Different shots began to be taken, at least eighteen shots were taken from different angles, including wide shots or establishing shots used to provide text to a se to the viewer, without the need for words, describing a location in the ndscape or enviro of the protagonists. Typically, they are seen walking, a shadow, not fog on any subject; their grace lies in distinguishing the pce where the events may or may not take pce.

  For example, Woody Allen is known for quickly shooting all the locations at the beginning of the film, a wide shot that captures the essence of the city he is filming in.

  David Fincher uses both wide shots and the ? shot or Ameri shot, highlighted by a framing of the setting, where the actor is only seen from the waist up, which began to gain reition because Western movies narrated different stories in the 1960s and 70s.

  One se is set in a church, and the sed one focuses on Man Freeman, the detective of the case, from a different perspective, a ? shot, with a voice-over narrating the intricacies of the crime, more than just a crime, but the ins and outs of the crime, in a colloquial tone, as if narrated by an ordinary person reting a situation, already beginning to create a suspenseful atmosphere.

  Man Freeman, or Somerset, walks towards a wall where the current aper is peeled off to reveal a floral aper underh. He runs his finger over one of the pale red roses decorating the older aper. He brushes off the dirt and highlights the rose more clearly. He pulls the edge of the aper, carefully tearing off a roughly square se with the rose in the ter.

  ...

  Cut to the shot.

  The se ges; they are in an old, ruined house, while Somerset is captured, this time in another shot a crime se, again using a ? shot, and a close-up fog on Man Freeman.

  -The neighbors heard them arguing for 2 hours; it was nothing new, a crime of passion. Look at all that passion on the wall. -

  -It's a closed case, nothing else to discuss for me, - a detective ented loudly as if that were all that mattered to him.

  -The kid saw it, - Man Freeman asked carefully.

  -What? - the detective, his partner, asked, stunned.

  -The kid saw it, - Somerset asked again.

  -What kind of question is that? We'll all be gd when you leave. Who cares what happens? He's dead, his wife killed him, the rest doesn't matter to us, - he seemed annoyed, just a little, the irritation of someone who just wants to close a case and go to sleep.

  Billy entered in his uniform, which he had been wearing for five days.

  -Detective Somerset, I'm Detective Mills, - Billy ented, going up the stairs quickly, ready and bing.

  -I arrived 20 minutes ago, and they sent me here. Right to the se, - Billy/David Mills ented, fag an impressed Somerset, who just looks at him with a pause.

  -e with me, - Somerset/Man ented.

  The shot ges; both are leaving the crime se, but the cameras are set up, they just have to fill them in.

  -Listen, Mills, what if we find a bar and sit down to talk, - Somerset/Man Freeman responded, immersed in his role, not fshy iures, but giving off a deep vibe of being the detective, no other, tired.

  -I'd like to go to the office if you don't mind. I haven't had time for the transition, - Billy/Mills ented, just as defined as a loudmouth; the fact that he interrupted Freeman's line only added to Billy's awkwardness, and Freeman didn't react.

  -I wao ask you something whealked on the phone. -

  -Yes? -

  -Why here? -

  -I don't uand, - Billy said almost arrogantly; the image of a young Mills is clearer in his mind every day he performs more ses as more involved in the role.

  -All that effort to get transferred here is beyond me, - Somerset ented.

  -I have the same reasons yned. -

  -Listen, you had to fight to get transferred here. I haven't seen anyone here asking to be transferred. -

  -It's not important. Listen, it would be good if we got to know each other a little. Today, you give the orders, lieutenant, - David Mills ented.

  -I want you to listen, uood? - He calms Mills' mule-like eagerness, but he presses on.

  -Today, I'm not here to stand guard in a café. I've been w in homicides for 5 years. -

  -Not today, not here. In the 5 days, you'll do me a favor by remembering this. I want you to observe, I want you to listen, I want you to py a role. You o know, - Somerset interrupted.

  -Cut, - David Fincher said powerfully.

  A great se, all the shots were perfect. We tih a few more shots, but I think it's better to head to the police station, - looking at the clock. - We have time; the shots will be iudio! - David Fincher ented with a sharp voice.

  Billy passed by sighing for the end of the shot, there were many, and he was greeted by a clwyh, who smiled at him.

  -Great job, Carson, - a guy from the studio ented, patting Billy's shoulder forcefully.

  -It was wonderful how you performed; in such a short time, you caught the rhythm. Man is an actor with an impeccable career, he's among the best stage actors, and it's said that his st movie was great. By the way, what should I call you, Darwin or Carson? Haha, it's funny that you have an alias; tely, you've been making waves in the media, - Gwyh said, jokingly.

  -Darwin, I adopted it for two reasons: taxes, I don't want to mix my saries into one at, and sedly, to prevent those who read my name from making judgments. Darwin avoids or fuses; not many know it's my alias. And they don't care much. You, you call me 'my lord', - said Billy, poking the girl's nose, surprising the blonde, who rarely hears jokes from Billy.

  -Oh, be careful, there are cameras everywhere. Tomorrow, I have a se with you; I hope you'll allow me to breathe. Julie mentiohat you're very inteh your shots, - Gwyh ented.

  -You must strive; those awards won't e by themselves, - said Billy, following the bloo a small truck that would take them to the police station a few streets from here. If they were shooting outdoors, it's said that if no more than three people are projeg, there be a rec in any public space. Well, David Fiakes advantage of that cuse to make quick shots with almost uable skill.

  ***

  -Miss Rachel, this is Shoji Ota, the shareholder of Olm Inc., who will carry out the incorporation process, for now, he has the domain celebrated by the entrepreneurs over the animatihts, - ented Iwu Tomashi, ag as a transtor between both parties.

  Rachel boerformed all the formalities offered. They shook hands, gently squeezing.

  - you tell him that my boss, the owner, and director of Lux Animation, has ordered numerous agendas for the pany? - said, Rachel.

  The rules in the pany are clear, both Gaimax and Olm Inc. brought fgship projects. On one hand, Gaimax will focus on the Evangelion project, fully, and ter on Cowboy Bebop, while Olm Inc. will take care of the Fate series, Pokémon, Berserk, aive "Metentei ," which still doesn't have its ransted.

  -Excuse me, Miss Rachel! - said Iwu perplexed.

  -I want to send him the orders from my boss, they're not intrusive, they're the future of the pany, - ented Rachel.

  -Don't worry, Miss Rachel, I'll tell Mr. Shoji everything you tell me, - said Iwu.

  -Very well, the first thing is a thank you for w with Lux Animation. We are a pany that wants t the world of animation to broader projects and enrich the world of cartoons, -Rachel replied.

  Iwu transted.

  -He thanks you for the wele, he says he also extends his invitations to fulfill your dreams, - ented Iwu.

  -I will give him this folder taining Billy's pns for the hree years already transted. Likewise, the guiding principles highlighted in the header are as described; we want a series that endures over time. Quality is eneral rule, from the script, drawing, dire, and everything that poses it. Billy Carso scripts for the Pokémon series, along with a small manga and storyboard of the characters, - Rachel ented...

  Again Iwu trahis time Mr. Shoji's eyes widened, series with very high budgets, permission to hire talented animators, hire musical artists for Japanese and Ameri songs, moo purchase film rights, fixed saries, 35% higher than the Japanese rule, although still lower than in the Uates, and the possibility of projects chosen by all members of the pany, as long as they meet the quality and visions of the pany.

  -America just throws money! - thought Shoji Ota.

  ...