"One evening at dinner, I asked Marc, 'What happened to you thumb?' I put my right thumb next to his and said, 'It's crooked - your thumb's twisted almost forty-five degrees to the left.' "That's just from drawing.' laughed Marc. "Throughout his life, Marc was an observer. He told me that the greatest teacher he ever had was his observation of real life. I remember his words and hope that one day my will be as crooked as his."

"When the Studio moved to the new facility in Burbank, we saw the big lawn next to the commissary and decided we'd have to play a game of touch football. Well, we all smoked back then, and none of us knew the meaning of exercise. One Saturday we had a game, and it went on for forty-five minutes without a break. By the time we quit, it was all any of us could do to get into our cars and drive home. I could barely press down the clutch. On Monday, Marc came into the office with a drawing of the game. It showed two guys carrying him off the feild on a stretcher and he's saying, 'You #@*#%, you don't know what living is!'"

"Marc would say, 'Once a year, I go out and draw a tree: This is to remind me that reality is out there, not on our drawing boards. It's a good way to get me back into the real world.' I agree with him completely; sometimes in animation, you start to forget about what really is out there, and you get trapped."

"Marc was gracious and charming right up to the end. While researching Fantasia/2000: Visions of Hope, I stayed with Marc and Alice in Los Angeles. I wanted to show my gratitute, so I included a thank-you to them in the book. Somehow, his name wound up getting misspelled. Gremlins. When the book came out, it acknowledged the support of 'Mark' Davis. Horrified, I wrote Marc the most forlorn letter of apology. Several days passed and a note arrived from him. He told me not to worry, these things happen. He wasn't going to let it upset him and I shouldn't either. He signed off: 'Thancs for caring.'"

"Every day we recorded during Cinderella, Marc would be sitting in the control booth watching me. He didn't miss a single session. When the movie was released and my father saw it for the first time, he was amazed. He said to me, 'I know I was watching an animated character, but it felt like I was seeing my daughter. The hand movements, the mannerisms, every little gesture was exactly you.' I said, 'Well, Dad, that's Marc.' "I miss him very much. Every time I see a clip of Cinderella when I'm on the road working, I get chocked up. Marc was a very kind man, a dear friend, and a wonderful colleague."

"When I started at the studio, we had life-drawing classes with Marc Davis. I felt I had died and gone to heaven, just to learn from him and watch him draw as if the figrues were just flowing out of his hand. It was also important to hear him explain that they didn't just flow, that it was the result of years of hard work. His impact on my own work came from seeing that even in his old age, hew was always drawing and always learning. I always have a sketchbook with me now."

"Marc is probably the best character designer Disney ever had. He came up with unusual shapes that have a magnetism to them. When you look at Maleficent - even in a still drawing - you want to find out about this character. Marc was always pushing his own boundaries and the boundaries of animation."

"I first met Marc at a commemorative gala for Disney's Nine Old Men in the mid 1970's. I knew his work and he knew mine, but we'd never actually met becore that. We started running into each other at Disneyana conventions, and I became very good friends with Marc and Alice, his wife. She was Alice Davis and I was Virginia Davis who played Alice, so we used to joke that we were related in some special way. Marc was a true genle man and a fine artist. What made his work so special is that he put heart into everything he did. His characters, like Tinker Bell and Flower, show a real love of people. They are not just drawings. I often wear a Tinker Bell pin on my collar. It's my own personal tribute."

"Our relationship during the late thirties and forties was built on a shared interest in the fine arts. What fascinated me about Marc was the interest he had in Daumier, Toulouse-Lautree, Modigliani, the artists who ruled our world at the time. It was very exciting to talk with someone who knew about all these people. Picasso aroused Marc's interest in bulls, and he made some stunning drawings of bulls in the ring. Had Marc applied his talents to the traditional fine arts, he would have become a major figure in that field."

"The perfectionism that Marc brought to his work extended to every aspect of his life, even to making martinis. If you came over, he would leap up, ready to fix one, but he would cover up what he was doing, like it was a secret. I'm not quite sure what he did because I wasn't allowed to see it, but it was a major procedure that took ten to fifteen minutes. The results were really great but they were so potent! I only live a couple of miles from their home, but it was quite a journey getting back to the house after one of those martinis."