Luxtoons was bustling with activity following Billy's directive to be involved in the post-produ dire and dubbing. Two crucial aspects framed The Iron Giant: first, the cost of the entire process had amouo aimated minimum of 23 million plus 3 million for advertising, includira expenses for the soundtrack, voice actors, and produ. This minimal cost would be followed by Billy, who was already a swriter and desired to uake this activity in his uping years as the owner of the pany, giving his well-deserved due to some individuals involved in the process. In trast, Warner had spent 50 million on the budget for their previous project.

  However, The Iron Giaually became one of the most important cult films of its time. What makes The Iron Giant so good? Two things stand out: first, it's a symbol, a nod to the 1950s when sce fi had its first popur surge in Ameri culture. The use of the Deep vas teique, which Billy is employing—a bination of 3D and 2D rendering—had previously been used by Disney for the movie Tarzan in 1999.

  -It's wonderful, this blessed teique, - Paul Schools ehe main character of the animation series, possibly among the best animation teiques he'd seen i decade, he thought, such a subtle bination of elements. In many cases, subinations were irely perfect.

  -It's more than wonderful; it's a work of art, - Roy Graham ented. Both were former Disney animators who had left due to flicts or issues in 1989, having burheir bridges; no pany wao hire them for four years, and the opportunity to be part of this new pany was a lifeline.

  The team of 30 people had a fiuructure on what should and shouldn't be done. Among the many, alents had been cultivated, and new people had been added to take charge of good animated movies. For now, only one person had crafted an acceptable animated script: Jamal Ferrosen, curiously an Indian with Bulgariaage. He created a marvelous adaptation of The Pied Piper of Hamelin, this time set ih tury, when many people sought architectural wonders, including treasures from the past. In this tale, the Pied Piper's flute, which could manipute all sorts of animals, pests, and people with certain melodies, is discovered by a stist who uses it to manipute boratory rats. However, it requires great skill, which eventually disents him until the flute is stolen and used by a true singer who begins wreaking havoc. Parallelly, the story unfolds of a failed musi who earns a living pying oreets, disc the secret to avoiding the Pied Piper's flute: deafness. Because he's deaf in one ear, he mao ect with his best friend, a deaf woman who 't hear his songs but loves the way his soul dances. She see that the Pied Piper's melody is a flute that moves dark souls.

  -It's amazing how we've mao plete the series in our way, - Jerry Simmons ented, one of the important tributors. Although his progress wasn't a priority, he was responsible for creating the series to the liking that was so desperately needed. He handled all the meticulous details, such as painting backgrounds, arranging characters, coordinating movements, and rendering, alongside a small team, which helped alleviate the burden of the division of bor. By delivering long, graphic scripts for most of his films, Billy erhaps the person who had uaken the most projects.

  -We have 120 minutes of film and reel. If we reduce the movie to at least 100 minutes, we'll sider the work perfect, - Roy Graham ented.

  -You guys are wasting time, - David Jill, niamed the security guard due to his long work hours, responded. He had to do his job as an animator for approved series and duct his studies on the series, ics, and scripts, which led him to work shifts of 18 to 24 hours. He was a true workaholic.

  David Jill's deep, dark circles were all the indication needed of his intense dedication.

  -We've finished assembling the film; now we just o do produ and dubbing, much to our horror. Jerry's team has already begun putting together new drawings for 'Lilo and Stitch,' a weary Roy Graham remarked.

  -Isn't that impressive? You folks iwo don't beat around the bush. Now you have a six-month dey margin per film, meaning you should have everything ready by August at least, or well, by November at most, - David Jill ented with some surprise.

  -I have no doubt it's true; the boss will be here today, - Paul Schools ented, raising David Jill's eyebrows. He needed Billy's approval, who bought the inal series produced by people. A clear example is Anna, for whom Billy bought her series for 300,000 and gave her the right to produce the series, although these dolrs were distributed among some who helped, serving as a bonus for ara series, 10,000 each. It was enough for Anna and for many who were delighted to present their ideas and be valued with money.

  -I must see the boss as soon as possible. Any idea why he's not here? - David Jill asked.

  -They're rec the dubbing; he has a crucial part in the dubbing, participating as the giant robot and as an artist from the dump, - Paul Schools ented.

