February 1990.

  Jim Wiatt expressed the opinions given to him by James Cameron to closely follow Billy Carson through the request to sign Billy for his respective work with his pany, Lux ics. Among everything, he wants to give him special attention. For some time now, reports have been flooding his desk. The young man has a fruitful retionship with Nike. Sedly, there are rumors about a colboratioween Lux id Warner Media. There have been several developments gathered through the information and some have been represented. Another animated battle may ehe battle for ratings on cable television.

  The question on everyone's mind in the pany is, how talented is this boy? Some are skeptical of his insisten adding the boy to the prestigious roster of Creative Associative Arts. But more than anyone, after four years of w with James Cameron, Jim knows the director's demand for excellend his disdain for anything mediocre. Cameron is a perfeist and very demanding of himself as well as others. That speaks volumes, as someone as difficult as James is a good benchmark, and he has had astonishing films. He is a talented individual who holds Billy in high regard.

  That's why Jim Wiatt called Billy's father and asked if he should follow his hunch... after all, he's a mentor. And he has never given a bad reendation. The response didn't take long to arrive. Hire him now!

  Among the first things Jim did was to read his works... well, he assigned some famous writers from the agency to read his works, and they were amazed by the graphic, literary, and visual talent in the novels. They mentiohe ck of publicity for t, petence works, otherwise, they would indeed pete with Marvel and DC. Sedly, Jim ducted extensive research gathering all possible information he could find. He found cht records dating back three years, which means Billy started drawing at the age of eleven. He always remembers a ent from his father, a retired successful agent, "There are people who are born with golden stars at their birth."

  Therefore, he decided to bee the agent of young Billy Carson, a retionship that could catapult him to bee a star agent aually a partner in the agency. Everyone desires a superstar in the world of eai, if there is a good retionship betwee and t. Only the weight of a superstar secure him a promi position in the pany.

  taking risks and searg among the sea of possibilities for ohat leads to success. Such opportunities are either created or ected through the world of favors that stitutes everyday life. It's a on story for those who have industry es, like Jim, who had a well-ected father who still could help him. However, winnihrough his means is what he desires. His father provided him with a starting point that he has worked on for 15 years, and he hopes to climb higher in the 10 years.

  On many occasions, he has missed out on opportunities because he doesn't belong to the work of favors among the big pyers. He stumbled upon James Cameron as a ce, but he even sehat this retionship will end in two years when his tract expires. He doesn't have the exit strategy that ents provide. Even though he has made signifit sums of money with James, he 't pete with other top agents who fulfill all their needs.

  -Good m, this is Jim Wiatt speaking, - he said.

  -Good m, this is Lux ics. How I assist you? - Anne replied, surprised by the call. Not many people directly reach the pany. The ret callers were regional sales ma from Nike, Warner Media, and James Cameron himself.

  -Good afternoon, this s is Jim Wiatt from the CAA agency. I would like to schedule a meeting with Billy Carsarding a potential partnership, - the ageiohe other end.

  -Oh, I call him in the evenings. He's usually avaible during that time, - Anne said from the background.

  -I would prefer to meet in person and discuss this matter personally with Billy and the relevant parties, - Jim said.

  -Ohhh, alright. It be in two days at the North San Jose address at 3:00 PM, - Anne said. - Is that possible for you?"

  -It's not possible for me, but it be on Tuesday of week, - Jim Wiatt said.

  -Oh, that's possible, sir. I will schedule the appoi for Tuesday of week, - Anne said.

  In the following days, Jim was caught up in a flurry of activities regarding produ and James Cameron's preferences for the development of the film. Many teical aspects of the sce fiovie, such as the visual effects, still o be discussed and agreed upon.

  Due to Cameron's plete distrust of CGI effects after the failure of the film Tron in 1982, the inclusion of both digital and practical effects in the movie has bee a novel and plicated idea to implement. It has been a headache for this sce fi film.

  He prefers quality over quantity, but that doesn't mean he has fewer responsibilities. Press ferences, sponsorships, c up sdals, and managing egos among his ts and various celebrities in the industry are part of his daily tasks. The numerous challehat arise in Hollywood due to misinterpretation or words taken out of text are an everyday occurrence, from tabloid journalism to retionships with the eeam. Today, on Tuesday, he was attending a meeting with a potential star in his eyes.

  Therefore, Jim Wiatt arrived at the pany on Tuesday pletely exhausted from the numerous items on his agenda for the week, as well as the deyed two-hour flight, whily added to his headache. He was once again running behind schedule.

  He arrived at the pany half an hour te.

  -Good afternoon, my apologies for the dey, - said Jim Wiatt, an invenience by the invenience. He looked sweaty, busy, and a little disheveled.

  The meeting room at Lux ics had an artistic ambiance, resembling a uy lecture hall or a photography studio.

  -Please e this way, - Anne said. The renovations at Lere are a testament to their prosperous times. The walls had been repced with gss in the feren, the floor was smooth, white, and shiny, and the newly purchased furniture had beautiful upholstery. Paintings adorned some walls, filling the bnk spaces.

  Young Billy was in the meeting room, sipping a Coca-d sketg on bnk sheets of paper with a pencil, perhaps w on a new piece. A new ic.

  -Good afternoon, I'm Jim Wiatt. It's a pleasure to meet you, - the agent said.

  -Pleasure to meet you too, Jim. e this way, - Billy said. He was pletely alone, a trust pced in him by his father. He was anizing his future autonomously, with the finer details to be worked out with the wyers, "his father," and Anne.

