The premieres would begin in two major trailers in less than ten days, and less than 20 days. The Goo Goo Dolls were wrapping up the final touches on the animated series, and as always, Billy took on a crucial role as Jim Hawkins—or Jimbo, for short. That's how he always refers to these characters. Interestingly, Emma Thompson was part of the casting process, but surprisingly, her salary didn't reach the expected amount. The value didn't exceed the standard pay range Lux Animation offers for big stars—a range that, so far, only Tom Hanks had broken with Woody. But there was nothing to be done about it.
Beyond his involvement in both trailers, which were shaking up the production studios of major teams, what was on everyone's minds? What was running through the heads of those closely following the shareholders' developments? It was like a rocket veering off course at full speed, crashing straight into a wall like a stampede. A painful blow, yet the real problem wasn't recognized—the overwhelming success observed by outsiders. Four animated films in a single year from the same company—this positioned them among the greats. And considering that each film had been a hit, the collapse of Toy Story, which grossed $1.21 billion, was a slap in the face. Meanwhile, The Musician bringing in $296 million was a brutal reality check for corporate developments.
-That kid doesn't deal in gibberish—he just does what he needs to do, and he does it in an unstoppable way. Disney's stock is at $19—it was $21 yesterday—and if success continues at this rate, the company could find itself between a rock and a hard place. It's already difficult enough facing such fierce and relentless competition. We never expected their growth to unfold this way. In less than ten years, they've been releasing two films per year, and that makes me wonder—how long will this debate last?- asked Bill Mechanic, CEO of Fox Filmed Entertainment. Alongside him, Thomas Rothman, president of Fox Searchlight Pictures, discussed the numerous concerns stemming from Blue Sky's new requirements—a harsh reality for the administrators and executives appointed by the Murdoch family.
-What I believe is that we need to advance our technology. Billy Carson has acquired various software from Japanese firms, as well as his own, and with the knowledge he gathered from Hanna-Barbera, he realized that the key shift lay in merging traditional animation with the modern technology now in use. That makes me wonder—how long are we going to wait before upgrading our equipment? Or will simply licensing technology be enough?- responded Chris Wedge, co-founder and creative lead at Blue Sky Studios, who had negotiated the sale of his studio for $75 million along with a lucrative contract filled with benefits.
The boardroom was filled with co-founders. Eugene, for example, believed there was no need for new technology, as they already had a strong rendering software development process, which they used extensively to craft their films exactly to their vision.
-I'm afraid it's a mistake to think that licensing alone is useful. We know that Pixar's system is rooted in traditional animation, adapted to new challenges. The use of vectors, symmetry, and materials is innovative, but it's not something we haven't considered. However, their additional software, packaged as data, is where the real advantage lies. That makes it clear that if we want to succeed in the animated film industry, we need a complete overhaul.- Michael Ferraro, another founder, delivered these harsh words, laden with his own experience, only for them to be left forgotten in the void.
-Then I'm afraid you all have a lot of work ahead of you.- stated Peter Chernin, who had been advising Billy on production management. It was almost like setting up a fresh, structured assembly line—five scripts were selected, two were approved for production every six months, and then another two were chosen and developed in order. This was followed by co-production efforts involving artists, writers, and screenwriters, enriched with input from specialized professors, shaping a clear story and letting imagination flow as a healthy challenge.
The Mulan video had been a journey through Chinese culture, and Treasure Island was a direct adaptation of Stevenson's novel. Now, all that remained was to spread their wings and use every tool at their disposal.
-Someone must have tipped them off… that much is certain. Whoever it was known we had been planning a Treasure Island adaptation for a long time, but we shelved it in favor of the Star Trek sequel.- Michael Eisner spoke in complete frustration. He was furious at the realization of this development, but how could they have known? Supposedly, when they had wrapped Troy at the end of last semester, they were set to move forward—but before they could even sketch out a single blueprint, the competition already had a completed film.
-It's all Musker's fault for being too demanding with his animations—they stole our design.- Eisner raged, completely beside himself. He felt like the weight of the world was on his shoulders, crushed by the pain of failing to steer the company where he wanted. The first decade had been brilliant, but the start of the second was consuming him like a storm-battered display window.
His anger lingered for a few minutes before he took a deep breath, his finger hovering over the secretary's intercom button. He had a meeting with Musker and Clements, the directors of the project. They had shuffled through several options, but their initial estimate of a 500-person team had been humiliated by Billy Carson, who had accomplished the same with just 50 people and the fledgling resources of DreamWorks. It was a painful defeat.
Both men entered, shifting uncomfortably in their seats. The recent developments had left them completely shaken.
-From my perspective, it's clear that producing a quality film with only 100 people is nearly impossible.- Musker remarked.
-I've received all the information—the kid did all the work at his own pace, from settings to character designs and every aspect of production. He even wrote the script himself, almost exactly as suggested. It's as if he poured his thoughts onto paper, and they turned it into a fantasy. But… I still want to hear your explanations.- Michael Eisner, though slightly weary, remained sharp.
-We have a story, and we'll create something great—only time will tell. But in less than three years, we'll surpass Billy Carson's production.- Clements asserted, though his heart wavered.
-Your words don't fool me. Three years is too long. But beyond that, we lack a real soul. Unfortunately—and I dare say this—Disney needs to change. You will open a new division in Nevada and acquire the Lux Animation license. I just hope that, in three years, your decisions won't leave me soulless. We already have some animators—we need fluidity and promotion.- Eisner's words hit hard and clear, striking the hearts of both men, who suddenly felt abandoned in the cold Nevada night.
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