"It’s an interesting choice, yeah. You wouldn’t necessarily associate it with this. But if you think about ParaNorman, one of the things that, from the beginning, we realized we wanted was to create a real place — a real sense of place — and really hold up a mirror to the contemporary world and not create a fantasy American town. We wanted to really believe in it. And it was already in the script that [the movie’s fictional town] Blithe Hollow would be rotten around the edges and not a perfect place. We love imperfection; it’s throughout — even the family in the story are imperfect. So what was really cool about watching George Washington — and looking at the photography by William Eggleston, by the way — was just how the kind of downbeat world was celebrated, though great cinematography and great photography. And in George Washington, a lot of it’s just about the sense of place. It really takes time developing a sense of place with great photography and sound. So in our first act, when we introduce Norman’s world and the town of Blithe Hollow, especially when he’s walking to school, we actually put shots in there that normally wouldn’t belong in an animated movie — not a Western animated movie. Just shots of odd corners of the world that are kind of run down. Not necessary, but they kind of create atmosphere. We love that kind of vibe. Early on, Chris had tried a little bit of [composer] Jon Brion’s music [as a temp score] — and it had that same kind of slightly off-beat vibe to it, and we wanted to have that vibe to this world at the beginning. Then when we introduce the fantasy elements, it’s a real contrast."