  -I think I'll go take my notes again. If the boss is here, he might give me some advice, - David Jill replied, still subordio the many projects animators were ing out oer another.

  There were at least five new series that had some guarantee, and indeed, all of them were great series. For example, Jamal veo be part of a movie; the purchase priovie rights stood at 500,000, along with some extra bonuses, a ticket to success.

  -We all have a lot of things to do, - Paul Schools replied.

  Upstairs, Billy was doing all the necessary voiceovers, having spent two days on this activity, ensuring that ohe animation process cluded, it would be done in two or three more days.

  -Here's a gss of water, - Anne ented.

  -Thank you, Ahe dubbing process has been more exhausting than I expected. At least in five days, we should be ready to take our positions, - Billy remarked.

  -You'll participate in this premiere; your name will lend a lot of support, - Anne ented.

  -I will, and I already have some ideas to make some money... This movie, although modified, I don't expect it to gross more than 100 million, - Billy ented, p what to do. - I want to sign a deal for tie-in games with Mald's while we also make some foldable robots. -

  -Is it just a hunch? - Anne asked.

  -Something like that, but I have some ideas to attract the audie's just that the movie is more of a cult ohe script is excellent, but it requires a certain level of plexity that we haven't had in our previous movies. It also cks the fshy appeal of our other films. Being optimistic, the box office will settle around 80 million to 150 million, - Billy expined.

  -That's your predi, - Anne aowledged.

  -It is. Why did you e? - Billy asked.

  -You have a meeting with Hotmail and with Jim Gianopulus. You o pay more attention to the pany, and there's something else. This girl Gwyh called; she will make a new movie and be busy. She asked you to call her back, - Anne said.

  -Thank you, Anne. I'll take the meeting with Jim Gianopulus in the m and then with Hotmail, and I'll call Gwyer. My work here ends in two hours at least, - Billy replied.

  ***

  -You're a very charming woman, Joanne, - Steve Parks said, admiring the redhead with a delightful figure. As a man of thirty-three, along with the charm of a young writer, he couldn't help but show his admiration by kissing Joanne's knuckles, who, for rare tastes, was very well dressed today.

  -Mr. Parks, - JK Rowling replied.

  -I apologize for the invenience, but your book has a particur taste in enda due to its appeal to children. As part of the Toor Books publishing house, a unique pany, I want to sign a 20-year deal for your Harry Potter series and, of course, to start a schorship for writers, - Steve Parks ented.

  Internally, Joanne's heart ounding upon hearing such good news, but as an adult, she mao pose herself.

  -What does the writer's schorship entail? -she asked, not being very familiar with the norms.

  -As you see, it's a schorship we give to our writers—a monthly sary as mainteo write their books. We know that selling books is not that simple, - Steve Parks ented, adjusting his suit and handing over the brochure he usually gave to sponsored individuals with the pany.

  To Steve Parks' surprise, Joanna was the third person to read the entire brochure and tract. The st people were the Tolkien family and Orson Scott Card, high-ranking individuals who were aced to these legal affairs.

  The tract tained all the usual terms: 14% royalties, a 20-year term with an exclusivity renewal cuse, a schorship of ￡35,000 per year, participation in the assig hts for animation, handling of peripherals, and advertising support.

  -It's a very good tract, almost too good that it raises many doubts if it's real, - Joanne ented.

  -You send a wyer if you prefer, but if you want my advice, sign it. My boss, though a capitalist, has the heart of an artist, and as long as the requests are reasonable, he fulfill them, miss, -Steve Parks ented.

  -Taking it that way, it's something I 't deny. However, some things raise certain doubts for me, -.Joanne ented.

  -Well, I'll be here until tomorrow; you have all day to review the tents of the tract, - Steve Parks ented.

  Joan pe was good that they valued her book, but the many ideas they had were empty because everything was ordered by Billy, who had ao improve the Harry Potter product a hundredfold.

  ***

  Believe it or not, Harry Potter, before its movie adaptation, had sold only 200,000 books between books 1 and 2, 3. This shows that without the movies, Harry Potter books are little more than a well-written children's series. The thing is, the movies are special, along with the expenses Warner made for each film. The ued growth led to success, in my opinion, it's a success story, a bination of hard work, luck, and media marketing.

  ...