Hollywood Art: System of sunnys

January 20.

The Golden Globes are often considered a precursor to the Oscars, a stage to form alliances and manage public relations effectively to keep succeeding. Sometimes, a major win in one competition signals a bigger victory ahead, or vice versa — the success in one may become a consolation prize for those who fall short elsewhere.

-I heard they sent you an invitation to the Golden Globes, - commented Arnon Michan.

-They did, but it surprised me... They invited me even though I’m just the writer and producer of Ice Age. They had already sent one to the Pixar team. After all, the production team is theirs, not mine. It’s not worth attending, and I don’t think it’s the right moment, - said Billy, smiling. Of the three films I worked on, none of them made it to the Oscars. Seven didn’t make it, Nixon was just a small role without much impact, and even Before Sunrise only had a minimal effect.

-I see. So that’s why you don’t like going,- asked Arnon Michan.

-Yeah, I divide my time between the companies I manage, and it wouldn’t be fair to take credit for the work of those who spent the year creating the film. I’d go to the event, but even then, I wasn’t nominated for my contributions, like editing or writing,- explained Billy.

-I can understand that- replied Arnon, getting up from the table. They had been dining at an Italian restaurant for the second time. This time, they were joined by a third guest, the very popular Sigourney Weaver. The three of them laughed and discussed the situation with great ease. Their latest project was far more interesting than they had anticipated. While David Fincher was having a tough time, they were enjoying themselves.

-I have high hopes for L.A. Confidential

-I think that’s everything, - Arnon Michan said calmly, as he left the restaurant. A man with many talents, he had an eye for the classics... and for producing a certain type of film — gangster, police, military, crime, and suspense — that’s what Billy noticed while reviewing Regency with Jim Gianopulos.

-I wanted to go, -  said Monica. Sometimes all it took was a look from a woman to get Billy to agree, though he wasn’t too happy about it.

-We can always buy tickets. They usually sell some to people in the industry. What do you think? - Billy said, turning to the brunette.

-Would you really buy a ticket? Why not just go with the invitation they gave you? - Winona questioned.

-Same reason as before — it’s the night for the animators who worked day and night. They’re a hard-working group; some of them even sleep in the office to avoid wasting time or because they’re mentally exhausted... I respect their work more than just attending a gathering, - Billy replied, seeing it as a matter of principle.

-Looking at it your way, I guess we can wait a little, - Monica responded.

***

It was a done deal. Anne made a few calls and met with some key people. Within 48 hours, they had secured a contract for Happy Meal toys at McDonald’s. The Happy Meal was an idea from Billy, one that could prove to be valuable. With his contacts in Thailand, China, and Malaysia, they would handle the majority of the toy distribution. They were paid for making the toys, for allowing the sale of those toys, and for the advertising — all thanks to Pixar.

Even though Anne knew the fast-food company would secure its suppliers for movie-related toys, the collaboration itself wasn’t what mattered. What was crucial was leveraging that company to further her career towards the Golden Globes, without directly relying on it. The advertising deal included a small clause to ensure widespread distribution across North America, especially in key locations that Billy deemed essential, such as Fifth Avenue, major cities, and commercials on various television networks.

A publicity campaign without spending any money!

They even made some money—Hasbro would soon start paying royalties for Ice Age. The mammoth plush toys were nothing short of pure gold.

Pixar tirelessly got back to work, creating a short animated clip for Ice Age, capturing brief, key moments that could be showcased.

-I think this is the best way to use it,- commented James Conniganh, adjusting the sequence of the commercial. They had produced four 30-second clips in just one week—a record time. But James loved satirizing his characters and playing with them.

The commercial, along with two other videos for Ice Age, showed the famous squirrel chasing its acorn, only for the acorn to land in a Happy Meal box. The squirrel leaped after it, only to get trapped, with the scene transitioning to live action, where the toy was handed out at a McDonald's.

-The animation team has officially started working on the first scenes of Shrek, - remarked Peter Docter, visibly exhausted from the workload. Before they could begin animating, they had to first develop every possible expression and movement using a new development program.

James Conniganh grinned from ear to ear, as if he were a child receiving an award. He was eager to direct the Shrek scenes, and although they had an excellent storyboard, when music, voice, movement, and the calmness of the project were added, that’s when Pixar's magic came to life.

-I can’t wait for us to finish, - said James, full of anticipation.

-And in other news, while you were locked in that room last week—by the way, it smells like cheese in here— - Peter joked, opening a window. - They inaugurated a new building dedicated to producing 3D series. They’re working on a Star Wars series that’s been in development since 1992. It’ll be 50 episodes, with a $20 million budget. They’re creating proprietary software for all the space representations and CGI. -

-I’m surprised they’re expanding so much... Now they’re doing a series? How am I just finding out about this now? - asked James, perplexed.

Peter Docter facepalmed.

-It’s been six months since this news has been circulating throughout the studio, - Peter replied, a bit bewildered and out of tune by the question.

-Wow, now it makes sense… I’ll have to stop by and say hi, - James responded, rubbing his head.

Even though the film production side wasn’t moving quickly, the animated world of Pixar and Lux Animation was buzzing with activity. So far, Pixar has two film teams, and one series team, while Lux Nation has three film teams, and Lux Toons has six series teams. They had launched two animation channels, with a third channel for adult audiences set to premiere next year.

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