 With computer @-@ generated imagery looking to make up so much of the commercial , Kleinman attempted to use film of real elements wherever possible . To this end , 200 mudskippers were brought to the studio from South Africa for the final scene , arriving via Singapore . An entire afternoon was set aside for filming the <unk> sequence . The footage obtained formed the major part of the final cut of the scene , with only one or two post @-@ production changes : the addition of tail fins and animation of the expression of disgust that closes the piece . Stop motion footage of other real elements was taken , including a stage @-@ by @-@ stage <unk> of plants , used to show flora coming back to life in the reverse sequence , and shots of baking bread , used to model the geological changes to background rock formations . Additional real elements were to have been incorporated into the commercial , mostly from stock footage of several animal species , but only short segments of <unk> and lizards appeared in the final cut . 
