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.

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.

What happen to the pirates we are supposed to see? Then we go down the chutes, and it's where the pirates were. But they're all gone. There is nothing but skeletons down here!

It's an enormous amount of work: there are 28 separate buildings, and I work on the choice of the colors for everything. Outside colors, balcony colors, etc.. And all of this has to work together, in harmony.

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!'

Now people don't know what it was in the Paris version, they put the skeleton at the end, not at the beginning. At least they've learn something!