the musician!

The film from Lux Animation is a striking blend of oil-paint-style visuals and comic-inspired design, with notable attention to detail from multiple angles, where every movement seems to breathe life into even the smallest moments. Incorporating 3D animation elements, this project is perhaps the most advanced of its kind, pioneering a unique fusion no other team has dared to attempt. At the helm is Anna Szymańska, a recipient of the Annie Award for Best Animation and Best Production. She now serves as the lead producer for El Músico, a film she co-created with Guillermo Lorentz.

So, what is El Músico? This creative investment was born from Guillermo's idea and brought to life through Anna's vision. It's a film that delves into tragedy, drama, and romance with touches of magical realism, starkly contrasting to more lighthearted animated projects. Set during the era of the USSR, it follows a Yugoslavian violinist named Edén who earns his living hiding from the Reds, witnessing the misery left by World War II. He brings joy to orphaned children, destitute elders, and the sick by playing his violin, a small gesture in a bleak world overshadowed by the KGB's omnipresence.

What makes it truly compelling? The violinist's ability to bring happiness angers the Devil himself, who proposes a musical duel. If Edén wins, the Devil will grant him his deepest desire. But as clever as the Devil is, he has a trick up his sleeve, ensuring that even in defeat, he stands to gain something.

The battle will be decided by the public, as the two embark on a fierce musical war across Europe's great cities. They eventually arrive at a grand Austrian theater, where Edén plays with his heart, drawing on memories of his youth and his commitment to helping others. However, just before the final note is played, the KGB closes in on him—an underhanded move by the Devil, who knows he will lose the duel. Yet Edén, knowing this, asks a friend to rig the vote, ensuring the Devil's defeat. His wish: is that the Devil ceases to corrupt the hearts of humanity and is banished to the depths of the earth.

Despite its unconventional premise, the film is stunningly beautiful, with a deep and emotionally resonant narrative that stands apart from traditional animated films. It is, in every sense, an animated feature for adults. Billy Carson fully backed the project, famously declaring, "If this doesn't make money, that's my problem—I just want you to create the art you believe in." His statement left the creators both flattered and determined to craft something extraordinary.

-It's truly remarkable—simply perfect, - remarked Jeffrey Katzenberg, as he toured Lux Animation's bustling offices. Employees worked at diverse desks of various shapes and sizes, with soda machines and comfy couches scattered throughout the studio. The third floor was filling up for the first time since its creation, and while it was still 300 employees shy of full capacity, the fourth floor was designated for production and future animation teams. On the second floor sat the broadcasting equipment, complete with a towering metal antenna secured behind protective fencing.

-This is where we take everything to the next level. For now, we're focused on producing what Billy creates, which has been incredible so far, but the challenge is always to surpass what we've done before, - Anna explained.

Katzenberg nodded, impressed by how swiftly they had reached this point, wondering if something similar could be applied at DreamWorks. However, it was challenging to lead such a dynamic and fast-paced team with so many diverse projects.

-It's astounding how far you've come in such a short time, - Katzenberg commented, uncertain about how to proceed. While DreamWorks was working on its first film, The Prince of Egypt, and early in the process for Antz, nothing seemed as advanced as what Lux Animation was doing.

-And here's the final product, - Anna said, leading Katzenberg into a screening room. On the screen, a soldier marched with a group of children, and even a few animals followed along. As the soldier signaled them to stop, he smiled and pulled out a violin, playing a melody that transformed the 2D animation into a comic-book style. Flowers swayed, the children's faces lit up with joy, and even the villains paused, questioning how something so beautiful could be wrong.

-What do you think? - Anna asked.

-It's fantastic. The first fifteen minutes are wonderful. But how do you work so quickly? - Katzenberg inquired.

-It's simple—technology. We use a variety of programs that help us bypass tedious steps. What traditional animators might accomplish in a week, we can do in a day, - Anna explained. Their 2D drawing system included various software tools: the 2.0 version of Pixard Art, along with software from Pixar and ID Software that brought characters to life by tracking patterns, and movements, and replicating video footage.

-RenderMan, Ring 2.0, FIVZ, Menv, Houdini—these Pixar tools save us a ton of time. Soon, we'll have Massive, a character that can animate scenes using motion capture, - Anna continued, further surprising Katzenberg.

-So, Billy is lightyears ahead of the industry standard, - Katzenberg said, sweating at the thought of the cost savings. But rather than cutting expenses, Billy was using these advancements to make more films in less time.

-More than that—Billy is buying the patents from Jim Henson's Creature Shop and Robert Abel and Associates. The goal is to develop RenderMan further with techniques like path tracing, enhanced global illumination, and more efficient rendering. We're talking about advancements of five to ten years. And with Houdini handling fluid simulations and procedural animation, we might be 15 years ahead in terms of technology. It's impossible to calculate exactly, but by the next decade, we'll be developing tools to make movies faster. Right now, we're only limited by processing power and digital memory, - Anna said, as she thoughtfully rested her chin on her hand.

Katzenberg sighed heavily, wanting to shout the news from the rooftops. He bit his nails, knowing that in the years to come, no one would be able to compete with Billy Carson. Even those who tried would need to purchase their products, explaining why Lux Animation's costs were so low. In reality, they weren't low—Lux could just make a movie in eight months.

-Is that why they need me?- he wondered.

-Thank you for sharing all this. Everything looks magnificent. I believe it's time for me to sit down with Billy and hash out the finer details. We need to have a discussion as soon as possible, - Katzenberg said.

-We're looking forward to it. Just remember, Billy has a simple approach: 'Make a film for me, and I'll let you make one for yourself—however you want—as long as you can convince me.' It's bold, risky, even a little crazy, but Billy bets on creation, - Anna said, smiling.

...

Jeffrey didn't have to wait long. Billy was on the second floor, recording voiceovers for the film, playing the part of the Devil. A 19-year-old newcomer, who had passed several rounds of auditions with an outstanding performance, was voicing the protagonist. Though the cast wasn't filled with household names, many animators were encouraged to take voice-acting classes at a local university, where they could earn between $1,000 and $15,000 per episode depending on the character and the number of lines.

-So, what do you think? - Billy asked as he walked out of the recording studio.

-It's incredible. You have a serious edge over every production team in the business. Your work will be the turning point in American animation. That's why it's time we talk about how we can work together,- Katzenberg said.

-I agree. First, we need to establish a central studio: DreamWorks Studios. From there, we can branch into DreamWorks Music, DreamWorks Animation, DreamWorks Games, and DreamWorks Inc. I'll retain ownership of DreamWorks Games, as I'm already formalizing that process. But my passion is animation, so I propose a 50/50 partnership. I'll handle the technology and financing, and you manage the creative aspects. However, we need to be mindful of the budget. For the next five years, none of our films should exceed $45 million in production costs, - Billy explained. He had already set aside a significant investment for production, but he imposed a rule: the producers needed to be more financially disciplined.

Convincing high-profile actors to participate in voice work would be tricky, but Billy's rationale was simple: even Disney doesn't spend that much on voice talent. To keep things in the green and create more magical films, moderation was key, at least for the first few projects. When the time was right, the big-budget blockbuster would come.

-In one year, in 1997, we'll start production,- Katzenberg said. With the technology in their hands, budget constraints would no longer be an issue.

...