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!'
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.
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.
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.
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.
Because, you know, it's never a hard work when you enjoy yourself. Look, I've been here since 57 years, and I don't have to explain why I've stayed so long. I always enjoyed it.
Big cities are chaotic. And chaos for humans - who have experience from their ancestors - is the last step before conflict. So, in the park, every kind of visual contradiction has been eliminated.
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.
Walt understood all of those things, and even common things about people. For instance: Usually you get your idea of what kind of day it is by looking at the horizon, because the horizon is your eye level. So what Walt did is to eliminate the horizon.
When you go to the park, there is no horizon - just Disneyland.
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.
Walt put everything he knew about communication with images into the park, so it was very familiar.
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.
I have wanted to be a fine artist painter, and I reached the point in art schools were I'd like to understand more about images and how images communicate information to people. And I was not getting very far in that from my professors.
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