March 21.
The dubbing was marvelous, and Billy recorded the last necessary scenes. The dynamic remains lively due to the success perating the air, and you can see that the Lux Animation team, cheerful, has that fervent passion in their hearts for the movie that will soon be released.
The evening entered the company; a group focused on tweaking the Cow and Chicken series, while others were in charge of the Gargoyles series.
On the fourth floor, the recording studios ceased activities. John Lasseter was talking with Robb Mikoff and Jas Earl, who portrayed Mufasa. Jas's voice impressed Daniel McCraig so much that he's considering using him as the narrator in one of his future series. Daniel has already thought about creating a series much better than Dexter's Laboratory and Powerpuff Girls.
-Well, I'll probably hire you for a series, - Daniel McCraig said to Jas.
-Always grateful for your complints, - said Jas Earl.
-I would also like you to act in our movies, but he's a difficult and busy individual, - said John Lasseter.
-Well, I have ideas in mind, but there are still doubts about how I should intertwine the series, - said McCraig.
-Well, save a bit and talk to the boss, - said John Lasseter, suggesting that Billion Darwin was a different person from Billy Carson, at least in a proper sense. So confidentiality clauses and requests for...
This new series is under consideration. To create a blockbuster among their searches, many sources of inspiration are needed. Billy ntioned that they could use the series Lux Comics has in terms of copyright. But nothing satisfies him, and this ntal block is not only happening to Daniel McCraig but to many animators who have worked under the shelter of Lux Comics.
The purchase of different copyrights is allowed, such as in the case of teor. But the comics published by Doom give him a certain fantasy and longing, like a Western series, the Midwest, Trigun.
This rhythm leads us to an animator from the company.
Jozz Stokman, an animator who has been working for Lux Comics for two years, has been working on his own for a while, on a story he wants to convey. In an animated series, the conditions are a suitable storyboard along with an acceptable script, and this process has taken him a year.
His series is "Hardman Lash," a young musician who has problems in high school until he ets a great vocalist who sees him in music class playing the guitar. From adventures to practice to beco the best band in Arica. He has created the main characters, a band of six people, the script along with the outline of 40 episodes, a beginning, and an end.
The main rules proposed for Lux Animation proposals are:
A storyboard with at least all the protagonists and main characters.A well-established script with a logical, concrete story.They must follow the basic rules of animation.The story should be for young people and should refrain from sensitive behaviors, profanity, and adult scenes.It must have a set beginning and end, or at least delimited arcs. However, if proceeding with independent episodes, it must have a fixed and determined sequence of the series' dependence.Set a budget.
For Jozz Stokman, everything was very clear; the first five points were delimited. However, the budget of six million dollars for music licenses is sowhat expensive, costing more than the animation dubbing.
Luckily, the boss was here, who had the final say for approval. - Jozz, right? - Mr. Gorman said.
-Ah... yes, - Jozz replied.
Jozz is a twenty-seven-year-old with long hair down his back, worn loose. He wears shirts featuring rock and tal bands, and people always notice his long, thick eyebrows.
-You filled out the form perfectly. Give a second; I'll file the form. It's been a while since we've had one for a new series, - Gorman said.
The file list only has six forms. The first is for the Powerpuff Girls series, the second for the children's cartoon "The Adventures of Rocky and Bullwinkle" - by Jay Ward, the third series is for Scooby-Doo, the fourth for teor, the fifth is for Train Souls by Anna Szymanska, and the sixth is for a series made by Greff Lomz called Astronauts.
-Good luck, kid. Bring the approval record or the rejection form. Rember, you have six months to submit the series again for approval, - Mr. Gorman said.
Jozz, not very talkative, nodded.
Taking the approval form, the first filter is Anne Hall. She carefully checks that the requirents are t quickly, and if it seems acceptable, she accepts the proposal sheet and saves it for later submission to Billy.
Jozz walked directly to the delivery, in the mail, he ran into Paul German.
-Paul, - Jozz said.
-Jozz, I see you're bringing a new series to the factory, - Paul German said.
-Yes, that's right. I bring a series I've been working on for a year and a half, - Jozz said.
-Work hard, Jozz. You've got competition, - Paul German said.
The bar is set very high, not only with the movies made by Lux Nation but also the series and comics, all very polished works, all trying to present the best drawings... Jozz himself worked hard to improve the character designs and present the main backgrounds, which follow a style very similar to Hellboy.
-Thanks. -
Paul German just nodded; he had to head to the sales departnt.
anwhile, Jozz walked to deliver the series to Anne. She would review it shortly and present it to Billy. If he rejected it, the last option was a democratic review by three animators in particular.
-Good afternoon, Director, - Jozz said.
-Ah, good afternoon. Do you need sothing? - Anne asked.
-I'm submitting a form for a new project, along with the necessary docunts. The planned script, storyboard, sketches, and project structure, - Jozz said.
-We'll review it. You can leave it on that desk, - Anne said, pointing to the front desk, which had a large black tray.
-Thanks, - Jozz said.
************************************
Paul German was absorbed in the task assigned to him, a new job given by Anne Hale, the director of Lux Animation, who sent him to the sales departnt, currently in charge of the company's negotiations and agreents. The two negotiators present at the mont were Steve Parks and Kevin. While Steve Parks handled the buying, Kevin took care of selling the company's products.
-Mr. Parks, - Paul German asked. He didn't know Steve Parks, but the man in the wool vest raised his hand and gestured for him to sit.
-Tell , I'm needed for sothing special, - Steve Parks said, taking a sip of coffee.
-Anne Hale, the director, sent to negotiate the purchase of a particular series with Trans-Lux, under the production of Fred Wolf Studios, - Paul German said.
-Sit down. First, we need to conduct thorough research on the availability of rights and, if possible, make a valid offer that doesn't violate the market value, - Steve Parks said.
-All right. The main thing is that the film license is in the hands of Trans-Lux, but it's unknown when they priced the rights to create the recently canceled animated series due to low viewership. However, Speed Racer Enterprises has the complete rights to the work, - Paul German said.
-Is it a purchase of film rights? - Steve Parks asked.
-Yes, it is. We want to remake the entire franchise, - Paul German said.
-Well, I'll study the case as best as I can. My Japanese is poor, so we'll need a translator, and starting the negotiation won't be easy. Depending on the atmosphere, it's easy to obtain a license for 10 or 15 years. As for film rights, it can be anticipated, - Steve Parks said.
Among the files on his desk were the purchase of the Tor Books publisher, the acquisition of The Lord of the Rings series, The Adventures of Rocky and Bullwinkle, and the keyword Marvel.
[1] These series refer to shows that do not follow a set tiline; instead, they have many episodes with plots that don't last more than one episode. Examples of these series are Looney Tunes, Popeye, The Powerpuff Girls, and Scooby-Doo. However, these series do have a predetermined pattern, which is a set of rules that must be followed during the episode. For example, in Scooby-Doo, it's solving the mystery; in Popeye, it's saving Olive Oyl from Brutus, and in most episodes, certain elents must be repeated.
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Here is the fact, that the impulse to create a series will not only co from Billy, but from many people who get infected with the series made by Billy, creative scenarios, generate creative competences.
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