Quotes by John Hench

John Hench

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.

Cities

Lasts

Parks

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.

Artist

Optimism

Optimistic

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.

Architect

Color

Emotional

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.

Children

Talking

Wall

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.

Artist

Florida

Ideas

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.

Artist

Fundamentals

Optimism

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

Animation

Dry

Two

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.

Artist

Successful

Thinking

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.

Art

People

School

I helped develop Disney’s) special effects department at that time, which helped very much when we worked on “20000 Leagues under the Sea”

League

Sea

Special

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Affection

Animation

Architect

Art

Artist

Atmosphere

Attention

Bird

Business

Cartoon

Children

Choices

Chosen

Cities

Color

Cynical

Department

Design

Details

Dining

Dry

Emotional

Example

Eye

Feelings

Fighting

Filters

Florida

Fundamentals

Get Better

Ideas

Intuition

Jewelry

Lasts

League

Magic Kingdom

Morning

Names

Needs

Optimism

Optimistic

Paris

Parks

People

Perception

Pirate

Play

Reality

School

Screens

The Future Blueprint

Tool

The Home Therapist: Anti Anxiety

Tool

The Autobiography

Tool

The Behaviour Diary

Tool

The Dating Diary

Tool

The Relationship Therapist

Tool

Quotes by John Hench

John Hench

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.

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.

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.

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.

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.

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

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.

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.

I helped develop Disney’s) special effects department at that time, which helped very much when we worked on “20000 Leagues under the Sea”

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Topics by John Hench

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The Future Blueprint

The Home Therapist: Anti Anxiety

The Autobiography

The Behaviour Diary

The Dating Diary

The Relationship Therapist

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