Abstract: No canonic animation pipeline or production process could be compared to how Allegro non troppo came into being.Fantasia itself was an atypical item, in this respect; it was not just a full-length animated feature but an anthology of short animated fi lms interwoven with live-action sequences that used a stylized cinematography, dominated by colored background lights and dark silhouettes.The production started from the short The Sorcerer's Apprentice and was later converted and widened in scope, to allow the creation of the other shorts.However, even the productive setting of the animated omnibus fi lm, which can optimize time and costs by splitting the crew into smaller units, each one working in parallel on a different short, does not apply to Allegro non troppo .Even though there were indeed separate units (and even separate studios) simultaneously at work on the project, the process was not linear and favored instead free-fl owing creativity and trial-and-error approaches.A careful planning was needed anyway, especially to meet one of Bozzetto's main concerns: obtaining a convincing synchronization between screen action and preexisting music.However, during the production the artists had to experiment with new techniques and learn from direct experience, with no preparation for the task.Each subproduction unit advanced at a different speed; the crews had to occasionally disband and regroup to produce animated TV intros or commercials, the main source of income for the Bruno Bozzetto Film; moreover, such crews were not strictly separated, as an artist could contribute to more than one short; Bozzetto directed them all (whereas each Fantasia short had a different director).Apparently, Allegro non troppo was made in a counterproductive way; Bozzetto's approach seems far away from the ideal mindset behind an effi cient animation production, summed up by Hannes Rall as: "to utilize one's creative resources for the optimal communication of content, whether