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!'
From John Hench
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.
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.
Walt put everything he knew about communication with images into the park, so it was very familiar.
This music that was supposed to only come from tapes like in any restaurant. Something would happened. One bird will start to do a little jazz thing, and another bird will start to answer.
When you go to the park, there is no horizon - just Disneyland.
The park achieved a kind of reality. Like these virtual reality games the children are playing with. I told them we were doing this 40 years ago! Disneyland is virtual reality.
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 suppose that I was a kind of consultant for taste. Is it good taste? Or bad taste? I had an attention to detail, to what would tell best the story. Because many people get excited about the work and drift off from the story.
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.
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