palette accordingly. Animating the souls' designs was challenging and substantial. According to Murray, several artists helped create the souls' designs by giving their suggestions and opinions on how they should look. The design of soul counselors ("Jerrys") originated from line drawings made by story artist Aphton Corbin. Another artist created wire sculptures of them, and the design was finalized. Together, with the design of "Terry", they were seen by critics as a reference to Osvaldo Cavandoli's 1971 Italian animated series La Linea. Soul fantastical elements were difficult to render. To address the issue, Docter referred to his film Inside Out (2015), where the filmmakers personified through physicality. For the Great Before, the filmmakers did not want it to be based in any specific culture given its nature of universality. They sought inspiration from the architecture of 1930s–1960s world's fairs, making a "sense of awe and importance". Production designer Steve Pilcher believed in the simplicity of the Great Before, saying that it was complicated and naive. According to Docter, the aim of the design was to "make a grand statement about learning and knowledge." The personality pavilions were designed to be "abstract-looking shapes" as a literal interpretation of the abstract ideas they represent. For the Great Beyond, the filmmakers conceptualized "going toward the light", which they believed the audience would understand. The astral plane sequence took months to create, despite the actual scene having a short duration. Visual effects supervisor Bill Watral compared the sequence to Psycho (1960) shower scene, taking a long time to film in spite of the actual short time span. During this sequence, filmmakers painstakingly animated sands, liquids, and rocks for the brief sequence. To animate New York, the filmmakers explored jazz clubs and pizza stops for inspiration. A barbershop scene received additional input from Powers. The animation style moved away from photorealism, depicting the city as distorted and crooked. Music Musicians Trent Reznor and Atticus Ross of Nine Inch Nails composed an ambient score for the metaphysical segments of the film, while Batiste composed a number of original jazz songs for the New York City-based segments of the film. Batiste created a "user-friendly jazz", which felt "authentic" but could still be appreciated by a general audience. Ross composed a "somewhat ominous" musical cue in the afterlife walkway scene, which also incorporated real-world sounds. Reznor and Ross were brought in on the recommendation of sound designer Ren