Hollywood Art: System of sunnys 604. section notes

March 6.

Surprisingly, Spirit's box office performance wasn't what it once could have been. With a $78 million opening week in the United States, it was undeniably a success. Lux Animation films had beco a trademark of popularity and prestige. Audiences who had watched Shrek, the green ogre, surpass $300 million in just two weeks, wanted to witness the sa kind of myth in another film.

–It’s a true success,– Billy said in an interview before a select audience. –Animation is not the future—that was Walt Disney’s achievent. But Lux Animation knows how to do it and how to use it to our advantage.–

–So you believe your success is tied to Disney?– asked the interviewer, Dora Campbell, one of many reporters of the era, often lost among bigger nas. But the audience was there, watching thirty uninterrupted minutes where he was the face, with three promos running on three different channels.

–My inspiration is the product of work—I won’t deny it. Just as I am the product of inspiration for others, so of whom may try to challenge . All I say to them is: without excellence, it’s hard to catch up. To all those watching television: it’s not enough to know how to draw. You must read, you must ask questions, and you must learn to believe. The competition in animation begins when future generations understand that.–

–That was dramatic,– Dora said with a laugh.

Billy laughed along.

–I don’t give interviews just because… I think, for now, I’ll use this platform to promote education,– Billy added.

–Education, you say?– the interviewer asked.

–Of course. The foundation of any country is education, whether agricultural, economic, moral, religious, or simply literary. We need to read, to write, and to keep going.–

Dora tried to glance back at her script; the direction had completely veered off course. It was political now. Trying to steer things back, she sought a way to make Billy’s answers less irreverent. It was simply strange—but also, in a way, good. This was only Billy Carson’s third open interview with the public.

–They say you're a top student, with a record-breaking university degree in just two years, and among the best in your class.–

–That’s not true. I’m average in class, but I have a different skill set. I know so of my classmates are better than I at accounting and financial analysis, but when it cos to building businesses, I have help.– Billy replied.

–‘Help’ is an understatent! You were last year’s entrepreneur of the year. Your company is a true entertainnt empire, and you did it all without leaning on traditional dia like radio or newspapers,– said Dora, leaning in with growing enthusiasm.

Billy’s eyes were expressive, now asured, his body radiating a calm intensity.

–Any new advice for future business ventures?– Dora asked.

–It’s simple: if you’re not a genius, go for traditional companies—Coca-Cola, Hershey’s, Walmart... These are fantastic businesses. Every great business begins by understanding where you stand.– Billy whispered, recalling the fatal mistakes he had made as a child. Prudence is good, but knowing how to avoid mistakes that aren’t obvious is more refreshing than anything else.

–So, if I invest my money, you recomnd those companies?– Dora asked.

–Absolutely, as long as you understand the risk… There are banking chanisms, governnt bonds, and then there’s investing in yourself—studying a degree, learning a trade. It’s not just about owning sothing material—what gets you there also matters.–

–We’ve drifted off topic. Any thoughts on how Spirit: Stallion of the Cimarron will end up at the box office?– Dora asked.

–Firmly profitable. I do not doubt it… In June of this year, new releases are coming that will shake the film world for better or worse. Cinema is changing. What seems like the end to so, to , is gold. We’re releasing great films in close succession, sothing that’ll be hard to replicate in the coming years,– Billy comnted.

Another answer without a direct answer, Dora thought, noticing there were just over five minutes left before the interview ended. At this point, being aggressive wouldn’t help—the mont had passed, especially after they spent a long while discussing the video ga market and its possible effects on youth culture.

–Anything you’d like to say to the audience about your projects?–

–Of course. See you in June with The Hunchback of Notre Da, an epic-scale film for children. In October, Monsters Inc.. November brings Narnia: The Magician’s Nephew, and in December, The Road to El Dorado: The Legend,– Billy said, fully aware of the strong interest in his packed animation calendar, which was filled with nothing but major hits.

–Wow, that’s seven films in one year… is that even possible?– Dora asked.

–We have people from all over the world working tirelessly to bring these works to life. We’re hiring experienced animators—don’t hesitate to send in your résumés,– Billy added.

–And for Billy Carson, what’s beyond the animation empire?– Dora asked.

–In May, a fantastic film premieres in which I play only a secondary role: Gattaca: Genetic Experint—hard to grasp and full of philosophy… but it’s followed by Titanic: An Odyssey of Love, for which I wrote the book myself,– he sighed, knowing that ti might not be on his side in the coming months. Much of his attention would remain tied to publishing comics and books, to make space for Matrix and Star Wars, while Peter Jackson continued working ticulously on every one of his films.

How many animators does Billy need? At least 10,000 in North Arica, and another 10,000 in Asia. But that’s what makes it harder for him. That’s why promoting education is so important.

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For now, educational projects were being shaped with the help of nearby institutions—Stanford, Berkeley, and CalArts were the main targets. The latter was also the base for companies like Disney and DreamWorks in their talent scouting efforts.

That’s why people choose careers, hoping for a future that could feed them. So dared to look for fun, but surprisingly, that wasn’t the case for everyone in the animation world. So chose it impulsively—out of luck, whim, or taste—only to lose that passion to bureaucracy and routine tasks, drawing the sa backgrounds over and over again, in such detail it beca truly exhausting.

–We did it. It was a big win for 2D animation,– said Charles Baxter, watching the Spirit series alongside his colleagues.

–Do you think 2D has a future?– he whispered to his grandson, Francis Baxter, thirteen years old, sitting before the movie his grandfather had helped draw. A grandfather who was famous in the industry.

–I’ve spoken with Billy Carson, and he always has space for young talent. Precision must be your first step, Charles said.

–That’s why I have to draw five portraits every day?– asked Francis, following his grandfather’s teachings.

–Yes, and we need to raise that number… Competition is good, but if you’re not even able to compete, that’s when things get scary,– replied his grandfather, stroking the boy’s hair. His eyes sparkled just like Francis’s—a new form of creation, without limits or fear, tempted his heart to move to San Jose and pursue the ideas running through his mind.

–I think my hands won’t be enough, Grandpa,– Francis said.

–Not even close. I’ll buy you so comics. The one you’re up against is a real genius,– Charles replied, and once the film ended, took him to a comic shop where he bought the complete REAL series—a true beauty of a comic. Seeing those works left Francis in awe. He had money in his pocket, so he also bought the full Slam Dunk saga and started reading 300 and Cowboy Bebop, which were now on his grandfather’s shelves but not yet on his.

–This is the author you’re up against,– Charles Baxter told him.

The design, the illustration—it looked like sothing painted by Da Vinci himself. So many tones in a single image, it just blew your mind.

–Is this real?– Francis asked.

–One hundred percent. All of it is real. And as absurd as it sounds, when I see him work, I get jealous,– the old man admitted. It was, in fact, masterful work.

–It must be fake,– the boy whispered, staring at the art. This was art—every stroke firm and confident, full of precision. The muted tones, sotis bright, the style felt like a blend of photographs. And beneath it all, a story that conveyed far more than just sports. It was a world of ups and downs, depression, joy, desire, strength, hope, and solitude. It wasn’t like the people in comrcials, always smiling. It was so emotionally charged that it made you want to see just a little bit more, even just a little more of this masterpiece.

–It becos possible, kid… when sothing is truly possible, that’s when we do it,– Baxter said with certainty, convinced his grandson would make it to the big leagues of animation.

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