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

I don't think that was too successful. Because I always thought that the two of them should have been more separate. Also I had planned the monorail station to be in the center. So that one day you would have go to World Showcase and then the other day to Future World.

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.

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.

Walt had a marvelous intuition. And because he understood people very well, liked them and had great respect for people, there was nothing cynical about Walt.

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!'

I always admired Walt's optimism. He seemed to know the direction he was going to. When I was at the studio, I remember he kept driving all of us back down to a more fundamental level all the time.