Some eight months later the mysterious Pierre Poire, whom I met at Sundance, called from Italy and asked me to send him my LOVE STORY, which I did. A few weeks later he called again, said he liked LOVE STORY and invited me to be part of the project he was producing, "one poem each week", which meant 52 short poetry films had to be made by 52 different filmmakers. I was chosen to be one of them. The budget wasn't big, but the given freedom-unlimited.

I have been always crazy about Jorge Luis Borges' work, so to chose a poem was really easy. The next step was to memorize the poem, then lie down in bed. In the stage between sleep and awake, a series of images pass through my head. I have to be alert and relax simultaneously - like a cat in front of a mouse hole. You can't fall asleep but you can't be too alert either - otherwise you start to command the images instead of just letting them flow.

In few days I faxed the storyboard to Pierre. I guess that is the most exciting part of making an animated film - to come up with the storyboard. The rest is grueling work.

After four months of 12-16 hour days, the film was completed and I was diagnosed with an ulcer, which was a nuisance because it was about the time to start NATASHA - my first and only collaboration with Josh Rechnitz.