March 18.

  There was a weather ge, a dey from 5 days to 10 in the rec studio in Nevada, California. I observed that Billy rushed to San Jose to do the dubbing that was halfway through for "The Lion King" movie. As always, he found John Lasseter, who is a very active producer, direg the film with the signing of Robb Mikof, both in charge of direg the film in its final stages, the army of 40 animators dedicated ting together a film proposed by Billy, i detail, which he did the Storyboard with dedication and with the help of Michael Schools, one of the editors of Lux Animation.

  Robb Mikoff has been part of the Lux Animation team sihe beginning of 1993, the promised iment for his film, created and directed by him, along with 15% of the box office money collected by the film.

  -We have a time frame of 15 days for the little boss to do the dubbing, - said John Lasseter.

  -Luckily, he decided to do only the old Sinbad, - said Robb Mikof, who denied Billy's involvement in the voice of young and old Sinbad when Billy got the role of Daniel Ja.

  -It's an excellent movie, - said John Lasseter. Watg the ses and the animated model, dubbing began in January, two months of hard work, has left a clear idea of how the movie will end.

  -We should make it 3D, Pixar has a lot to offer. Ah, what a pity that we still don't have the means to make a movie this way. I assure you, the Oscar in the hands of Pixar, would cause an even more exg sensation, - said John Lasseter. Today the little hair he had on his head was tousled from side to side; he tousled it with excitement, the more disheveled it was, the higher his level of excitement.

  Robb Mikoff listened aed. -- What's the Pixar animation studio like? I've heard that you are looking to end 2D animation, but I don't believe it, -- said Rob.

  -It's not true, bad publicity. We are the future of animation. A work of art does not cease to be beautiful because it is different; beauty be shared in many styles. For now, seeking a style different from the cssic is just a fact, - said John Lasseter.

  -That's already proven; Toy Story is a surprise for the entire industry. Why does Disney have a power struggle with you, Pixar? - asked Robb Mikoff.

  -The bad publicity from Disney. Since we started with this 3D animation, they have done everything possible to cel us, from some slight articles in neers, to bad publicity with the emerging studios, preventing people in the industry from iing in us as a pany. Not long ago, Pixar was hanging by a thread, and we were w on some ercials and selling our software to other panies, -- said John Lasseter, adjusting his gsses. -- That's why I think Disney is afraid of the new animation. They are so entrenched iing their films, in the same way they have been doing for the past 50 years, that they pletely rejected a new way of doing things, ging to tradition. -

  It was a harsh statement.

  -There's some bad blood between you; see, we'll adjust some shots that I think will be necessary for when our dear voice actor arrives, - said Robb Mikof.

  -Just wait; we'll have many movies to show in the ing years, -- said John Lasseter, affirmatively. --In fact, I was thinking about the final frames. -

  -We have everything ready, but there are still some details missing, - said Robb Mikof.

  The mix of creating characters in caps with a smooth 2D design, and characters with magnifit pai maps, took 340 shots, and another 89 ses to plete the movie sequence.

  -Let me finish anizing the songs, ahe shots, and tih the animation produ. I'll be on the fourth floor coordinating with the dubbing teams, - said John Lasseter, somewhat calmer, but the third floor buzzed with activity as the presentation of the remaining movie approached. A few touch-ups here and there, but the clusions of "The Lion King" were ing to an end.

  -Make sure tahe soundtrack; the songs must be ready by the weekend at the test. The requests for the sale of musical CDs have bee out; it must be published on the same day as the movie premiere, - said Robb Mikof.

  John Lasseter nodded.

  The fourth floor was in an unpreted movement for people. Of the three rec studios, the journey of many people going from oudio to aood out. He saw dler Reik, the music director. After Hans Zimmer's celtion he decided to follow Disney instead of Lux Animation.

  But who is dler? Just a young graduate from Juilliard with excellent references, a schorship recipient who pys four instruments, and a lover of cssical music.

  -dler, Robb Mikof requests that you have the outline of all the songs ready by the weekend, - said John Lasseter.

  -I'll deliver it immediately, - said dler, in a hurry.

  -No. Boy, I thought I was behind, but Mikof expects the songs to be detailed and ready for the weekend, he's just pushing for a delivery date, so keep w. Submit an outline and show what you have done for the weekend. Now, if you have the outline done, detail the first songs of the soundtrack to send to the director, but it's good for all of them to be ready by the end of the month, kid, - said John Lasseter.

  dler Reik's pale plexion remonition for John. - Sir, I have only the first two songs ready, but I o make some adjustments, - said dler.

  John could see drops running down his wavy hair, bed to one side. Almost like a cow's lick.

  -Don't bother, kid, just keep w. Billy left some sketches, - John Lasseter asked.

  -He did he left the songs written along with the roadmap, but I have the adjustments made in my head. However, I am not satisfied with what I am still doing, - said dler.

  -e on, kid, keep up with your work. I'll be fixing the dubbing problem, and ter, we'll listen to the work you have on hand. Sometimes things may not sound perfect, but I'll dispatch what I approve, and we'll present it to Mikof; I'm sure he has a clear uanding of what he approves or rejects, - said John Lasseter.

  -All right, sir, I'll go to the studio. With your permission, - said dler Reik, somewhat fearful. Musicalizing an Afri style is a greater challehan he has faced in his years as a student and lover of cssical music.

  -The songs were already written, and all that's left is to give them a suitable rhythm. Kid, even Billy provided some rhythm; you don't have to stress too much about it, - said John Lasseter, shooting an arrow into poor dler, who felt like a waste.

  dler walked quickly, as a quick way to get away from John.

  -There goes the reckless sir, - said James Earl Jones, who pyed the role of Mufasa.

  -I thought you were leaving already, - said John.

  -Well, today our Sinbad is supposed to e, so I'm waiting. To record the final ses. Why aren't you in the cast? - said James Earl Jones.

  Embrag John, they have been friends known for some time, and he was surprised by the hiring made by Lux Animation.

  -Well, I'm no longer in the youth races, but Andrew, an animator from my team, participates in the dubbing. But it's a long and depressing job after a while, - said John Lasseter.

  -I have to meet him; Andrew seems to follow the old-school steps, just getting into the role, you draw great ses. I'll wait outside, good luck, John, - said James Earl Joaking the elevator to get some fresh air.

  -Good luck, James, - said John, tinuing his way to the rge dubbing studio, a row of four people. First, the main characters are recorded, and then we move on to rec less important people with few lines.

  -Good m, everyone. Let's tih reat work today. We have some details to attach, but we'll do the se in, leave few five minutes. Bill Darwin will be here shortly; it's a firmed fact, - said John Lasseter, who had received the call from Billy in the m. John uood; a businessman had little time.

  What a strange niame, thought John Lasseter.

  It was the beginning of a long workday; the voices began to e together in what we call a long produ studio. Lux Animation made a loensive tract for five years, the sum of 20 million dolrs with Ambliertai, as basic advisers for post-produ and dubbing dire. This deal started not only as an opportunity that Jim Waitt used to extend his reition in the industry, but it is a direct be due to Amblin's experien making films, along with a necessary gain for the produ pany's new projects. The 5-year tract has been worth every penny, as in just 2 years, they have created three movies and seven TV series.

  ...