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Burny Mattinson: It was very exciting times, then. It was not just that Sleeping Beauty was in development. We were finishing up on Lady and the Tramp and we were finishing up on 20,000 Leagues, which was, really, for us, quite something. It was a major picture. Then the other element that came along was Disneyland, and that was in Walt’s eye, Disneyland. So we as artists would be utilized to help out on that part, too. You could go into any assistant’s or animator’s room, and you could walk in there, and they were literally.... Like George Goepper: He had a hippopotamus in his room, in clay, and he was actually molding it for the guys who were going to take and cast it for the Jungle Cruise ride. It almost filled the entire room, and he was there, molding it and so forth, and he’d come in, “Hey, Bernie! Here’re some scenes to work on.” And he’d hand me some work. You went to Blaine Gibson’s room, and you were picking up work from him, and he was working on the natives. He was molding them, again for the Jungle Cruise. So everybody was doing something. You could walk into anybody’s room and something was happening.

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