He blocks the animation by setting up the camera and taking photos of important points of the story, to then define which ones work to make a cohesive scene. To have a better guide, he adds to the image something that looks like a half-circle protractor to see when and where the camera needs to be.
Parry also explains something very important in almost every animation, and that is to catch people’s attention during the first seconds. He needed the viewer to understand at the beginning that the chair is like a car, and that’s why the first movements we see are crucial for the scene.
Other aspects the artist broke down were how he achieved the smoke effects by using crumbled paper, bedsheets, and cotton; the police lighting by using a changing-color light; objects moving coherently by moving them two floorboard widths per frame and making the floor and ceiling appear like they also had movement by adding in post-production a shadow that travels across them throughout the animation.
Check out the video to see all the details:
