-Then you did what you had to do. Because that film is one of the best I've ever seen, -- Billy remarked, watching the underground reels making the rounds. And there, among them, was someone who truly knew quality: John Lasseter. Thanks to Billy, Lasseter carried himself with newfound confidence as an animator.
--You heard my proposal? -- John Lasseter asked, shifting the topic after some time. And even if nothing came of it, he had once championed Shrek in his own circle. He was well-known in the community for his dreamlike approach to virtual animation—seeing something over fifteen years ago and daring to seize that chance, turning it into what we know today. Pixar owed much of its success to the baby steps taken by that trio of dreamers.
--I haven't heard anything. I've been traveling nonstop and doing my best as an actor. It gets a little frustrating when I try to make something happen—it always feels like I'm embarking on a new journey, -- Billy said.
One of the heads of Blue Sky approached, inviting him for another tour.
--You should stop hiring so aggressively—we have far too few animators left. You've caused a real shortage,-- Chris Wedge commented. He was caught in what people were calling a job drought. Although many animators had risen with dreams of adding their voice to the art form, Billy had brought in talent from Asia and Spain to expand his industry. He had even awarded ten scholarships to study art, a move that continued to draw attention.
--It's true. There just aren't enough here. The companies want to double output, but I fear the people in this country haven't fallen in love with the craft the way they need to--Billy replied. According to his budget scale, he reduced costs by 50% compared to other studios, reallocating those resources, usually spent on producers, directors, or dubbing, into transportation, healthcare, education, and company benefits.
--John, it's an honor. You're a legend, -- said Chris Wedge.
--Thank you, sir… --John paused, forgetting the name. --I'm sorry, but I don't recall yours. --
--Chris Wedge. Founder of Blue Sky Studios. We're based in Connecticut, far from California, but I like it better when there aren't too many people around, -- Wedge replied.
--We're planning to set up branches in Georgia and Austin, Texas, while rotating our animators and organizing training circuits,-- said John Lasseter. His vision included producing one movie per year and one outstanding series. But Billy wanted to go further—at least three movies a year and two series, whether long or short. Lux Nation was completely breaking the mold of filmmaking, all with one goal that felt like a plunge into deep waters. What if they didn't make any money?What if no one knew the outcome of such a risk? But Billy had pulled off so many miracles that it now seemed like an unbreakable framework.
--Classified information,-- Chris joked with a smile, but then sighed—it was hard to keep up with the company's immense growth, entirely driven by a single force.
--Not at all—it's all just possible ideas. Animation studios don't need to be tethered to the California environment. Honestly, I think in quieter spaces, the stories are better,-- said John Lasseter, as he explored new cultures for his shows. He was also trying to cut costs and negotiating with the state for tax exemptions. Georgia and Texas were both willing to lower taxes by over 8%, but a federal 8% still loomed unchallenged. Still, the job growth was undeniable.
--Catch you later, Billy,-- said the founder.
--What was it you wanted to say?-- Billy asked.
--Something simple. I want to lead the launch in Austin or Georgia and serve as the creative director there. I'd like to propose four original series I've been working on for quite some time now,-- Lasseter said.
Billy looked at John closely.
--Deal. But four films spread out over ten years—one every two years minimum. And there will always be creative freedom at Pixar, as long as the ideas meet the standards,-- Billy replied.
--Wow, things are always straightforward with you-- Lasseter said.
--Just make brilliant films. I'd love to see some great horror ones—we could explore darker themes. There are still so many great stories out there that people haven't touched yet,-- said Billy.
…
Disney's films had everything they could wish for. They were the foundation for how future generations would build their rules. And with Billy's blatant theft—using nearly every film released within five years—time itself became a revolving door.
Monica gently took his hand and leaned on him, her hands resting quietly. The theater was luxurious—VIP, so to speak. Completely comfortable.
--I've improved so much, I can now understand everything they say perfectly,-- Monica whispered. After five years—three self-taught with tutors, and two in intensive language schools—she had mastered English enough to use it in nearly every aspect of her life.
--You're going to love this, -- Billy said, watching the beginning of the scene: the princess trapped in a tower, just before the twist. In a second, the new animated series began. It was about the ogre, as the sound of a flushing cistern echoed—dramatic and sudden, the scene shifted to something utterly simple.
An ogre. A fantasy world is being shut down. Michael Eisner's face appeared onscreen, clearly recognizable. Terry Semel was portrayed as a goblin, filled with hatred and a thirst for power.
"How poetic."
Shrek's name was derived from "horrible" and "terrible." To make the movie, they built a model with 500 movements, focusing on the integrity of facial expressions and intricate character textures. They used advanced post-production software to add fire, lava, and dynamic motion elements copied from CGI and then improved. The result was clarity and realism. They kept raising the bar, aiming for a standard that would allow future films to be made with even greater quality.
All voice acting was recorded in different physical positions. A legal team reviewed the entire film to avoid future lawsuits. Billy had been gone for five years—since 1996—but he came back with a ready-to-go script and produced the movie in three languages he knew well: Spanish, English, and French. The high standard he set made all the difference.
The movie took just a year and a half, thanks to Billy's approach of simplifying the entire process. He even added a few short credit scenes at the end, bringing color and continuity to the storylines that would follow: six more films, two specials, and one miniseries.
...