Hollywood Art: System of sunnys
591. Animated World

February 17.

Lux Animation started the year off strong, first with the release of Shrek on February 21, followed by Spirit on March 1, just ten days later. Each film aimed to become what some might call a classic in the history of humankind. The first, produced on an $80 million budget, brought in some major names to deliver a charming dub, although a few industry outsiders were left behind. In this case, the lead role went to Billy, who brought a rough Scottish accent to the character, performing alongside the stunning Cameron Diaz and a comedian who voiced Donkey, adding a satirical edge that was already present in the script.

Alongside it came Spirit, a film animated by DreamWorks’ well-paid team. But that wasn’t all—by June 1997, Pixar’s third team would make its debut with the film Gigantic, a story centered around an animator fired by Disney for his modern ideas.

The plot followed Jack, the protagonist, who falls in love with a saleswoman named Angelina. However, Marco, a wealthy and brave sailor, also harbors feelings for her. Jack becomes consumed with jealousy when Angelina leaves him behind, forgotten and waiting at the harbor. One day, Jack’s village makes a deal with a fearsome family of giants: Feebus, Fifen, Fogel, Fober, and their leader Faustus. The villagers promise the giants a large portion of their land in exchange for protection from danger. But over time, the giants grow indifferent to the pact and leave the village in ruins. Jack refuses to let his village fall and sets off on an adventure to defeat the giants. Unlike typical films, Gigantic featured a longer ten-minute introduction with a compelling song at the start, one in the middle, and one at the end, each brimming with love for the story. It was this story that gave the plot its rhythm and urgency, inspired by the original Jack and the Beanstalk, a tale retold by many animated films. After the betrayal by the giants, Jack uses magical beans to ascend to their realm in search of treasure to help his people, only to discover that the giants are deserters. With help from the giant princess, he shrinks the giants down to size, stripping them of their power.

But that wasn’t all. The Hunchback of Notre Dame, scheduled for June 1997 with a $41 million budget, was ready to be followed by the third team’s October release: The Magician’s Nephew, the first in a series of Narnia films. Blending the magic of the stories with Pixar’s cutting-edge technology, it would be a year of five major releases—a bold move that once again asserted Lux Animation’s dominance in every aspect, causing Disney’s stock to plummet. Like it or not, this is what happens when you lack the strength to keep up with generational change.

As for Lux Toons, times had changed. Series like Digimon, Frankensteins, Midday Orchids, Mucha Lucha, and SpongeBob SquarePants—the last two with under 20 episodes—were refreshing the animated channel, now divided into two branches.

To recall, Midday Orchids was a series written by James Linkes, who proposed adapting the Brothers Grimm stories. It followed a mother during World War II caught between the French and German lines. She flees and ends up on a utopian island blooming with all kinds of flowers, where she becomes a florist and a nurturing presence to war victims—mostly animals, disabled men, and abandoned children—creating a beautiful, compassionate community.

By 1997, the series lineup included Mucha Lucha, SpongeBob, Shaman King (produced by OLM Inc.), One Piece (produced by Lux Nation Atlanta), The Fairly OddParents, Danny Phantom, Dora the Explorer, and The Frandren Family—a series that traced a family’s supernatural history over 2,000 years, involving fortune-telling, tarot, premonitions, and sleight of hand—and Beyblade, now led by the newly established fifth team. The company had grown to employ 400 people solely for 2D production in San Jose.

–I have every reason to believe we’ll be around for years to come, producing more episodes and continuing the adaptations of Billy’s books, which are significantly more expansive – said Joey Murray, one of Lux Nation’s earliest animators, who’d seen the group grow to a staggering size. It was once just 80 people—manageable—but now, with all the production teams, it was impossible to know everyone. He continued with Craig McCracken, who took the creation of shows seriously, ensuring each series had time to breathe creatively.

That’s why, with over 30 series and three television channels—soon to be four, as whispers of acquiring Comedy Central floated through the company—many shows were pulling in productions from nearby networks, like in the case of the channel’s purchase.

–We’re lucky to witness so much with so little. The world is changing. – commented Stephen Hillenburg, who knew his series, SpongeBob SquarePants, had the potential to earn a place in Lux Nation’s golden lineup. Thanks to Anna Washington’s efforts, team unification followed a streamlined system that entirely avoided mistakes and mismanagement.

–Honestly, I’d like to work at Pixar – said Roy Graham, formerly of Disney.

–It makes sense to create a roadmap for the films. Series are appealing, but not as much as we expect – said Joe Murray, a veteran animator known for his high standards. The team had limited creative freedom due to the many people involved.

–I got a raise this year – Craig chimed in. – Damn, four years ago I was unemployed and barely scraping by. I lived on a worn-out couch that belonged to a friend studying medicine who was never home. Every time I cleaned the place, he’d drop the rent to $100. But now, I make enough to own my own house and live comfortably. I can’t help but feel happy about that. –

–You’ve got to get married – said Joey Murray.

–You wish. –

–Well, last time, Lauren left you breathless—we all saw it – added Shem Cohen.

Craig just closed his eyes. It was true. He was hopelessly in love.

–Every time I pick up the paper, it’s to see how our competitors plan to release two films next month – said Michael Eisner.

–It’s impossible to keep up when our animators refuse to change their workflow. Billy opened the audience, and our informants say it all hinges on technology that cuts down massive processes, not just time, but money and staff. They have maybe 500 employees and work ten times harder than our 1,000 in the animation sector. It’s like an army achieving everything in less time – said Bob Iger, being groomed to be the next CEO. Though he successfully ran ABC, the cinema was a different battlefield—one that demanded sharper strategies to win.

–They’re buying Comedy Central—or so it seems. After acquiring Marvel and LucasArts, I didn’t think they’d be this committed to their corporate vision – said Eisner, watching how they used different formats to merge series of varying age ratings, inching closer to building a network like CBS, TNT, or Fox.

–But how do they own 25%? – asked Eisner.

–It comes from a strange deal with the BBC. One of Home Office Video’s friends—HBO. Time Warner wants out, but it’s too tempting. Meanwhile, Viacom keeps denying there’s anything more than a dispute – replied Bob Iger.

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