October 15.

  California, Los Angeles, at the Grand ese Theater.

  Curiously, the figure present to lead the discussion on the new animation el is Jim Gianopulus, alongside Raimon, known intrinsically for his administrative as well as "creative" expertise in most series. Several notices were sent to major delegations. Curiously, Steven Spielberg attended with Ron Meyer and several others amid the iy. Many people don't e to watimated series like a child would; they e to judge, to judge loudly, the dahat this great animation el entails.

  The absence of Jeffrey Kazettberg leaves much to be desired. The appearance of Joe Roth, who has been gaining fame indiscreetly for several months, has broken with the basicepts many held. Not less than three days ago, rumors circuted that Michael Eisner, in an unforeseen turn of events, decided to appoint Michael Orvizt as the president of Disney, while Michael took the CEO position, just as he did with Frank Wells before his passing. The events not only caused a stir among the indiscreet, but the Disney family line was quickly subdued, resulting in many yoffs and, in summary, the dismissal of Jeffrey Katzenberg, whided on a sour note.

  -The air is heavy, - said Jim Gianopulis.

  The Warner delegation, the Fox delegation, and the Fox and Nickelodeon "Universal Studios" delegations all seek blood.

  Especially the Warner delegation, which has a clear idea that ot be allowed to move forward. They even know about Billy Carson's capitalist capacity and have had numerous meetings with Disney and Fox i month. The clear sign is that Lux Animation Studio is a dangerous ehat o be ered before it explodes in the face of all the studios.

  But Warner only cares about ohing, and that is Fox. News Corporation has a great purchasing power in media matters, from small neers, small gossip n cuttings, rge panies, news shows, reality shows, interview programs, and radio shows.

  Betweehe trated power these three panies wield if they attack together, on a business level for the eai industry, could be very serious. However, they ot be obvious in their attack; thus, they are testing the waters. celtion is good, but even they know that a relentless atta a 100% Ameri, white, Stanford Uy graduate, part of the national future, ot be tarnished just like that. The list wouldn't allow it, and if the list joins forces with the boy, there is no doubt Warner would be torn apart.

  Who is on the list?

  -Raimon, we must present the el. Some of our animators came. I'll go greet them; please keep quiet. We're in a business envirohat must not be - said Jim, attempting a kindly smile, disfort in his stomach; there was something very wrong about it.

  Steven Spielberg approached carefully and gave him a big hug, causing a stir in Jim. - Go along with it, - Jim whispered.

  -Steven, great to see you, - said Jim, totally lost.

  Due to the distand tration, only Ron Meyer noticed Jim Gianopulus's strange behavior, Lux Animatioertai director, formerly employed by Fox pany in film distribution services and TV series produ.

  The note hao him by Steven Spielberg and a fident smile were enough. - Did you like my movie Jaws? I heard you once asked for a certificate for it, - said Steven.

  -Yes, I think... - said Jim.

  -Well, be careful, sir. There are many sharks, - said Steven softly, returning to his versation with Ron Meyer.

  Jim tucked the note under his sleeve, a strange behavior; people were ag strangely, and he felt suffocated. He was an adult, but all eyes were on him—fear, that's what Jim felt. He greeted a few more people and excused himself, walking slowly to the bathroom. He was sweating; his face was pletely covered i, and his clothes looked like they were taken from a washing mae. He had a high pulse, and his stomach itched.

  Now he uood Steven Spielberg's Jaws message, but what was the fear, the bad feeling he had about himself?

  He unfolded the note, and in summary, it said - Warner. Fox. Disney. celtion. - If a message was obvious, it was never so obvious to Jim. Now he uood the situation, however, something more primal was settling in, something that was not just business; a struggle of wills was beginning to take shape.

  He returo the ema, taking his seat with Raimon, who also seemed unfortable. - Mr. Jim, I've received several proposals; they're with me in the briefcase. I spoke as your assistant, saying that we would review them carefully and, well, with all good faith, that one offer deserves my attention, - said Raimon.

  -No problem, I would like Billy to be present at this presentation, - said Jim softly.

  The s lit up, dispying the iic logo of Lux Animation, the city of the future, along with a short Pixar film of an elderly person pying chess. Just a few seats down was Randal McArthur, as Pixar members were busy with the final touches of the test movie.

  After the five-minute short, the animation han with a grand produ of the series. From a short child with e hair, other children chasing a ball, a rabbit and a big duck, a boy with a big nose, and a girl with blonde hair, to a hooded skeleton, three girls flying through a city, a man with a katana, dragons "gargoyles" gliding through the air, a cow, and a chi.

  Everything was in pce, but the numerous series didn't stop there. With those series, the Sabaertai bel made its appearance, alongside Lux Animation. In the er, Spider-Man, the X-Men, and Power Rangers gave a brief presentation, along with a stunning dispy of the Fantastic Four and a tentative Thor, Lord of Thunder, with the giant Marvel logo fag the s.

  This was followed by a series of quiimated character shorts, each seven minutes long, swiftly showing not only a e between almost all the series Lux Animation had to present, but also the quality dispyed by the animation, worthy of admiration. Some uood why Billy offered them payment for his softrogram, a lise that allowed him to use the same software in the animations shown. Billy was clear that the future of animation relies on two premises: quality of movement and imitation of human motion. The sed is in graphic details and proprietary drawing systems, a drawing that allows for characterizing the unique design, like Pixar's 3D, known for its realism, or Hanna-Barbera, which pys with fantasy, drawing, and edy, finding the key to design.

  In the drawings, one see a legacy from Hanna-Barbera, the absurd, and the edy, along with a new dark design of grand designs. The Gargoyles animation is very good, even ahead of its time.

  Betty , who led the Warner delegation, found the animated series brilliant. From the catchy musitrodus to the intriguing stories, they were unon. The way the television series developed, with the approval stamp of the National Television ission and other permits, made it evident that they were carefully handled from all angles.

  -What do you think, Betty? - said Bob Daily, Warner's co-president, formerly the director of eai.

  -Very good. Surely, they have improved pared to our usual animated series. The ge and improvement are noticeable; the story is funny and has that element that makes you want to see the animation, - said Betty .

  -I see, - said Bob Daily.

  In the following minutes, many simir versations filled the room, for two important reasons. Firstly, for many, Warner eaking seriously. Lux Animation is a pany to be feared; however, the drastic approach they propose is excessive. For Fox, which has been eager to buy Blue Sky Studio, the proposal of colboration with Saban, and permission to broadcast Power Rangers, and share some Marvel series, is intriguing.

  Along with the lise for the graphic studio, promoted by authors, although costly, it tains the test 2D animation updates and a general 3D animation graphic tempte, which is impressive to Fox animators, who warn that it is no less detailed thaest Toy Story movie. A three-year lise for 8 million dolrs for thirty teams and 10 million dolrs for sixty teams.

  -A business and nothing more than a business, - some would say.

  Opinions are divided.

  ...