I helped develop Disney's) special effects department at that time, which helped very much when we worked on "20000 Leagues under the Sea"

There were no jewelry hidden. Walt wanted this atmosphere: They were supposed to live here, they've been outside somewhere, but they could come back at any minute and catch us.

The park achieved a kind of reality. Like these virtual reality games the children are playing with. I told them we were doing this 40 years ago! Disneyland is virtual reality.

I did what we call dry for wet effects, some of the miniatures work and two animation sequences.

I thought that it would be easier to learn that if I worked in motion pictures. So I went to work with one motion picture producer who was developing a color system. This didn't do to me much good. All I did was pick filters for the camera.

I have wanted to be a fine artist painter, and I reached the point in art schools were I'd like to understand more about images and how images communicate information to people. And I was not getting very far in that from my professors.

The boundaries of design are the same as the problem of perception.