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.

We've achieved this feeling, for instance, with the colors. The colors in the park are harmonious with each other, not like in big cities where they don't.

I suppose that every time there is difficulty. I remember about Space Mountain: It took us ten years before we found the technology that would allow such a ride. And during these ten years, I had a model that I kept, waiting for the technology we needed.

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.

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.

Well, it was never supposed to be like that. Walt died before we had finished. The original idea of Walt's was that you came down there, into the caves, and there were no pirates. But they had been there just seconds before! There was a hot meal on the table, steaming.

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!'