Billy's calendar was structured like this: he was working on The Matrix, and during that time, nothing could truly be called real. With constant pressure and a demanding schedule, he was also expected to attend the Venice Film Festival on August 27th for the premiere of Fight Club, despite his objections. But Fight Club wasn't just a movie; it had become a cult phenomenon.
Meanwhile, Pixar and Lux Nation had their release plans. The Magician's Nephew from The Chronicles of Narnia was on its way, and by the end of the year, Billy was to begin pre-production on Star Wars. From a distance, he watched what Titanic had become, preparing to begin filming Star Wars in January—or at least do everything possible to make it happen.
Billy was closing initial deals—each with strong fundamentals, never prone to error, and free from trivialities or games bogged down by unnecessary rules.
–We're already seeing a 66% return on the first wave. We're trading short-term options that expire in three days, and our capital is multiplying. Once the current cycle ends, we'll earn an additional 35%, which we'll reinvest in the next country. We've scheduled a second meeting with the owners of V Power, an Indonesian company on the verge of collapse due to the Asian crisis. Raimon has already raised the right questions and secured preliminary terms, – Billy explained.
–Then I can say with confidence we're going to make money. A lot of money. I want you to contact the firm and start buying plots in Detroit—or at least negotiate to acquire the abandoned condo complexes around the old factories. We'll talk to the state and propose an economic revival plan, – Billy continued, knowing full well that if he gained state support—like Bill Gates had in Seattle—he could secure tax-free purchases, labor guarantees, subsidies, political leverage, and other benefits.
–Damn it, more work again, – Raimon muttered.
–It's just a strategy I have in mind. I'll pitch a few ideas soon, but double the options by the end of the year. I want twice the money. Sometimes my operations seem intangible, and that demands more capital, – Billy replied, already planning new ventures and bold investments in different industries to generate additional profits.
–You're becoming greedy, – said Raimon.
–It's not greed. I'm acting out of necessity. We've got busy years ahead, and money is just the baptism we need to face future missteps, – Billy said, aware of the extra earning opportunities in play.
–But there are plenty of other ways to make money that don't involve the stock market, – Raimon argued.
–Just a bit more. Let's not be reckless, – Billy said. –Besides, we've got a few ideas for next year. With more cash and liquidity, we can take bolder steps in production—that could be the turning point.–
…
The Hunchback of Notre Dame was a film adapted from Victor Hugo's work. Set in a famine-stricken France, the world is changing fast, and people are trapped under a corrupted nobility. The story is told by a jester, the leader of the Parisian gypsies, as he recounts to a group of children the tale of a mysterious bell ringer who lives at the top of the cathedral—a so-called monster who hides among the gargoyles.
It follows the cruelty of Judge Claude Frollo, who launches a campaign against the gypsies—driven by a baseless hatred. Believing a gypsy woman is hiding stolen goods, he chases her to the steps of Notre Dame. When she refuses to hand over the bundle, he kills he, only to discover the bundle is a strange, deformed baby. The church's priest, witnessing everything, stops him and forces him to raise the child as his own, believing it to be a divine test. Thus, the child is hidden away in the bell tower and named Quasimodo.
The music and visuals are top-tier. Billy designed three large-scale, painted concept artworks, each detailed and vibrant, scenes that the animators later brought to life in the film.
–What do you think, Anne? – asked Anna Washington.
–It's good. We've got another hit, – Anne whispered. Though subdued, the film was masterfully crafted. The songs were moving, and the villain was a man torn by temptation—each one framed within the moral thread of whether he was truly a man of God or not.
–I like it. Billy submitted three more scripts. He's a master at crafting storyboards, Anna Washington noted.
–Yes. We'll discuss the children's programming and production schedule later, – Anne replied.
She had only five days to sort out any issues before time ran out. She was acting with tireless determination and now needed to contact the comic book companies, which had fixed releases scheduled through December. Timing was tight. In the comics world, delays weren't tolerated, and she couldn't afford mishaps—not when she was training Serena to handle minor issues and act as her right hand… just as she was Billy's.
…
Now, the main characters are—without a doubt—bold figures, whether rightly or wrongly so. Who can resist the hero? A blonde who believes in justice and falls for Esmeralda, the crown jewel. A beautiful gypsy woman who even captivates Frollo, who sees in her the embodiment of lust and sin. For audiences aged seven and up (with parental guidance), it's a film that's difficult to explain.
The New York Times
"Dark, ambitious, and emotionally complex. Lux Nation takes bold risks with a mature narrative. It's not all for kids—and that's what makes it interesting."
Variety
"A daring blend of musical and tragedy, with superb animation. Frollo ranks among the studio's most intense villains."
The Guardian
"Surprisingly dark for Lux Animation. Visually stunning, though the humor sometimes undercuts a story that calls for more gravity."
Rolling Stone
"Parisian Gothic has never been this melodic. A bold, imperfect, but powerful work."
Empire
"Visually breathtaking. Frollo's moral conflict elevates the film beyond Lux Animation's usual formula, which now seems like they're simply doing whatever they want."
Los Angeles Times
"A bold and stylized adaptation. While it softens Hugo's original, it preserves the emotional core of the conflict."
IGN
"An underrated gem. Fantastic songs, powerful emotion, and an unforgettable protagonist."
Time Magazine
"Lux Animation embraces drama. Though the tone fluctuates, the narrative ambition is commendable."
Chicago Tribune
"Unusually adult for an animated musical. The artistic direction dazzles, and the story leaves a lasting mark."
El País
"Billy Carson adapts Victor Hugo with visual reverence and dramatic tension. It's not for everyone—and that's what makes it valuable."
...
Triple post. I'm continuing with the fics. I haven't dropped anything. Work, university, and obligations take up my time, so I write as much as I can. I have a lot to write, but it's nothing out of the ordinary. I usually dedicate myself to reading my stories. I'm always ahead of schedule on this one. We're on Patreon for 40 extra chapters. patreon.com/vin_modeus12