the seven sections into one "very rough draft". The film's script was written in the same way as the television series: the writers sitting around a table, pitching ideas, and trying to make each other laugh. The script was rewritten over 100 times, and at one point, the film was a musical. However, the songs were continually being shortened and the idea was dropped. Groening described his desire to also make the film dramatically stronger than a TV episode, saying that he wanted to "give you something that you haven't seen before". Animation Animation for the film began in January 2006, with the Itchy & Scratchy short being the first scene to be storyboarded. Groening rejected making either a live-action or a CGI film, calling the film's animation "deliberately imperfect" and "a tribute to the art of hand-drawn animation". The film was produced in a widescreen 2.40:1 aspect ratio, to distinguish it from the look of the television series, and colored with the largest palette the animators ever had available to them. A lot of the animation was produced using Wacom Cintiq tablets, which allowed images to be drawn directly onto a computer monitor to facilitate production. Animation production work was divided among four studios around the world: Film Roman in Burbank, California, Rough Draft Studios in Glendale, California and Seoul, South Korea, and AKOM, also in Seoul, South Korea, all of whom previously worked on the series. As with the television series, the storyboarding, characters, background layout, and animatic parts of production, were done in America. The overseas studios completed the inbetweening, digital ink and paint, and rendered the animation to tape before being shipped back to the United States. Director David Silverman said that unlike the TV series where "you [have] to pick and choose", the film gave them the opportunity to "lavish that attention [on] every single scene". The characters have shadows, unlike in the show. Silverman and the animators looked to films such as The Incredibles, The Triplets of Belleville, and Bad Day at Black Rock for inspiration, as they were "a great education in staging because of how the characters are placed". They also looked for ideas for a dream sequence, in Disney films such as Dumbo and the Pluto cartoon Pluto's Judgment Day and for crowd scenes in It's a Mad, Mad, Mad, Mad World. Silverman looked at some of the Simpsons episodes he