iron giant

Luxtoons was bustling with activity following Billy's directive to be involved in the post-production direction and dubbing. Two crucial aspects framed The Iron Giant: first, the cost of the entire process had amounted to an estimated minimum of $23 million plus $3 million for advertising, including extra expenses for the soundtrack, voice actors, and production. This minimal cost would be followed by Billy, who was already a screenwriter and desired to undertake this activity in his upcoming years as the owner of the company, giving his well-deserved due to some individuals involved in the process. In contrast, Warner had spent $50 million on the budget for their previous project.

However, The Iron Giant eventually became one of the most important cult films of its time. What makes The Iron Giant so good? Two things stand out: first, it's a symbol, a nod to the 1950s when science fiction had its first popular surge in American culture. The use of the Deep Canvas technique, which Billy is employing—a combination of 3D and 2D rendering—had previously been used by Disney for the movie Tarzan in 1999.

-It's wonderful, this blessed technique, - Paul Schools commented, the main character of the animation series, possibly among the best animation techniques he'd seen in the last decade, he thought, observing such a subtle combination of elements. In many cases, such combinations were not entirely perfect.

-It's more than wonderful; it's a work of art, - Roy Graham commented. Both were former Disney animators who had left due to conflicts or issues in 1989, having burned their bridges; no company wanted to hire them for four years, and the opportunity to be part of this new company was a lifeline.

The team of 30 people had a fine-tuned structure on what should and shouldn't be done. Among the many, new talents had been cultivated, and new people had been added to take charge of good animated movies. For now, only one person had crafted an acceptable animated script: Jamal Ferrosen, curiously an Indian with Bulgarian heritage. He created a marvelous adaptation of The Pied Piper of Hamelin, this time set in the 20th century, when many people sought architectural wonders, including treasures from the past. In this tale, the Pied Piper's flute, which could manipulate all sorts of animals, pests, and people with certain melodies, is discovered by a scientist who uses it to manipulate laboratory rats. However, it requires great skill, which eventually disenchants him until the flute is stolen and used by a true singer who begins wreaking havoc. Parallelly, the story unfolds of a failed musician who earns a living playing on the streets, discovering the secret to avoiding the Pied Piper's flute: deafness. Because he's deaf in one ear, he manages to connect with his best friend, a deaf woman who can't hear his songs but loves the way his soul dances. She can see that the Pied Piper's melody is a flute that moves dark souls.

-It's amazing how we've managed to complete the series in our way, - Jerry Simmons commented, one of the important contributors. Although his progress wasn't a priority, he was responsible for creating the series to the liking that was so desperately needed. He handled all the meticulous details, such as painting backgrounds, arranging characters, coordinating movements, and rendering, alongside a small team, which helped alleviate the burden of the division of labor. By delivering long, graphic scripts for most of his films, Billy was perhaps the person who had undertaken the most projects.

-We have 120 minutes of film and reel. If we can reduce the movie to at least 100 minutes, we'll consider the work perfect, - Roy Graham commented.

-You guys are wasting time, - David Jill, nicknamed the security guard due to his long work hours, responded. He had to do his job as an animator for approved series and conduct his studies on the series, comics, and scripts, which led him to work shifts of 18 to 24 hours. He was a true workaholic.

David Jill's deep, dark circles were all the indication needed of his intense dedication.

-We've finished assembling the film; now we just need to do production and dubbing, much to our horror. Jerry's team has already begun putting together new drawings for 'Lilo and Stitch,' a weary Roy Graham remarked.

-Isn't that impressive? You folks in team two don't beat around the bush. Now you have a six-month delay margin per film, meaning you should have everything ready by August at least, or well, by November at most, - David Jill commented with some surprise.

-I have no doubt it's true; the boss will be here today, - Paul Schools commented, raising David Jill's eyebrows. He needed Billy's approval, who bought the original series produced by people. A clear example is Anna, for whom Billy bought her series for $300,000 and gave her the right to produce the series, although these dollars were distributed among some who helped, serving as a bonus for an extra series, $10,000 each. It was enough for Anna and for many who were delighted to present their ideas and be valued with money.

-I must see the boss as soon as possible. Any idea why he's not here? - David Jill asked.

-They're recording the dubbing; he has a crucial part in the dubbing, participating as the giant robot and as an artist from the dump, - Paul Schools commented.

