may 5.

  In many instances, Gee Lucas has shattered Billy's hopes, as well as those of Lux Animation. Each time, Billy would sit and ponder for a while. The slowness of Lucas's decisions could drive Billy mad because it always left him feeling exasperated.

  Firstly, many of the ideas for the script, inally written by Lucas in his earlier days, have been reworked three or four times. Billy renamed some ses to improve tects: a sequences and the inclusion of more political plots. The character of Palpatine and his alter ego, Darth Sidious, be used in various ways, all of which could create an explosive impact.

  Billy added a more serious and darker tone. When the films were released, people failed to notice two issues with Lucas's approach. The fans had grown up, and many moments in the movie did not satisfy those die-hard fans. However, Lucas aimed to attraew children to the franchise, and he succeeded in that regard.

  Sedly, the actors o vey the depth of their characters, an area where Lucas often fell short. He was frequently criticized for the ck of depth in signifit characters like Anakin, Obi-Wan, and Padmé, preventing them from achieving the artistic touch that was desired.

  Lastly, improving the special effects was crucial. To this end, a mega studio was built to aodate nearly 20,000 people, featuring the 20 mais from each film, along with additional sets for future and past sagas. Whether they use miniatures, effects, or reality, the cost has already exceeded 180 million, but it's a risk Billy is willing to take.

  Small ges are minor adjustments: ara fight, a stronger se with some edited dialogues, and more subtlety in each word to enhance each se with better as.

  -So, you think the script cks the power to draw the audieo the theaters? - Billy ented, still disbelieving what Gee Lucas was saying. Sometimes people fight with everything they have, making others doubt.

  -It's true. I've seen some issues with the development of all the ses. I feel the character of Jar Jar Binks is overrated and used iively, - Lucas replied.

  -Overrated, - Billy ented.

  -A bit. While he provides ic relief, we need a stronger character. The characters feel to for the film, - Lucas said.

  -I see what you mean, - Billy sighed over what had just happened.

  -You uand, - Lucas ented.

  -What do you want to add? - Billy asked.

  -Rather, I want to remove some ses. For instance, in the beginning when the Jedi arrive at Naboo. We need a more basic start, ohat says nothing, and I want to begin with Naboo and develop the story from there, - Lucas said.

  Billy had an epiphany. The figure of Darth Vader is moal, marking a before and after in the realm of epic movie vilins. His presence weighs heavily on the viewers.

  -What if we start with a lightsaber duel between two Sith? Each fighter has a red lightsaber, and one could be Darth Pgueis, the master of Darth Sidious, having a master-apprentice versation. Darth Pgueis's face could be visible, but not Sidious’s. Here we humiliate Sidious, showg his master's mastery of the Force, then—boom—we switch to a se on Naboo, followed by a space battle. The first twenty minutes would be a strong impact, leading to the on ses, - Billy suggested.

  -We add some elements, - Gee Lucas ented.

  -However, I would like to hire an art director to help vey the actors' emotions, perhaps as an assistant adhering to your ideas, - Billy said.

  -I accept that. Anyway, I don't want to film ara Star Wars movie. I have a hidden viewpoint and feel prejudiced about making the film. We need a great director. Who would you hire? - Lucas asked.

  -I'd like to hire David Fincher for the trilogy. However, I also thought about dividing the work: Steven Spielberg could hahe first and sed films since he's a genius at narrating youthful, artistid ercial stories. Meanwhile, David Fincher could direct the third, which has darker tones, - Billy ented.

  -It would be very expensive, - Lucas remarked.

  Calg that Steven's sary would be at least twenty million dolrs, or even more if he didn't ask for a share of the film's profits.

  -I thought the same. Even if I call in a favor, it would be very costly. I want David Fio ha. As a sed option, we have Anthony Minghel and Robert Zemeckis... I'm not good at pig directors, but I know from a good source that these are excellent directors, from my own experiend their test films, - Billy ented.

  They paused in silence.

  -What about the character of Jar Jar? - Lucas asked.

  -Let's keep refining the script. Along with the visual script and color palette, it should be enough, - Billy said heavily.

  Lucas took his time to correct each part of the script in a way that wasn't encing. From the way the characters move to the description of eologies, a special touch is needed for the ses involving special effects.

  -How did you build those robots? I like them. We o be more meticulous with the iatioed in the movies. We o create a new culture, and I feel you're ing the culture of our Jar Jar, - Lucas ented.

  -Let's do it. We have writers; let's create a culture for even the smallest details. Every detail hat touch of love. We barely have ons, lifestyles, and small politiguages. We need better ideas, and I 't believe it all ends there. For the final battle, we need a better infantry strategy, among other things. People o know ways to defend themselves, - Billy ented with some distent. The trick t with Lucas is reevaluating everything, oo a time, without getting bogged down by minutiae.

  -The final battle o be simple, -Lucas said.

  -No, they are warriors. They o have great warriors, with Jar Jar being a charming, ic character, but with someone serious above all, - Billy said.

  -I see the logic. Very well, we will have plex tactics, while the es will have simple tactics, - Lucas replied.

  The following hours were spent sulting their work. The most important thing is to define a plete audition that would allow them to have a strong idea. Actors with strong ag skills and others to align with the characters visually ceived or developed by Billy.

  ***

  Anne Hall was furious with Billy Carson. His behavior could drive her insane, especially his ret refusal to deal with the heads of Microsoft.

  -Yes, sir, we arrange some meetings, - Anne said, handling the entire iation process for the email, which priority for everyone.

  -Don't worry, we will keep an eye on it. Billy's behavior may seem excessive, but he does not lie. If he says the pany's value will triple, we're not ready for stock participation, - Anne ented.

  She hung up the phone and sighed. Anne was deeply stressed and exhausted. But a strong stance was as necessary as the precise sales opportunity, which was at least two months away, with the unch of updates and renovations to the email, along with the new stitution and purchase of puters.

  Anne picked up the phone and dialed Margot's number. Without giving more details, she o order Raymond to promote the small pany in many businesses and perhaps attract the bankior to adopt this teology. However, the success of attats was a necessary request.

  -The director has a meeting with Billy about Star Wars, - Margot said.

  -Let him wait an hour. I'm ing up his mess, and if he has a problem with me, he owes me an apology for being rude. And no, I won't accept the bonus or any other nonsense, - Anne said.

  -I 't tell the director all that, - Margot replied nervously.

  -Tell him to go to hell! - Anne shouted from her office. Billy, who was listening through Margot's phone, could only smirk.

  Billy moved his mouth in a familiar gesture when thinking, in a way he didn't quite uand. However, it was necessary to be tough. More than tough, his role as a young, arrogant person with power, being direct or obtuse around the edges, was his way of iating. It was to avoid political tricks. His passion and strength were his policies. In a way that is strange and questio's his method. Everyone has their way; this helps him py gently around the edges and make subtle maneuvers. For now, he asks for others to fiainty in his words.

  ...