The entire process of making this film was one long war story.  I knew I would need cream of the crop artists to realize my goals for the film (a funny, surprising, gross and ultimately heartfelt story), but the fact that I had no budget to pay wages to folks who were already working full time, made finding, keeping and motivating talent extraordinarily draining.  And since I produced the film as an after hours project at Disney (which made setting up our production pipeline significantly easier than working from home), it meant that my talent pool was essentially limited to people working at the studio.  While almost every independent short film made faces similar problems in attracting talent, the difference here is that I never found any production management help in the studio pool; and because animation is such a labor intensive process, I had to shoulder producing responsibility literally daily for over three years.  

Over 70 people received credit on the film, but finding these folks took hundreds of inquiries.   And because ultimately I was the one most invested, I could never expect anyone to work five days a week for the life of the production like I did.   In fact, I could never expect anyone to ever do any work.  After all, I wasn't paying them.   These were the rules of the game, and it meant constantly playing a balancing act of setting deadlines and then never getting upset when inevitably the tasks slipped because the people assigned wanted to have a life.  I spent three years vacillating between being amazed at the level of help I received from some incredibly talented artists to wondering how I would ever find enough help to finish.