transitions between the different worlds and multiple lives of Nemo Nobody. Their post-production contributions involved 37 digital artists and technicians across a six-month period. A long list of software (including Autodesk's Softimage and Maya, Side Effects' Houdini, and The Foundry's Nuke) and the creation of a multitude of in-house tools, programs, and techniques were required for the shots delivered. Music Like Jaco Van Dormael's previous films, the score for Mr. Nobody was written by his older brother, Pierre Van Dormael. For the film, Pierre worked on simple themes and out-of-sync loops, "a mixture of superficial simplicity and underlying complexity." He wrote themes that overlapped to form new ones, each theme continuing to exist while being mixed with the others. The director did not want the music to be overtly emotional, so he and Pierre chose a minimalist orchestration, more often than not just a single guitar. Jaco said: "We wanted the instrument and the player to be felt. This stance actually sums up the whole adventure: a maximalist project with a minimalist approach." Mr. Nobody was the last film Pierre worked on before his death in 2008, and his music won the Magritte Award for Best Original Score in 2012. The soundtrack features songs by Pierre Van Dormael, Buddy Holly, Hans Zimmer, Otis Redding, Eurythmics, Pixies, Wallace Collection, Nena, Ella Fitzgerald, and The Andrew Sisters, as well as versions of "Mr. Sandman" performed by The Chordettes, The King Brothers, Emmylou Harris, and Gob, and recordings of compositions by Erik Satie and Benjamin Britten, among others. Themes Mr. Nobody can be seen as a tale about choice. Nemo, a nine-year-old boy, has been thrust into a position where he must make an impossible decision—to choose between his mother and father. In the seconds preceding the rest of his life, he wonders where each choice will take him. The forces of the universe working to bring about total chaos are counteracted by this boy's overactive imagination. The dilemma that causes the film's main problem (not knowing the future), once solved, makes it all the more difficult: "I don't know the future, therefore I cannot make a decision. Now that I know the future I still cannot make one." The eloquent interplay between philosophical lifestyle and what forges reality is epitomized by the way the film constantly jumps between scenes of the young boy, the adolescent, and the mature man. The film takes