 To learn how to base gags on personality and how to build comic routines, rather than heaping one gag after another, he studied Laurel and Hardy, Harold Lloyd, Charlie Chaplin and Buster Keaton.In order to stir emotion in an audience, Disney studied and scrutinized the shadow effects, cross-cutting and staging of action in films featuring Douglas Fairbanks and Lon Chaney.Walt Disney did not want for Oswald to simply be "a rabbit character animated and shown in the same light as the commonly known cat characters", as well as merely just a peg for gags.