Both Eric Schlosser and I have been a great admirer of Stanley’s work. The powerful visual identity he created for Polyfauna, and how brilliantly the music intersects with the visual world, speaks to the depth of Stanley’s work. When we first approached him about the bomb, we spoke at lengths about his connection to the nuclear issue, and attending his first CND demonstration as a teenager, and the gravity of those terrifying times. The same urgency and inescapable reality exists now. Yet, there’s almost a denial of it.

Stanley's illustrations have a bold and political nature, underlined with modesty and humor. So of course when we first approached him to be the art director -- he mentioned having no knowledge of moving pictures. Alongside his brother, the talented animator The Kingdom of Ludd, he has provided the bomb with a hallucinatory and visceral quality that combines archival film, government documents and bold animation. All of us are quite eager to see it come together for the first time on massive 360 degree screens—it could be quite shocking.