We got some help from MTV -- they lent us the computer I’d been using there.  The idea was that we would pitch the film back to them as a series or something they might show.  They let us keep the computer for a few months, but then I think they got nervous and wanted it back!  Maybe we were taking too long.  It took about four months.

To animate the film, I posted flyers around Austin advertising for volunteers to work on it.  They came over to the house and I showed them the basic idea.  I got about a dozen people to give 4 hours of their time at a stretch.  We worked on it for about 4 months, and I think the first place we showed it was at the ‘Fringeware Film Festival’ down on Guadalupe St. next to Mojo’s.  They were projecting all kinds of stuff on a big sheet late at night. 

Anyway we sent it to a bunch of festivals.  I think Slamdance was the first place that showed it officially.  The RESFest people got behind it and showed it a bunch of places.  I travelled to Rotterdam to show it there.  Arriving there, no one was there at the airport to pick us up, so we shared a cab with Harry Knowles who had been on the same flight.

Roadhead was how I met some of the people who are still animating with me today:  Jennifer Drummond, Mike Layne, Dan Gillotte, and John Paul.  Also Constance Wood -- she originally helped me ink-and-paint stuff for God’s Little Monkey, then went on to animate on all our films through Grasshopper.  It was a great way to meet new friends and try out the ‘exquisite corpse’ style of animated filmmaking.  Each animator just got a little piece of the film to work on, with each interview subject in the film being drawn by 3 or 4 people.