December 29.

  While many employees decided to go on vacation ao their pces, the whole pce focused on two essential details. The first detail was that many of them wao develop as animators and create their own series. The sed detail was that Lux Animation's paymehod was somewhat different from other animation panies: fixed saries with bo the end, plus extra performance bohough it might seem somewhat unfair, the bonuses were enough to catch the eye of some people. Moreover, rudimentary creative freedom was allowed sinimation was mainly directed towards a young audience, and works for adults or an older audience were not yet firmly established, only in expectations.

  Such was the case freff Lomz, Jozz Stokman, and David Jill. Each had a series to work on and strive for publication, a series created from their ideas, to have a w group, a team that would allow them to join the pany's series creators. At this point, very few were in a hurry, and they were all surpassed in experien many ways by Billy's cartoons.

  Greff Lomz created the series "Astronauts," adventures in space with a cartoonish style but based on a more particur idea, a bit more mature about a family traversing spa search of their civilization after falling into a bck hole and being lost without any way out.

  Jozz Stokman worked on the idea of a garage band seeking fame and being big rock stars. The problem was that he couldn't e up with solid arguments to fill all the spaces, and for now, his idea, approved on paper, needed numerous ideas and developments. The riima and the different proposed sarios of a teen show different facets like fear, loneliness, happiness, love, anger... His challenge is crafting a script for at least ten episodes, promoting a series with a high-quality linear story.

  Meanwhile, David Jill wants to propose the Ameri idea of superpowers, a periing from the 1700s when people still fought in the Indian wars, an idea of shamanism, the occult, naval battles, and warfare tactics. Billy suggested creating a graphic script, which he did, but the plexity implies a task that has taken him at least two months. From the 100 characters he has as potential to the battles he wants to portray, everything has an idea of culturalizing his story.

  -You're still w on yraphiovel activities, - replied Jozz Stokman.

  -Always. I like being part of this new project. I'm basing it on the ideas on Ball, but I want to add some myths and legends I found oer, - ented David Jill.

  -I heard they'll be approving some for the 1995 season in the few days. We have to produce at least 7 series a year, - murmured Jozz Stokman.

  -Don't remind me. My work seems tailored to a vain idea of fear. I don't think I'm enough for my series. I just hope to tinue supp the produ teams, - replied David Jill.

  -I'll prepare some coffee in the office. Do you want to join me? - asked Jozz Stokman, with rge bck bags under his eyes, exhausted from the many efforts.

  -Thanks, coffee, - responded David Jill, fitting his series on the Ameri Civil War. The principles mentioned by Billy were to choose a path between dark and light, hero or antihero. Different attack powers, big bosses, mini-bosses, people with their is, nationalists, religious, meraries, Afris, British, Ismidians... everyone must be represented.

  ′’How difficult’ he thought.

  ***

  -We desire to be part of the produ of the series 'Her' and 'Friends,' which is still in produ. From iments and logistical support, our wishes are outlined in the tract page, distribution after three years, - replied Jim Waiit. They only wanted a non-exclusive perma distribution of both series for their future television els. However, it imposed a quick assig cuse to test the waters. Maies did this to sell; if the series became very successful, they would sell the rights paid for a price. Payment only occurred for valued series, but a portion of non-exclusive broadcasting rights was suffit for Billy.

  Uhe NB, better known as the produ part, as NBC made multiple series, they usually relied on different panies for their realization. All of this helped provide a logical guarantee in case of failure.

  -We'll sign, but you must be aware that you'll have to share 35% of the produ costs, -ented Richard Allen, the general manager in charge of NBow under General Electric's hands. The calcutions for purchasing 94% of NBC's shares are currently around 3 billion and some, with the pricreasing.

  -We'll do it. You sehe promissory note, - replied Jim Gianpulus.

  -We promise. I just hope that by the end of the first season, you recoup the costs of the first season and the payment for the sed. Our 35% is rising to 120,000, - Richard Allen replied somewhat casually.

  -Gentlemen, it's a good day. We'll talk about future iations, - Jim responded.

  As if it were another oiation, the series was a y for purchase.

  tinuing on their path, the two series were a good idea to expand the catalog, but not enough to set up a television el. For a television el to succeed in programming, you need a library of at least 13 TV series and 50 movies. It ot be dehat this is the minimum expected of a television el. Depending on preferehis difference be overe. However, I must produce at least 10 new films every year to maintain the el's freshness or at least te films that bring in a regur audience.

  Jim Wait took a traffic-filled route for his program, the practice of 'Who Wants to Be a Millionaire,' a quick exit that sts between six to nine months. It appears that the avaibility of new reality shows will be seen for the few months, which seems to be profitable due to recurrent puter use. It's a pin quick exit.

  He took the route to speak with some members of the NBetwork. It was such a rge pany that they made at least 20 series a year. Each of the series was only a big bet that greased the wheels for its sale, distribution, or el positioning. Ofteworks as rge as CBS, NBd ABC had so many produs that the six ht television els were not enough for all their televisirams.

  On the positive side, traffic always creates a e for some fans about certain series. Lesser-known panies fought for some of their programs, resulting i colborations with a solidified group, different media, different national, iional, and fn els, coordination, and social standing.

  -Matilda, everything has beeled in an agreement. We'll share the 35% produ costs and most likely have some relevan advertising. We may also vie fhts as a preferred party, - replied Jim Waiit to Matilda, the eai director's advisor, close tact between animated projects, except for movies, retly hired. Her sedary job was logistics for the el and programming. She was an expert in this field with four years of experience.

  ...