The production designer I collaborated with has worked with Michel Gondry quite a bit. That was great because what I wanted to bring to the film, and this is more on the design side, is a dream-like sense of the locations. All the transitions that take place are done in-camera. For example, the protagonist goes out a door to a classroom, where the floor is full of sand. As he turns around, the door slams shut, where suddenly it's night time and you're in a dormitory. That was all done physically: we shot in a desert-like location, picked up the door frame, carried it to the next location, put it down, and lined up the shot again. There was a very organic feel to it, and I wanted like a slippage in the reality.