My narration and conversations with my father’s three brothers, Gary, Geoff, and Matt, form the narrative backbone of the film. Conversations are casual. The tone is more heart-to-heart than formal interview. Our discussions are recorded on audio only. I'm interested in my uncles’ individual relationships with Greg and how they might contradict each other, complicating my understanding of him. Greg was a pianist, so piano forward classical music is central to the soundtrack. Stop motion animation brings to life the inner workings of my childhood mind, exploring my father’s identity and building pretend fathers in an imaginary game. “As I grew up, this game lost its magic. Then, in 2012 I received a message from Geoff, my father’s brother. This is how I learned about my father’s passing. Over 8mm home videos, family photographs, and animated sequences, we learn about Greg’s life through. My narration punctuates the discoveries I make along the way. We return to the archival footage that opened the film. “When I set out to make this film, I wanted to see if I could have a relationship with my father after his death. And I think I can. Like a living thing, it continues to evolve and change. Just because it only lives inside me now, doesn’t make it any less alive.”  There is only one live-action scene with my uncles in the film. It comes in the form of an epilogue, over the credit sequence.  In it, I, my two daughters, and my uncles, spread my father’s ashes at sea off the coast of California. This is the first time we see my and my uncle’s faces completely. The final shot of the film is of the four of us sitting on the sailboat, facing the ocean after spreading the ashes. The camera is behind us.  My father’s missing presence is palpable. My uncle Matt puts an arm around me.