Quote

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.

John Hench

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John Hench
Age: 95 †
Born: 1908
Born: June 29
Died: 2004
Died: February 5
Background Artist
Concept Artist
Designer
Layout Artist
Production Designer
Cedar Rapids
Iowa
Time
Waiting
Ten
Space
Difficulty
Artist
Models
Found
Allow
Remember
Mountain
Ride
Every
Took
Model
Years
Needed
Suppose
Would
Technology
Kept

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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.
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It's an enormous amount of work: there are 28 separate buildings, and I work on the choice of the colors for everything. Outside colors, balcony colors, etc.. And all of this has to work together, in harmony.
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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.
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We finally found out the technique of separating and getting information about where every train would be at any moment. Of course, I went over budget many times, because - as you go along - some things improved, and you get better ideas.
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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.
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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.
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We were trained from cartoons. Everything who was on the screen was chosen. Anything who was not there was deliberately not there.
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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.
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Of course, it gave the studio an enormous power, because I don't know any other place who had that skill with images to communicate with. And the need of these kinds of images are even greater now than they ever were because we are losing our life symbols.
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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.
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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.
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Nobody now is going from department to another department. Only Walt did that. I was very fond of him, really.
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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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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.
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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.
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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.
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There were no jewelry hidden. Walt wanted this atmosphere: They were supposed to live here, they've been outside somewhere, but they could come back at any minute and catch us.
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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.
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I thought that it would be easier to learn that if I worked in motion pictures. So I went to work with one motion picture producer who was developing a color system. This didn't do to me much good. All I did was pick filters for the camera.
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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