Future.

December 10

John Lasseter, Andrew Stanton, Pete Docter, Joe Ranft, and Billy Carson sat in the café near Pixar, sharing ideas in the pleasant, modern, and quiet space that provided them with a warm environment to talk without too much disturbance. They were sketching here and there, and when all the members arrived, the official meeting to produce animated films began.

The café's wide table and blue umbrella were simply beautiful.

This meeting had taken place a few months ago for the creation of the next film, developed on paper by Andrew and John Lasseter. The idea of "Bugs: An Adventure," which had already been approved as the company's second film, was undoubtedly a big production that had slowly started production for some teams. However, there were scattered ideas about numerous films that the animation studio, hungry for more, could still pursue, just as they had originally set out to do.

-I'm starting this meeting without further ado, and I'd like to highlight the concept of monsters that hide behind the closet to scare children. They enter through the closet. Andrew and I have some interesting drafts, and I'd like you all to review them, - said John Lasseter.

-It's a great idea, but we need to work on it in-depth. Once we have the script ready, we can create a fantastic character introduction section to provide a mushroom-themed conclusion on how we develop the entire movie, - added Peter Docter.

In contrast, the script for "Monsters, Inc." was still in rough drafts, and there were many improvements to be made. However, the concept on paper was astonishingly well articulated, leaving no doubt in anyone's mind that it was a fantastic idea. During a conversation between Andrew and Billy while working on sketches one evening:

-Well, I was thinking that the monsters need a reason to scare children, and that reason is energy—the energy that powers their society. Children's screams provide the monster society with enough energy to survive in a resource-scarce world, - Billy said.

-What a wonderful idea, - John Lasseter remarked.

-We could even draw a comparison where the monsters themselves are afraid of the children. For this reason, not just anyone can be part of this profession. It's a high-risk occupation, regulated by the state, kind of like an intelligence agency, - Billy said.

-Bravo! - Peter Docter exclaimed.

-Great! So, we could suggest that a child ends up in our protagonist's world and they become friends, - Jon Ranft proposed.

-Going beyond that, we can explain a conspiracy reason as to why the young child is there, -- Andrew Stanton said, receiving incredulous looks from around the table. -- Billy just said it's a heavily regulated profession. These regulations must be followed strictly. If there's a human child involved, it must be part of some secret plan, - Andrew explained.

-Our movie should have a villain. A villain who exhibits unlawful behavior despite existing regulations but has necessary motives. I believe, with screams being what sustains these cities' growth, it becomes insufficient to rely solely on work. They need another source of sustenance. The villain could be the owner of the scare company, someone who will do anything to save the company, - Billy suggested.

-Yes! That's amazing! - John Lasseter exclaimed, jotting down notes as some began sketching and drawing.

Billy took advantage of the sketches he remembered from his previous life, and these sketches were likely part of the series he would acquire. All these series would be housed under the Pixar umbrella, like Cars, Monster Inc., The Incredibles, Wall-E, Up, Finding Nemo, and more. This wasn't just about improving the products; it was also about creating sequels that could have been enhanced and painted in better ways.

-Alright, does anyone have any other ideas? - Billy asked. After a few more minutes of discussion:

-Well, I think we could create a deep-sea adventure. What do you all think about a journey across the ocean? It's a long voyage, full of life, with the marvels of marine creatures living in the depths. From their beauty to the most spine-chilling moments that the sea hides in its depths, - Andrew suggested.

-I understand you've already discussed the idea with Billy, considering how the story could go and character designs, - John Lasseter noted.

-That's correct. We plan to tell the story of a father who loses his son at sea and has to keep sailing to find where he lost him. Billy says it would be fantastic to animate the city of Australia, the fishing life, and a variety of distinctive fish, like the clownfish, the surgeonfish, the pufferfish, manta rays, sharks, and so much more. We have endless possibilities, - Andrew said, with Billy providing some basic sketches with a pen, and placing them on the table.

-That sounds delightful. Do you have a script that I can take a look at? Toys that talk, bugs that talk, fish that talk - it would be interesting to create sharks that don't want to eat fish," Peter Docter said.

-Hahahaha! That idea sounds terrific. I believe focusing on various marine phenomena can be quite helpful," John Lasseter responded.

-I think the son should be in an aquatic reserve or a fish tank. There, the lost son finds a mentor, and not only that, friends who continue to teach him valuable lessons, like teamwork, - Billy proposed.

-I got it. We've been working with Billy. A few weeks ago, we created some characters, and you can see, the storyline is fantastic, and the characters are too, although bringing this to life through computer animation is quite challenging. I'll send you the script for your input, - Andrew said.

-You had an idea too, didn't you, John? - Billy asked.

-Well, I'd like to make a movie about cars. However, I don't have many ideas on how to develop it yet. I think it's possible my idea isn't fully formed. I feel that with Toy Story and A Bug's Life, my creativity has run a bit short," -John Lasseter confessed.

-Come on, John, you can do better - cars that talk! - Peter Docter exclaimed, chuckling.

-It sounds fantastic. We can base it on NASCAR races and confront a mechanic of talking cars, but we can deafen their personalities. In a world of cars, race competitors should be very important, almost like celebrities to people, - Billy suggested.

John Lasseter's eyes lit up like two headlights.

-Of course, now I get it. We can put them in a different reality, take a racing star, and make them collide with reality, - John Lasseter said.

-Exactly. I have some thoughts, but let's start shaping the next script that I have in mind. It could be the next film after 'A Bug's Adventure,'- Billy said, pulling out the script for "The Ice Age" along with all the drawings from the first film. He had made some significant design changes that he felt were necessary for its development. He was confident that these geniuses would work wonders with "The Ice Age, - in ways he once thought impossible; they just needed a push.

They all began reviewing the story, and it was very enjoyable. With some interesting tweaks to the Ice Age tale, the journey of the characters, and how various animals ended up becoming friends, including a mammoth, a saber-toothed tiger, and a sloth.

-.It's brilliant. It has some really good humor. I'll make a few slight corrections, but it's very good, - said Peter Docter.

Andrew Statan also came up with several interesting ideas. "The Great Journey" had many possibilities, but there were some things he didn't like, a bit too crude. With some fine-tuning, it could be gold, he thought.

-It's wonderful. Starting with this design after 'A Bug's Life' will bring us great qualities. I see you mention the need to improve our technology and human technology. I suppose you have some plans for Ed Camult to start implementing them in the enhancement department, - John Lasseter said.

-Now we must get ready. The vacation is the day after tomorrow. See you next time, Billy, - Andrew said.

-Of course, enjoy the trip. I'll take care of some things, - Billy replied, thinking about the upcoming journey.

"Status:"

The percentage increase from the "Toy Story" film has brought significant benefits, although they are lower than expected.

Billy Carson:

Drawing: 31,212

Literature: 29.53

Performance: 29.98

Total Points: 80

He needed twenty more points to buy a low-level series or wait another month for the comic and movie sales to accumulate enough points.

The crucial point is that each series, whether it's 10, 20, or 30 points, represents points of admiration, and admiration points are worth 10 each. So, buying a series requires 300 points. Meanwhile, the state points are counted as available points. If he currently had 8 admiration points, 20 appreciation points, and 80 excitement points.

[15. Take your first lead role in a film - 270 points. To uncover your next repressed desire, you must fulfill this one.]

Promise points are appreciation points worth 4 points each.

With a fulfilled wish, Billy can easily buy four to five series or elevate his drawing, performance, and literature levels.