April 1990.

  The versation with Pixar has stalled, and Steve Jobs has not respoo the offer of 7 million for the purchase of Pixar's animation studio and software. Billy's argument has some validity, as Pixar doesn't eve Jobs. He tends to be stubborn and unyielding regarding major pany issues, often burdening others with work while he focuses oiations. His behavior is narcissistid he refuses to admit his mistakes. However, it does give results, but Billy knows the formu for achieving the same result.

  Therefore, the best way to iate is to divert his attention to other aspects, such as the teology sector, which has always intrigued him. His purchase of Pixar is for the innovation in 3D puter animation, not for the stories it create.

  He is currently in a meeting with Pau Sullen and Tony Be. Retly, he decided that the publication of Johnny Bravo would not follow the assumptions of the id would do everything possible t it to the s in colboration with Warner Media. How long does it take him to produ animated episode without a team? Almost a month and a half, w sporadically. He pleted all the advas that Paul Higgs pelled him to make: a storyboard, a character guide dot, and a set of images for the first episode, along with the opening introdu. The results were satisfying.

  -So, for the new Johnny Bravram, I want Warner Media to have full trol. I already have 27 episodes of 13 minutes each lined up; we just o produce the corresponding animation, - Billy said.

  -We've reviewed the story, and I'm thrilled... we're excited t Johnny Bravo to television, - Tony Be said, preempting Pau Sullen.

  -Mr. Be, please don't jump ahead. This is a iation, - Pau said, a bit nervous. This is the first time Betty has allowed her to iate a tract. She doesn't want to disappoint her mentor, boss, and spiritual guide for the past few years.

  -Oh, sorry, but we need shows. You at Warner Media are pressuring us to release a series, and it's quite challenging to create a program on our own, - Tony said, with an apologetic look but emphasizing Pau Sullen's urgency.

  -Well, I think you could also iate the inclusion of Johnny Bravo as long as my demands are met. We work out a mutually satisfactreement, - Billy said.

  -Well, as you know, even Hanna-Barbera is impressed with Johnny Bravo's artwork. This series ot be produced with the same budget allocation we've given to Casper's Scare School and Batman, - Pau Sullen said.

  -Well, it doesn't take much moo create Johnny Bravo. With a little money and dedicated workers, we do a good job with this animated series. I have in my possession the first episode, along with the introductory ard sketches for another 27 episodes, each taining small segments of mini-stories, - Billy said.

  -We have a proposal to buy the animated series for 300,000, - Pau Sullen said.

  -That's not possible. These cartoons are my precious children. We start a tract simir to the previous one: granting a 10-year lise where you produce Johnny Bravo episodes, and I will purchase the animated series in 10 years. However, I ot sell the lise to any major televisiowork, - Billy said.

  -Deal! - Pau said. - As long as you allow us another 10-year broadcast on our el.

  -That's possible, but if you cel the series, those ten years of broadcasting will be lost, just as it is stiputed for Yu Yu Hakusho and Sm Dunk, - Billy said.

  -Well, this time we want all the rights to merdising. In the previous agreement, there were iatiarding clothing, toys, and marketing. This time, we want to have that lost market share, - Pau said.

  -Fine, but I want 10% of the profits from the sale of all derivatives of the program, including advertising, toys, clothing, and program endorsements, - Billy said.

  -8%," Pau responded.

  -Okay, it will be 8%. So, what will be the price for purchasing the 10-year lise for the program? - Billy asked.

  Happy with the progress of the iations, making money has never been shtforward.

  -Let's set the price at 50,000. Are you agreeable to the lise fee? - Pau asked.

  -pletely agree. As long as you keep in mind that the repurchase will be at half the value, which is 25,000, - Billy said.

  -We have that in mind, and repared. We will send the terms to your wyer now that the Johnny Bravo iation has been finalized. I would like to move on to discussing the matter of Casper's Scare School. In these five months, we have pleted the first 22 episodes and hope to tih the remaining 8 episodes. But before that, we made a pilot. We hope you'll provide us with a quality report, - Pau said, proud of all the work they had doo create the series.

  -For the series, our best animators have worked day and night, along with War this series to life, - Tony Be said.

  The episode was truly impressive. The sequences were parable, even at the level of Akira, with two years of modernization and the incredible ge Hanna-Barbera w on developing the first episode, which resented as a 45-minute pilot, equivalent to an hour ramming.

  -What a great song! Who did you hire to pose the music? - Billy asked.

  -It was done by Richard Stone. He has been w with Warner and has some iing skills. We tried to follow the smooth and slightly rospired style you reended, - Tony said excitedly. He had learned a lot from the Japanese on how to create a series, and it had been a long time since he felt such improvement. This new perspective on animation was refreshing.

  -That's fantastic, - Billy replied.

  -Indeed, he's a great poser, - Tony said. - What did you think of the pilot?

  -It was good, eveer than I expected. They adopted all the aeiques and even perfected the use of colors, - Billy said.

  -Well, Warner acquired software from Via, which allowed us to do puter c. It was a lengthy process, but it was refreshing. We saved a lot of time by using digital painting and acetate molds, delivering the best possible product, - Tony Be said, ecstatic about the oute.

  -It wasly the version you had in mind, but there's no doubt that it has better character graphics, more vibrant colors, and improved movement ses, although the iioween characters varies a bit. You're even grateful to Warner for creating this work of art.

  -We based it on the position you did with Paul, and we followed the style you used to the letter, along with the guidand secrets provided by the Japanese pany, - Tony said.

  -That's fantastic, but what happened... I thought you didn't have enough budget, - Billy said.

  -Well, it was all thanks to Betty . She estimated that the el would gain a huge rating with the new Batman series and Casper's Scare School. She vihe board to i a signifit amount of money, which would be immediately recovered with a cult series sting the 20 years of broadcasting stiputed in the tract, - Tony said.

  -It's so good! - Billy questioned, quite impressed from his chair.

  -It is. When she sees something particurly good, she doesn't rest until she gets it. Although I don't think you uand, your drawings are impressive... That's why she agreed to such a high price for the ic's development, - Tony said. - Even some people at Warner have inquired about your work. That's why we could accept the deal for Johnny Bravo. They're happy with Casper's Scare School series, and the critics are raving. It has impressed all the industry critics with its innovative approach. Don't be surprised if there are new iations in the ing months.

  -I never expected this, but with such goodwill, we tinue w together. I have many ideas that still be produced. There's Pinky and the Brain, and I have a brilliant idea that could help create another series in colboration, - Billy said.

  -That's great, but we'll have to wait for the el's decision. I don't think they'll i more money in our small pany, - Tony said.

  -Deal. Let's see what time decides. -

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