The End Is Built Into The Beginning.

And Also The Idea Of Not Making It Apparent That It's Different From The Rest Of The Film, Even Though There Are Visual Differences, The Audience Is Supposed To Think That They Are With Him When He Wakes Up In The Morning.

My Point Of View Comes More From The Literature I've Read And The Comedy Of The Era. When I Was A Kid, Coming Across National Lampoon Magazine, That Was A Big Thing. I Suddenly Felt Like There Were Other People That Felt The Way I Did, And There Was A Way Of Expressing And Communicating This Worldview.

There's No Way To Approach Anything In An Objective Way. We're Completely Subjective; Our View Of The World Is Completely Controlled By Who We Are As Human Beings, As Men Or Women, By Our Age, Our History, Our Profession, By The State Of The World.

And So Not Only Do You Have To Make That Work, You Can't Really Start Putting The Thing Together In Any Form Because Some Of The Shots Are Very Short And Obviously Many Of Them Take So Long, You're Waiting Months And Months And Months Before You Can See If It's Going To Be Working Emotionally.

Yeah, Once We Decided To Use That Replacement Animation, And The Seams Are A Function Of That Animation, And Other Movies Paint Those Out, We Decided We Wanted To Keep The Presence Of The Animation And The Type Of Animation That It Was Rather Than Make It Look Polished. It Created A Kind Of Vulnerability, I Think.