Even in China. Children there, next to the Great Wall, who had never seen Mickey Mouse responded. So the studio did have that skill to communicate with images.

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

We finally found out the technique of separating and getting information about where every train would be at any moment. Of course, I went over budget many times, because - as you go along - some things improved, and you get better ideas.

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

But Walt and him shared the same kind of optimism. Walt believed in himself, and he was optimistic about what he wanted to do. He just knew it will be okay, and Dali was the same way. They had a great deal in common that way.

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.

In live action movies, you just hope that everything works. Because the actor may had a bad morning and doesn't play good, or accidents happen continuously. Many things contradict what you are trying to say. But in cartoons, nothing contradict what you want to say.