  The two individuals looked at each other in the meeting room with a sense of curiosity.

  -We're waiting for someone... - Jim said.

  -Not at all, sir. The finer details of the tract are being handled by my wyer, - Billy said.

  Jim was surprised by Billy's response. How old is he? Could there be any issues? But he decided to tinue... he would try to present his points. In a way, it's good not to have a wyer involved who gee hypothetical impossibilities in the ts' future thoughts.

  -Well, starting this meeting, I represent CAA. As a, my goal is to seek siy in our retionships and maximize the bes for your is as a creator. The more specific I ect you with Hollywood, the more your works will be valued and respected, - Jim said.

  -How would you achieve that? My goal is to prioritize respey creations and maintain ownership of them, - Billy said. - How I be sure that, in moments of pressure from a pany regarding my work or when you must fulfill a political favor, you won't prioritize money over my is? The lies in the pros and s of having a. -

  -Well, you see my work. Currently, I represent five individuals, and my success is based oionships I have with each of them. Money be earned uedly. I uand the distrust tencies, as there have been many cases where a has disregarded their t's future for personal is. If you support your decisions with logid coherence, I am willing to fight alongside you, - Jim Waitt said.

  -Decisions based on logid coherence. What are your criteria for making decisions? sidering that my choices will be illogical acc to on standards, - Billy said.

  -Of course, but a person with your abilities has goals. I sense your ambition, - Jim said. -We'll work with assumptions. You're talking to someone who deals with numerous individuals with uendencies, egos, minds troubled by fame, women, and money. Etricity is often entered, and I assure you that, through logical events, the spectrum is wider than in business retionships. -

  -Well, in that case, you must uand that I want to be an actor. I have no i in being a director. I have a strong passion for animation and nothing could be further from that, - Billy said.

  -An actor... direct skill, could direct be just around the er? - Jim asked.

  -Although it may be the logical step, being an actor is my main priority. I have never been ied in direg, - Billy said.

  -Well, that be resolved... You could veo direg in your ter years. There's plenty of time and reasons that could eventually lead you dowh of direg, - Jim said.

  -That's true, we 't predict our futures, - Billy said ically.

  -I help you get into the best ag academy in San Jose, as early as tomorrow, - Jim said.

  - you? - Billy asked, curious.

  -Oh, yes, it's not difficult at all, - Jim mentioned. - Have you ever reviewed for? Once I have reviewed your profile, it's easy for me to submit it to the ag academy. -

  -Ier produs, I've been peting since I was six years old, - Billy proudly mentioned. -But I don't want to use my real name as an actor. It would be fio use a stage name. -

  -You work with that. However, it ultimately depends on your talent, and from what I gather, your talent as a pywright is exceptional. It could be a stepping stooward direg, - Jim said. - As for your stage name, sure. Have you thought of one? -

  -I haven't thought of o, but simply ging my st name would be fine, - Billy said.

  -Well, I'll think of ohat would be useful, - Jim replied.

  He pondered for a moment and looked at Billy.

  -Regarding your desire to retain your chts, you'll have to make many cessions. Sometimes selling the rights to your work provide excellent guarantees. What are your reasons? - Jim asked.

  This was the critical question in the versation. If he didn't want to be a director, he could sider being a swriter. However, young Billy's strong point was solely his work. He hadn't showcased his ag talent, nor demonstrated his skills, and his Hollywood career was ent. His value y in his creations, creativity, and potential.

  -Well, it's a personal reason. I don't want to give away anything of mine. But it's also because I want to have my animation studio. If I have the rights to my works, it's easier to develop potential shows, - Billy said.

  -It's reasonable, Billy. It's all very reasonable. One could even say it's more than what 70% of the industry wants, - Jim said.

  -thank you, - Billy responded.

  -Now, let's move on to the most important part: your payment. As you know, I don't need a. I'm here to improve my situation as a future actor and be part of the industry, - Billy said.

  -Well, it varies depending on each person. But the CAA agency typically takes a 5% ission from all tracts I secure under my name. I keep another 5%, but given the limited prospects for alents, that pertage often increases to 10%. It's challenging to secure roles, tracts, and deals when we're talking about a plete rookie, - Jim said. - However, for you, I accept the 5% that established ur actors receive. - Jim said.

  -That's acceptable. Those agreements only apply to retionships established by you and CAA. They won't interfere with pre-existiionships, - Billy said.

  -Well, as a, I o be aware of all your retionships. It's difficult for me to fulfill my job if I'm not well-informed about your obligations to different brands to avoid potential flicts, - Jim said.

  -Oh, well, I'm referring to tracts made on behalf of Lux ics, even if they are in my he pany is under my father's care, - Billy said.

  -No problem, as long as the tract doesn't personally obligate you, I have no s, - Jim Wiatt said. -However, I o be aware or have an idea of anything that may impact your image, - he added.

  -Agreed, - Billy said.

  -Furthermore, if you ever need CAA to initiate a retionship, the agency will take the agreed-upon 10%, even if it's your own pany as the principal, - Jim said.

  -I uand. Does CAA ever lower those fees? - Billy asked.

  -It's not the usual practice, - Jim replied.

  -Well, as long as the tract doesn't have any flig terms acc to my wyer, it's possible to close a deal with you, Mr. Waitt, - Billy said.

  -Well, Billy, our future is within reach. I hope our retionship will be mutually beneficial, - Jim said.

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