familiar faces

and are StevenisThe cardThe uncertain night on the main shots, the red carpet, not as elegant as Disney's, not as strong and publicized on channels. Disney's power was like a star in the sky, facing Lux Animation's fledgling attempts. The largest animated house in Hollywood competed with everything—a rich and intriguing story, a massive advertising campaign, and significant investments. The voice of Disney's latest film was on everyone's lips. Every 30 minutes, there was news about "The Last King," so much so that children lined up eagerly to see it. The once overshadowed "The Lion King" was viewed by some as a classic in animation. However, the first Friday, Saturday, and Sunday, comprising the crucial opening weekend at the box office, only garnered an unappealing $1.5 million. The investment of $33 million seemed distant with these poor box office figures for the first crucial weekend.

Contrary to this, "The Last King" earned $15 million, half the film's value, and jubilation ensued.

Toxic jabs sent to Lux Animation echoed in newspapers as a significant blow and settling of scores.

The June 16-19 premiere was once again overshadowed, not boding well for Lux Animation, which had taken such a gamble.

Armand Millester observed the costs and expenses, furrowing his brows. Since Saturday, he hadn't given any response, indicating whether this would be the company's great failure.

-We should ask some questions, - Staicy Roman said.

Armand just smiled. More than a smile, it was a grimace of rejection, built by the poor animation numbers in the first three days.

-We must continue; nothing more can be done. Also, this is the company's litmus test. If the film is good, it will gradually recover, but if it is not loved and cherished by the audience, then it doesn't matter what we do, - said Armand Millester, director of Lux Animation and Pixar's animated film distribution company.

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Steve Parks tightened his tie. Toor Book was balancing the company and taking possession of assets after its purchase, a total.

Among the many bets made in Toor Books' commercial saga, the first and most important ones improved the artistic and liberal image of the science fiction books published by the company. The company had Toor Books and Tor UK, each focusing on the practical publication of fantasy and science fiction series.

A building in an important part of the city, a single-floor property, was one of the company's most expensive assets, and its value justified its price. Along with 38 books published so far, many of them part of sagas.

Steve Parks, though more accustomed to negotiations, was here because he found the administrative procedures particularly annoying. The Writers' Fund and the Collaborators' Fund were established on June 17, 1994, but why did he feel so much resentment in his heart? The administrative procedures he had to carry out continued to bother him.

The fund was designed for novice writers who wanted to venture into the world of writing. To his surprise, nine reliable writers in the United States applied, having passed Billy's stringent controls—being over 21, having publications or literary works, or university studies in the field of letters, and economic need.

In the United Kingdom, triple the number applied, and the filters led to 34 approved applicants. Billy was clear that for now, the fund had only $800,000—not a huge amount, but it couldn't be allocated more for these initiatives, which were already seen as donations to people in need in academic fields. In all seriousness, creating these types of scholarships—Stanford's annual scholarship, 90% payment for two young artists, and now a fund for writers.

He entered the large room, knowing it would take several hours to finish with the eight people. He had to ask questions as if it were an interrogation. It didn't surprise him, even though he didn't demand a specific literary genre, it was implied between the lines that anyone helping the company would be considered more important for the negotiation list.

Steve Parks adjusted his collar as best he could, thinking, "Working in New York isn't that bad." He liked the big city much more than Los Angeles or the dreaded San Jose. His portfolio had the resumes of all present, and curiously, there was a shared scholarship application. Steve Erikson and Ian Esslemenont had both submitted meticulous essays about the grand series of dark epic fantasy they were working on. They explained that they couldn't dedicate 100% of their time to writing. From Canada, they responded that they learned about the opportunity from a friend at the publishing house. A potential writing fund was proposed for two to three years to complete a book.

Alongside them was David Foster Wallace, who had already published a book but was facing economic problems preventing him from continuing to write. His first novel was good, but the early '90s crisis was devastating, and he was still in a critical negotiation period.

-Our main assessor has arrived, - Steve Parks asked Joey, the editor-in-chief of Toor Books.

-Well, Mr. Orson said he'll be here in thirty minutes. Something about not completely fitting into the city and the trains that drive Americans crazy, those were his literal words, - Joey replied.

-Of the profiles, which ones catch your attention the most? - Steve Parks asked, tapping the desk forcefully with his fingers. The rule is to state that only three can be accepted, but with so few and funds larger than initially expected, they can choose three in batches and leave some on the waiting list when they look at Tor UK.

-I don't think it's right to give my opinion; it might be biased for you and Mr. Scott. But I have some important things to say. We have a very small group, the best is here, and it's already estimated that all candidates are possible for the fund, -- Joey said seriously, winking at him. -- I like the passionate ones, the ones who are in the business for the love of it. Those writers who dream while writing are the most complicated, but in my experience, they often give me pleasant surprises. -

-It's going to be a challenging afternoon. Ensuring impartiality is quite complicated, - Steve Parks murmured. The assessments are personal and will be made on a rating scale of 1 to 10, with different ratings.

-Mr. Card is in the lobby, - said someone from the entrance.

-Okay, start bringing in our next writers, - said Steve Parks, the business-minded individual.

Joey was the heart, just as they had told him. She wasn't a very strong person, nor did she have a high title, but she was a failed writer who loved reading and, deep down, a considered editor. She became the editor-in-chief, but she remained an editor, and Orson was the key figure.

Orson arrived, the writer radiating kindness, with a sturdy build, glasses, and a pleasant demeanor. As a writer, his fame was confined to a small circle, known more for being a disaster and often running into problems, especially with women, due to his nervy youth.

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