 We enter Bruce Bickford s studio in Santa Monica, California; it s 1978. Various technicians are at work; drawers upon drawers are full of figurines. Bickford says a few things, and then, with Zappa s symphonic music on the soundtrack, we re taken into various Bickford creations. Knife-wielding Africans fight rifle-toting Whites. A drawing of a toilet fills the screen, various foods emerge from it, and they change shapes swiftly into images of animals and things. In claymation, three everymen move through landscapes of danger and conflict. Moments of the every day change quickly into grotesque images. Little holds its shape for more than a moment.