new projects.

-There was Jozz Stokman's wonderful idea, a music series, a pure rock show for kids, with a list of possible music bands, including some popular ones like the glorious Metallica highlighted in red, as mentioned in the title above.

-You're the second person to ask me to hire this rock band. – said Billy.

-Well, it's because of the incredible vibe they bring. – said Jozz.

-The price is quite high, but we'll try to inquire about a price that fits. However, that's only for the first season, and I know that if it's a success, we can consider the second season. We'll evaluate the series based on profits and the value it generates. If possible, a third season might see the inclusion of the famous Metallica. – said Billy.

-Is the series approved? – asked Jozz.

-It is, but you need to improve the delivery—smoother drawings, better backgrounds. You'll use the best for each scene, incorporate the latest technology, and we'll hire a scriptwriter to shape your ideas. There should be different subplots, and different storylines, each better than the other. – said Billy, from his seat in the audiovisual room.

-So, the series will be delivered? – asked Jozz.

-When it needs to be ready. You'll work hard to make a great series with your team of three. You can seek advice; for now, you have a month to refine all the details. Your team will collaborate with the great Lux Nation team on "The Iron Giant" movie and learn about the film process. Meanwhile, you'll work on your series. – said Billy.

-Yes, sir. – said Jozz.

-That's all for now. Your approved budget is $300,000, and more money can be added depending on your performance. – said Raimon, formalizing the review of "Hardman Slash."

Jozz's eyes sparkled upon hearing there was already a budget for his TV series—a substantial amount. But the "buts" always came. He couldn't believe they could afford to hire a big music band, as he initially proposed for his series. However, that could be added later.

-The series looks fantastic. – said Raimon suddenly, referring to the drawings and material. The script, written by a young man, incorporated a hippie, punk, rocker, skater, baker, and alternative ambiance in an imaginative proposal about a music school. The script was incredible and would undoubtedly be at the top of the animation program.

-It's fantastic, very good, even better than Anna's. But it can be improved. We won't leave anything to chance. We have to wait for the negotiations within the company to balance out. But if I have to be clear, I would bring Metallica myself, regardless of the price. I already have ideas on how to avoid excessive costs! However, some record labels might not be willing to work with us. – said Billy.

-There's no doubt; you made me doubt at first, and I thought you didn't like the series. – said Raimon, hitting Billy on the arm. – But now that I see your idea, it's true; the company has a lot of work to do this month and the next. – said Raimon.

The next animation group came in, led by James Linkes, along with Glen Gooese, proposing a reconnection with the tales of the Grimm brothers and children's stories with different morals. They detailed one of the famous tales of the century. Curiously, many stories that didn't belong to the Grimm brothers were included, but that was a study for later. Disney adapted many of these books into great movies.

-Well, the script is the original book. – said James Links.

-Animating the story word for word. – asked Billy.

-Exactly as it's written. I would like to create other versions, but I realized that it could touch the interests of other animated films. But if we animate the story word for word, the story changes! The copyright for the Grimm brothers' stories is in the public domain, and nothing is worth more than the work they already did. – said James Links.

Submitting the fantastic sketches closely aligned with realism, a drawing technique that emphasized the colors of the story over the color schemes used for the series, giving it an older look.

-Can you do this in animation? – asked Billy, surprised.

-Oh, unfortunately not. It's just a conceived idea. I want to make the first episodes in a theater production style, portraying some scenes with an opening, the curtain is drawn, and an ending, closing the curtain. We'll adopt a style used by Hanna-Barbera and old Disney. – said James Link.

-Episode duration? – asked Billy.

-Twenty minutes. – he replied.

Another amazing idea that surprised him. If they could produce first-class animation, the series might hold value for generations.

-Forty-minute episodes. It's better to schedule an hour-long program. Let's pretend we're making a movie. – said Billy frugally.

James Link swallowed. – The investment would be costly. – he said.

-I'll participate myself. We need a specialist team, and it can only be done when the Gargoyles series is done. I'll evaluate the shots, and we'll work together. We'll work on the backgrounds for now and then the characters. – said Billy.

-We'll talk to Roy Graham and John Lasseter. – said Raimon, noting Roy Graham as the second-third in command. This gentleman had rich experience in Disney animation, brought in by John Lasseter himself, along with Bob Schooley and Jerry Simmons.

James Link's eyes lit up with something close to smiles.

-The initial budget is $700,000 to create a pilot of three episodes. – said Raimon, noting again in his review of what they should and shouldn't do.

-We'll start right away. I have a hunch, but my favorite tale is Bluebeard, so I'll begin with that one. – said James Link.

But he was interrupted.

-I like the vintage style. Let's see if we can add that style to 2D animation. I'll talk to Pixar to improve the 2D program and add new features. – said Billy.

Even Raimon opened his mouth in surprise at Billy's announcement.

-Isn't it excessive? - questioned Raimon. Seeing the excessively high budget for the pilot, which would surely extend, the cost of the series would be, according to quick estimates, double that of Gargoyles. It broke the mold, costing a total of 8 million dollars for the first season of 47 episodes.

First, they hired a specialized soundtrack that charged a million dollars but did a spectacular job. From the chill of violins and pianos to orchestras, they used all kinds of instruments to give the series a suitable reality. Adding a bit more for advertising to be done at its premiere, the value of $70,000 per episode is not a trivial price.

For the X-Men and Spider-Man series, which require a lot of work, they paid a little less and are producing almost 80 episodes per series, which is not negligible.

-It's not, don't worry. If I have to make money, I will. But James Link's idea is revolutionary. We must take ownership. With a bit of work, let's not only revolutionize comics, as has already been done but also animation. Note it down; I want to double Jozz's budget to $900,000, just for the pilot. – said Billy.

-All right, all right. – said Raimon.

Unbeknownst to them, Billy had unwavering confidence in The Lion King and its success on the screens. The animation war had caused a sensation among the American audience. The New York Times had received some gifts to ignite the fuse and declare in favor of The Lion King, followed by some related news programs.

-I see. With the budget allocated for The Iron Giant movie, if we fail with The Lion King, I'm afraid to say that we'll stall the company's flow for the next three years, which is the time we can allow for our recovery. Also, your new coloring book company will start operating next month. We've already printed a million copies. – said Raimon.

Lux Paint, a newly born company, began creating items for sale, such as coloring books, trading card albums, and collectible cards. A small investment in the eyes of the large investments made in Animation.

:..........

for all of you, make the list, a series and an animated production of low quality, can cost the whole series between 300,000 dollars to 700,000 dollars, the whole series, plus some extra, but let's say that the quality is at the level Johnny Bravo, dexter, which do not require much difficulty and design, some other series, have a value per episode of 40,000 dollars, and that is a great production, the most expensive series of the history of which I know the episode is around a value of 210. 000 dollars, now to make a series, is different from a movie because, the expenses of the movie are added, to publicity, distribution... others more, that is to say, a movie of 10 million dollars, can cost 7, but this is added other expenses. if the movie is not transmitted in cinemas, the profit is not so much, with the arrival of the platforms streaming is different, but it continues being a but.

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