John Hench Quotes

• 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

• 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.

  John Hench

• 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

• 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

• 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.

  John Hench

• 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

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

  John Hench

• 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

• 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

• 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

• 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. I had great satisfaction in doing that.

  John Hench

• 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

• 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

• 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

John Hench (34)

Birth:	29th June, 1908
Death:	5th February, 2004
Nationality:	American
Profession:	Animator, Artist, Creator, Designer

About

John Hench was born in Cedar Rapids, Iowa, USA. He was an American animator, artist, designer and creator. He was an employee of The Walt Disney Company for more than 65 years, during which saw the creation of nearly every Disney animated feature and theme park. He studied at Otis College of Art and Design in Los Angeles, the San Francisco Art Institute in San Francisco, and the Chouinard Art Institute in Los Angeles. He was respected by Walt Disney as one of the studio's most gifted artists and teamed him with Salvador Dalí on the animated short Destino, a project begun in 1945 that was not completed and released until 2003. By 1954, he was in the studio's live action department, as lead developer of the hydraulic giant squid in 20,000 Leagues Under the Sea, helping to win an Academy Award for Best Special Effects for the film. He led the design for Tomorrowland, the Adventureland buildings and walkways, New Orleans Square and the Snow White Grotto. He also designed Space Mountain, and Cinderella Castle at the Magic Kingdom and Tokyo Disneyland. In 1990, he received the Disney Legend award, the company's highest honor, presented to him by Michael Eisner.

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