The whole work was more about problems of the modelling and the animation of characters than a question of realism or an attempt to produce an exercise in style. I was inspired by - among other things - traditional puppet animation in films, which is similar to computer animation as it uses a three-dimensional space and realistic lighting.

I did the modelling and the animation on my own, as for the rendering, I owe thanks to Christophe Delamare for his cooperation. I worked on the film more or less intensely from September through December 1991, and -admittedly - I was lucky to be able to complete the film without anyone claiming any right to supervise its form or contents.
I did not write a definitive scenario, nor did I want to work out a formal script. I live in Metz and the animation was made in Nancy. I always took the train when travelling between these two cities in Eastern France - 45 minutes in the morning, and the same back in the evening. So I actually used this travel time to work out the scenario and do the editting and thus I found the rhythm of the film.(Mario Martin Buendia)