Animation director Thomas Larson personally assisted the animation of his favorite characters from Angeli's work, the Skrotinhos brothers, that appeared from inside the toll booth. He made sure that they showed up at the end of the scene again after the "french kiss", in order to avoid the interpretation that they were killed inside the booth. He insisted in animating the scene's final shot himself, even knowing that it probably would have been cut. At the end, it wasn't.
By the end of production, editor Eva Randolph asked for the clean plates of every animated shot justifying that she saw potential in creating new content that would expand the pacing of the film. Indeed, what was at first a standard stop-motion practice became a powerful resort for creating empty scenes.
The slit scan scene was inspired by Douglas Trumbull's camera setup for 2001: A Space Odyssey. Cesar Cabral, Daniel Bruson and Samuel Mariani physically reproduced it in a miniaturized form, and also in CG. Most of the footage was shot with clay animation by the art and camera departments, using David Daniels' strata-cut technique.