Cat, the film uses actual photographs and live-action stock footage as backgrounds for much of the film. Bakshi and Vita were also experimental in their photography: Bakshi requested that the lab technicians produce several prints for every photo, each print increasingly out of focus, giving the backgrounds a fuzzy quality. Bakshi states that "We didn't want to risk shooting [out of focus] on the spot. That could have meant making some expensive mistakes." Animation According to animator Mark Kausler, Krantz was so nervous about showing too much nudity and sexual activities that he had several versions of some sequences animated, for instance, in the "Maybellene" animation sequence. Kausler says that a sequence was animated in which the viewer sees "the key in the ignition metamorphose into a penis entering Maybelline's vagina". This sequence was deleted from Heavy Traffic, but the same action appeared in the film Down and Dirty Duck. Kausler also states: I covered this scene with another one of the key changing into the fat black guy, and the ignition slot turning into Maybellene. I covered a lot more cartoony foreplay scenes with a simple close-up of the fat black man's face with his hand covering his eyes. You can get a sense of how many scenes had to be altered, by how many times this close-up drawing was used. It got used a lot! At one point the original version "A" of Maybellene existed. Ralph had a print of it, but I have not seen it since I worked on it. We did versions "A," B", and "C", with "C" being the tamest and that is what got into the so-called "X" version of Heavy Traffic. Another scene I can recall doing multiple versions of was the guy in the racing cap, pissing on the fat black guy's ass. This was completely eliminated, causing a jump in the action. Edward Hopper's famous 1942 painting Nighthawks was used as a background in one of the film's sequences. Several animation sequences appear as rough sketchbook pages, including a dream sequence influenced by the work of Otto Messmer and a George Herriman-influenced sequence set to Chuck Berry's "Maybellene". Music The film's score was composed by Ed Bogas and Ray Shanklin. The soundtrack was released by Fantasy Records and Ampex Tapes in 1973. The album was released on compact disc in 1996 as part of a compilation that featured on the