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When they grow up and watch the film, it might help them to make the right decisions, meaning not to take part in any war, whatsoever.

This makes you wonder, maybe I am doing all this for my sons. I discovered a lot of heavy stuff regarding my past and meanwhile, during those years, my wife and brought three kids into this world. I went through a major psychological upheaval during the four years I worked on WALTZ WITH BASHIR. It follows what I went through from the moment I realized that there were some major parts in my life completely missing from my memory. Is the film based on your actual personal experiences? The story is my very personal experience. We drew it again from scratch with the great talent of art director David Polonsky and his three assistants. It's important for me to make clear that by all means this film was not made by rotoscope animation, meaning that we did not illustrate and paint over the real video. It's a combination of Flash animation, classic animation and 3D. The animation format was invented in our studio "Bridgit Folman Film Gang" by the director of animation Yoni Goodman. It was made into a story board, and then drawn with 2,300 illustrations that were turned into animation. It was shot in a sound studio and cut as a 90-minute length video film. What can you tell us about the animation process used in the film? WALTZ WITH BASHIR was made first as a real video based on a 90-page script.

It was basic Flash animation, but it worked so well that I knew a feature-length animated documentary would eventually work. Each episode opened with a three-minute animated scene introducing scientists talking about the "science of LOVE". I made an experiment in my documentary TV series "The Material That Love Is Made Of". Since I had already made many documentaries before, it was a real excitement going for an animated one. What came first - the desire to make a documentary or the desire to make an animated film? lt was always my intention to make an animated documentary. War is so surreal, and memory is so tricky that I thought I'd better go all along the memory journey with the help of very fine illustrators. That would have been SO BORING! Then I figured out it could be done only in animation with fantastic drawings. How would that have looked like? A middle-aged man being interviewed against a black background, telling stories that happened 25 years ago, without any archival footage to support them. For a few years, I had the basic idea for the film in my mind but I was not happy at all to do it in real life video. WALTZ WITH BASHIR was always meant to be an animated documentary. Did you start this project as an animated documentary? Yes indeed.