Cinema, almost unintentionally, had entered its golden age, where all the magic seemed to drift toward places far from simple. Those watching had just two words for what they were witnessing: new eras. Change, revolution, desire, and perhaps even art itself seemed caught in between.
But Lux Animation operated five years ahead of schedule, while Pixar was nearly ten. They both worked to establish a quality standard so deep and refined that audiences instinctively chose the best visuals. Children, in particular, viewed this level of quality as the norm—yet few dared to match it.
–He's just too good at creating stories, – said Steven Spielberg, eyeing Billy with a guarded gaze from five rows behind, as the audience, some cheerful, chatted about the great film, while others shifted uncomfortably in their seats.
–We all doubted him, afraid we'd never find that kind of talent… but we followed his process and guidelines for scouting scripts. He likes to plan far ahead. For instance, Billy's has had this script since 1995. That's two years of his labor and refinement, even though he works differently. But we believe time is what allows his series to align perfectly with the moment, – added Jeffrey Katzenberg, now aware that only by matching Billy's intensity could they produce adaptations that held up against the golden boy.
–Then let's not compete. Let him be our bridge, while we continue creating our works and bringing our ideas to the table, – replied Spielberg, who agreed that beyond being a great writer, Billy's true strength lay in his administrative and business skills—betting everything, protecting assets, reinvesting profits, winning over employees, and venturing into lesser-known areas of entertainment like comics, which had lost their stars two decades ago, as well as video games, action figures, board games, literature, and animated films. In 1993, there had been only one serious competitor; four years later, Lux was number one in both audience and critical acclaim. Their stories went far beyond traditional box-office formulas, tackling dark themes, adapting literature, and introducing original creations, making everything feel better than anything else.
–He's stunned us again. But he's our wall against the major studios, – said Spielberg, who hesitated to admit that Billy was becoming one of the most powerful figures in the industry. All he needed now was to acquire a few magazines and make them his own, and he'd control a true Hollywood studio. But where would he go from there…? Maybe he'd create a whole new system, one that defied tradition.
–I've got a lot of ideas, and some are starting to take shape. Maybe we'll find the right roles, – said Katzenberg.
...
–So what did you think? – asked Billy.
–Very good. Though I still liked Ice Age more, this one is right up there… among my top favorites, – replied Monica, who had a mental top three, with The Musician in the lead, followed by the previously mentioned films.
–Let's hope the critics see what you saw. If we earn their recognition, nothing around us will be able to stop what's coming, – said Billy.
–A strong competition, Monica noted. – I've heard you don't have many friends in the press. –
–I don't. But I'll have them soon enough, – he smiled, fully aware that Shrek would mark a turning point and attract the true heart of the movie world to his doorstep. When those people came knocking, he'd let them in—because he still had so much to do. As a corporation, their good name had to be preserved. Yet it wasn't easy. He knew that to build wealth, he had to understand people's tastes—and when those tastes came knocking, he couldn't afford to separate himself from the unpredictable void of the entertainment world.
–Just smile. I need my beautiful woman by my side while I share a bit of arrogance with those who need to taste my success, – Billy said, kissing Monica's lips gently, knowing full well many of his problems...
–Of course. As long as you know, I can't let everything slide so easily. A man should care for his lady with the same passion he gives to his investments. – Monica took his arm, her lips curving into a faint smile.
...
–I like what you did, Billy, – said Steven.
–I like what I d,o too. Can you believe I firmly expect to cross the $500 million mark? – replied Billy.
Steven's eyes widened—almost like forecasting another billion-dollar movie. It was a gamble without a fall.
–If you pull it off, I'll be the first to congratulate you. People are already talking about starting thein studios, and that only adds value to your Autodesk licenses. By the way, I've heard rumors it's going public. –
–, it is, – Billy confirmed. – Though I'm not sure if it'll be this year or the next, but a lot of European, Japanese, and Chinese companies are after our product. –
–I'm a little jealous, to be honest, – Steven admitted.
–You should be. Autodesk is essential, but I need a lot more capital. Fortunes from other markets help bring my vision to life, – said Billy. – By the way… I have a proposal. I want to create a win-win deal between you and me. –
–I'm always happy to do business with you, – replied Steven.
Just then, others arrived to congratulate him, but Billy urgently needed to speak to one person in particular—someone long forgotten, a man who now seemed unwilling to come near.
–I have some ideas that would be brilliant for animation—but I can't execute them myself, – said Francis Ford Coppola. He had a film called Supernova: The End of the Universe, which he wanted to turn into an animated feature, using the stunning visuals now available in the animated world.
–Good to see you again, Betty, – said Billy, looking at one of the key figures who had been involved in all the previous negotiations. And once those deals fell apart—with Billy at the center—a bitter standoff began. Cartoon Network, once dominant, veered off in a direction he hadn't expected. It wasn't good. Three years earlier, the company had lost $21 million in a single semester from canceled or failed shows that couldn't keep pace with Billy's output.
–You invited me, – said Betty Cohen.
–Because I want to hire you for my TV channel, as the coordinator of Lux Nation Atlanta. No inflated salaries, but a secure contract, – said Billy, handing her the agreement.
–I want you to train or hire a team to get everything back in order—and come back in three years to take over what I'm still missing for my company, – Billy added.
–Wow… – Betty whispered, surprised by how direct and to the point the young man was, just as he'd always been in negotiations.
–Let me know tomorrow if there aren't any legal issues, – said Billy. – You can call the HR manager. You've got my approval. And you can bring back anyone who was laid off—Lux Animation will welcome them with open arms. –
Warner had downsized and fired many employees, shutting down numerous shows and rethinking its approach. But this year, they were banking on a film release scheduled for June. It seemed they preferred cinema over television—at least movie returns were measurable.
But Billy's lockdown strategy helped. With so much competition, only Nickelodeon remained a real rival, thanks to shows like The Fresh Prince of Bel-Air or Kenan & Kel, which were still delivering results. Even Disney was outperforming them, and last in line was Cartoon Network, still clinging to its hits like Scooby-Doo, Batman, and Slam Dunk.
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