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John Hench

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.

— John Hench art

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.

— John Hench age

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.

— John Hench hope

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.

— John Hench 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.

— John Hench joy

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.

— John Hench experience

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.

— John Hench being

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!'

— John Hench art

When you go to the park, there is no horizon - just Disneyland.

— John Hench you

Walt put everything he knew about communication with images into the park, so it was very familiar.

— John Hench communication

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.

— John Hench self

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.

— John Hench time

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.

— John Hench people

It was supposed to be in the second street project for Main Street. But who knows? Maybe it will be built one of these days. We never throw away any idea.

— John Hench will

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.

— John Hench art

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.

— John Hench people

We don't have too much ritual in our life anymore. And these life symbols which people rely on to keep their feeling of well being, that life is not too bad after all are required more and more.

— John Hench life

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.

— John Hench feeling

The show is being changed right now, by the way. Jeff Burke is doing it for the Magic Kingdom. And I think it will be better, with new birds, master of ceremonies, etc.

— John Hench change

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.

— John Hench people

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

— John Hench work

Nobody now is going from department to another department. Only Walt did that. I was very fond of him, really.

— John Hench art

Walt's idea was that - as soon as the people who were dining got through their main course. They were supposed to all be seated, served at the same time, when they got into the dessert.

— John Hench time

For instance, some early ideas for Florida were done only recently. The idea of a little village was there from the beginning and now we have this 'Celebration' village. Same thing for the Disney Institute. Walt talked about this idea in the very first.

— John Hench age

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.

— John Hench success

Color is a very critical thing. Ive found that architects dont 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.

— John Hench art

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