I wanted the film to mirror the way we daydream - as Jung said, "Images are pregnant": each image leading to the next, the mind unfolding, constantly giving birth. I wanted the audience to see the film unfold as if in a daydream. Paced slowly and carefully, each stage and scene fully dense and a bit hyper-illusionistic, the movement going forward without the jar of the "cut." I brought back the "wipe," an early film device to create transitions to keep the action evolving more than changing.

The film is a circle more than a straight-ahead experience - you could enter at any point and the meaning would be the same. The taking in and spewing out, the searching and the discovering, the desire and the contact, the ever-evolving acts of nature. There is something of the 60's and the 70's there in the film - acid and hallucinogens and spectacular insight and the trance of getting lost and being found - and color. All my films have been made by hand and shot under a 35mm camera - the slight jiggles and the layering of the cels and the hand-drawn animation, and the staccato vibrations of the shading and the variances of light and the medium of film itself are all a part of the way the movies look and feel. To me as different as looking at a painting and looking at a reproduction of a painting - the film quality itself is a part of the message. (Suzan Pitt, film notes)

Where do all our colors come from? Were we given the masks we wear in society or are they of our own design? If we can go anywhere we want and do anything we please, what images will call out to us? What do we consume, what do we give back?

Suggestive substances float through the air. Everywhere, contained and released. Are they beings from beyond?

Keep those Richard Teitelbaum synths electrified at all times.

And dream the dream that has always been wanted, whatever it is.

There is a libidinous sensibility in all of Pitt's work, a playful feeling of "naughty" daring and perhaps an attempt to astonish (or shock) us while hedging the titillation by using sexual symbols. Pitt recalls a strict Kansas upbringing where sex was not discussed; when Suzan first showed her family Crocus, her mother's reaction was shocked disapproval ("How could you do something like that?"). Years later, after a sort of reconciliation had been made between the filmmaker and her mother, the entire Pitt family (except for Suzan's father, who had died a few months before) turned up for the opening of Asparagus in New York. "I think the excitement from the audience helped my mother to see, well, look at all these people. They're really responding to this film. They're not embarrassed. I felt a response from her. She said, "I don't know where all those things come from inside you. I can't myself trace it, but I'm really impressed. It's great!" (John Canemaker, "Suzan Pitt: Moving, Changing, and Animating," 1979)