was really a collaborative process because he constantly received creative input from a "peer group of directors". Lasseter, who served as an executive producer on the film, also made frequent contributions. The main character, George, was inspired by George Bailey from the film It's A Wonderful Life (1946). According to Kahrs, Bailey, like George, "experiences the full gamut of life, from the highest highs to the lowest lows. He's a real guy; he gets frustrated. He's got dreams." Animation While searching for a "way to merge 2D and 3D" animation, Kahrs discovered Meander, "a hybrid vector/raster-based drawing and animation system that gives artists an interactive way to craft the film". When describing the inspiration for the film's unique style of animation, which was created with a new in-house technology called Meander, Kahrs stated, "We brought together as best we could the expressiveness of 2D drawing immersed with the stability and dimensionality of CG. It really goes back to working with Glen Keane on Tangled, watching him draw over all the images." The technique, called "final line advection", gives the artists and animators significantly more influence and control over the final product as everything is done within the same department; "In Paperman, we didn’t have a cloth department and we didn’t have a hair department. Here, folds in the fabric, hair silhouettes and the like come from the committed design decision-making that comes with the 2D drawn process. Our animators can change things, actually erase away the CG underlayer if they want, and change the profile of the arm. And they can design all the fabric in that Milt Kahl kind-of way, if they want to." Characters and voices The character design of Paperman has been likened to that of Disney's traditionally animated film, One Hundred and One Dalmatians (1961). Several comparisons have been drawn between the characters George from Paperman and Roger from 101 Dalmatians, specifically the fact that they both share similar body types. George's appearance underwent several alterations. However, Kahrs always intended for the character to have a rather large nose. "I thought it would be okay if he could have a big nose. If you put breaks in it, and so forth, give it structure. It can still be really fun and attractive." Longtime Disney animator Glen Keane worked on George's love interest, Meg. According to Kahrs, both Paperman characters George and Meg were intentionally drawn to