Of course, it gave the studio an enormous power, because I don't know any other place who had that skill with images to communicate with. And the need of these kinds of images are even greater now than they ever were because we are losing our life symbols.

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.

Color is a very critical thing. I've found that architects don't like colors. Engineers too. And so somebody has to stand in. Because this is the finish of it. It is the emotional part of a structure.

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.

The colors I choose there was to paint the first hotel, the Disneyland Hotel. Because of the cloudy sky we had in Paris, it had to be a particular kind of color who will fight those grey days. And also something you can see when you're driving up 'There it is! We're arriving!'

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

Mickey is one of the prime examples: Mickey has never been suspected of being an American export. It was deja vu. They gave him a local name and he's been accepted everywhere he goes.