In learning the art of storytelling by animation, I have discovered that language has an anatomy.

As the original 'Mary Poppins' budget of five million dollars continued to grow, I never saw a sad face around the entire Studio. And this made me nervous. I knew the picture would have to gross 10 million dollars for us to break even. But still there was no negative head-shaking. No prophets of doom. Even Roy was happy. He didn't even ask me to show the unfinished picture to a banker. The horrible thought struck me - suppose the staff had finally conceded that I knew what I was doing.

A good story can take you on a fantastic journey.

When you're working on a project, make sure at least one person knows what they are doing.

People still think of me as a cartoonist, but the only thing I lift a pen or pencil for these days is to sign a contract, a check, or an autograph.

There's really no secret about our approach. We keep moving forward - opening up new doors and doing new things - because we're curious. And curiosity keeps leading us down new paths. We're always exploring and experimenting. We call it Imagineering - the blending of creative and imagination with technical know-how.

Over at our place, we’re sure of just one thing: everybody in the world was once a child. So in planning a new picture, we don’t think of grown-ups, and we don’t think of children. But just of that fine, clean, unspoiled spot down deep in every one of us, that maybe the world has made us forget.