The other thing that was decided at that early point was the treatment of the background and the world we were trying to create. In this frame you can see that we decided to use photographs inside the drawings. Because the movie deals with memory and the way it works, this uncertain feeling of whether it's a photograph or a drawing, that came early on.

The motif of this specific orange colour kind of developed throughout the film. It started out of something in the script, which is the actual colour of flares and how they light up this very artificial and alarming atmosphere. It's based on my experience living [in Israel] close to war action, I've gotten to see some flares and I know their eerie orange look. The orange then became the motif that runs throughout the film. It's something burning, a chemical burn, not a warm fire. And it reappears throughout the film until it takes over in the final scenes. But it's not something for the viewer to decipher, it's not subliminal, it's intuitive.