Orrin Zucker: It's a lot of fun. There are usually at least couple moments in each episode when I just sit there after finishing a scene and laugh. Sometimes it's just what Jerry says, a look on his face, or a situation he's in. It's such a flexible track that Jerry gives me that there's a lot of ways I can handle it. My brother tends to be a bit more subtle in his visual tastes, I'm more over the top. We meet somewhere in the middle.

I.A. - The little music of your short is very classic and reminds me of old b&w shows, is there any reason?

J.Z. - The music is a throwback to a happier time. Each episode is almost like an old silent movie with Chaplin, Keaton or Harry Langdon. Or for something more recent, it reminds me of the poignant piano music of 'All in the Family'. The syncopated ragtime rhythm is an anachronism. It helps define the offbeat, out of step main character. Antagonists (ie The Brute, The Hypnotist etc.) also get their own themes which helps to heighten the drama and drive the episode.

I.A. - Do you think Jerry's character has evolved since the first episodes?

O.Z. - : Not really. He's pretty fully formed from the first episode on. The reason is that there's a real person behind him. But the animation has evolved visually as I've become more comfortable with the technique and Jerry's stories have become more challenging.

I.A. - Has the way you think about the episodes also changed over time?

O.Z. - : It's funny. We're kind of doing this by the seat of our pants. There's a lot of spontaneity involved. We don't know what the next episode will be until Jerry comes up with something he likes and I have little idea of what I'm going to do until I sit down and actually do it.