The editor's duties on the film begin at the very beginning, and he remains on the project through completion. They start with nothing, and sometimes begin by recording scratch dialogue from the script and executing story board sketches — to obtain a rough idea of the story. These are refined until a template for production is created — this acts as a safeguard against animators creating images that won't be used, which would be a waste of time and manpower. In a marked difference from live-action production, the editor is involved in a pre-edit, to help determine the exact length of the shots, which saves time during production.
Even after these shots have moved into the pipeline of production, the story can still be re-molded — re-written, fixed, gags added, gags removed and new discoveries made. So there's a constant revision process, which keeps Fletcher and his team busy for the entire length of production.
Others present at one of the last stops on the pipeline of production are the movie's composer, Rupert Gregson-Williams, and executive producer of music, Hans Zimmer. Gregson-Williams' melodies have been heard in projects as diverse as "Over the Hedge” and "Hotel Rwanda.” As with much of the look of the film, along with the sound design, Gregson-Williams' music had to mirror the simplicity of the story and honor its wry and distinctive sense of humor.
In what can only be described as a perfect union between musical and filmic content, a cover of the Beatles' "Here Comes the Sun” accompanies Barry and the "pollen jocks” as they zoom over Central Park and re-pollinate the flowers for the film's finale.