-I think I'll go take my notes again. If the boss is here, he might give me some advice, - David Jill replied, still subordinate to the many projects animators were churning out one after another.

There were at least five new series that had some guarantee, and indeed, all of them were great series. For example, Jamal ventured to be part of a movie; the purchase price for movie rights stood at $500,000, along with some extra bonuses, a ticket to success.

-We all have a lot of things to do, - Paul Schools replied.

Upstairs, Billy was doing all the necessary voiceovers, having spent two days on this activity, ensuring that once the animation process concluded, it would be done in two or three more days.

-Here's a glass of water, - Anne commented.

-Thank you, Anne. The dubbing process has been more exhausting than I expected. At least in five days, we should be ready to take our positions, - Billy remarked.

-You'll participate in this premiere; your name will lend a lot of support, - Anne commented.

-I will, and I already have some ideas to make some money... This movie, although modified, I don't expect it to gross more than $100 million, - Billy commented, pondering what to do. - I want to sign a deal for tie-in games with McDonald's while we can also make some foldable robots. -

-Is it just a hunch? - Anne asked.

-Something like that, but I have some ideas to attract the audience. It's just that the movie is more of a cult one; the script is excellent, but it requires a certain level of complexity that we haven't had in our previous movies. It also lacks the flashy appeal of our other films. Being optimistic, the box office will settle around $80 million to $150 million, - Billy explained.

-That's your prediction, - Anne acknowledged.

-It is. Why did you come? - Billy asked.

-You have a meeting with Hotmail and with Jim Gianopulus. You need to pay more attention to the company, and there's something else. This girl Gwyneth called; she will make a new movie and be busy. She asked you to call her back, - Anne said.

-Thank you, Anne. I'll take the meeting with Jim Gianopulus in the morning and then with Hotmail, and I'll call Gwyneth later. My work here ends in two hours at least, - Billy replied.

***

-You're a very charming woman, Joanne, - Steve Parks said, admiring the redhead with a delightful figure. As a man of thirty-three, along with the charm of a young writer, he couldn't help but show his admiration by kissing Joanne's knuckles, who, for rare tastes, was very well dressed today.

-Mr. Parks, - JK Rowling replied.

-I apologize for the inconvenience, but your book has a particular taste in our agenda due to its appeal to children. As part of the Toor Books publishing house, a unique company, I want to sign a 20-year deal for your Harry Potter series and, of course, to start a scholarship for writers, - Steve Parks commented.

Internally, Joanne's heart was pounding upon hearing such good news, but as an adult, she managed to compose herself.

-What does the writer's scholarship entail? -she asked, not being very familiar with the norms.

-As you can see, it's a scholarship we give to our writers—a monthly salary as maintenance to write their books. We know that selling books is not that simple, - Steve Parks commented, adjusting his suit and handing over the brochure he usually gave to sponsored individuals with the company.

To Steve Parks' surprise, Joanna was the third person to read the entire brochure and contract. The last people were the Tolkien family and Orson Scott Card, high-ranking individuals who were accustomed to these legal affairs.

The contract contained all the usual terms: 14% royalties, a 20-year term with an exclusivity renewal clause, a scholarship of £35,000 per year, participation in the assignment of rights for animation, handling of peripherals, and advertising support.

-It's a very good contract, almost too good that it raises many doubts if it's real, - Joanne commented.

-You can send a lawyer if you prefer, but if you want my advice, sign it. My boss, though a capitalist, has the heart of an artist, and as long as the requests are reasonable, he can fulfill them, miss, -Steve Parks commented.

-Taking it that way, it's something I can't deny. However, some things raise certain doubts for me, -.Joanne commented.

-Well, I'll be here until tomorrow; you have all day to review the contents of the contract, - Steve Parks commented.

Joanne felt pensive. It was good that they valued her book, but the many ideas they had were empty because everything was ordered by Billy, who had an idea to improve the Harry Potter product a hundredfold.

***

Believe it or not, Harry Potter, before its movie adaptation, had sold only 200,000 books between books 1 and 2, 3. This shows that without the movies, Harry Potter books are little more than a well-written children's series. The thing is, the movies are special, along with the expenses Warner made for each film. The unexpected growth led to success, in my opinion, it's a success story, a combination of hard work, luck, and media marketing.

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