cannabis possession charges, according to industry reports Career impact: No composition credits after 2012 due to Japans industry practices following drug-related arrests Cultural contrast: Represents how Japanese entertainment handles cannabis versus Western norms
Tsuyoshi Kosugas arrest for cannabis possession impacted his band cro-magnon, which had contributed to the Hyouge Mono anime soundtrack. Anime work: Guitarist and bassist for cro-magnon, who composed the Hyouge Mono anime soundtrack with Kō Ōtani Arrest circumstances: Was arrested in April 2011 on suspicion of violating Japans cannabis law Industry response: NHK changed the opening theme shortly after the arrest; cro-magnon disbanded (later reuniting in 2012) Cultural lesson: Demonstrates the zero-tolerance approach in Japanese entertainment
Perhaps the most significant finding is that creators of the most psychedelic animated content often explicitly deny any drug use. Pendleton Ward, creator of Adventure Time, told Toonzone: Zero. Zero drugs. Show reception: Adventure Time was called The Trippiest Show on Television by Rolling Stone Repeated denial: Also told Wired that the shows vibe didnt come from drugs Creative process: Creates surreal content through imagination rather than substances
The art director of Yellow Submarine (1968), one of animations most psychedelic achievements, stated in a 2004 Design Week interview (as reported by LA Times): I had never taken any drugs. Im a conservative, working class person whod stick to booze all his life. And so I just knew about the psychedelic experience just by hearsay. And I guessed what it was.
Independent animator Don Hertzfeldt, creator of Rejected and World of Tomorrow, told VICE he finds drugs and alcohol to be incompatible with his work.
The relationship between animation and cannabis has evolved significantly over decades. In the 1960s and 70s, underground comics artists like Crumb and Shelton openly celebrated cannabis as integral to their countercultural work. Their art directly influenced animated adaptations and established visual conventions that persist today. By the 2000s, adult animation creators like MacFarlane and Roiland could discuss cannabis openly without career consequences—at least in Western markets. This shift parallels broader changes in cannabis culture and legalization movements.
Japanese anime presents a stark contrast. While Western animators might face social media criticism for cannabis admissions, Japanese entertainment professionals often face severe professional consequences. Both Taniuchi and Kosuga saw significant career impacts after arrests for cannabis possession—consequences rarely seen for their American counterparts in similar circumstances. This cultural divide explains why documented Western cases emerge through voluntary admissions while Japanese cases typically become public only through legal proceedings.
Alex Greys assertion that cannabis enables opening up to higher vision represents one perspective, but the evidence is mixed. Robert Crumbs work actually became more detailed after quitting cannabis in 1974. And the most psychedelic animated content—Adventure Time, Yellow Submarine—was created by artists who explicitly denied drug use. For those interested in exploring whether cannabis enhances their own creative pursuits, finding dispensaries near you can provide access to products for personal experimentation, though individual results clearly vary.
The documented relationship between animators and cannabis reveals more complexity than stereotype suggests. This compilation highlights well-documented examples where public statements, interviews, or reporting explicitly connect animation creators with cannabis—primarily in adult animation and underground comics whose work explicitly engaged with drug culture. The Japanese anime industry presents a striking contrast, with documented cases emerging only through legal proceedings rather than voluntary admissions. Perhaps most surprisingly, creators of the most psychedelic animated content—Pendleton Ward, Heinz Edelmann, Don Hertzfeldt—have explicitly denied any drug use. This challenges assumptions that surreal animation requires altered states and suggests that imagination alone can produce boundary-pushing visual creativity. For animation fans interested in cannabis, the connection lies less in creation than consumption—enjoying animated content enhanced by the right strain for the viewing experience.