October 2.
In the hallways of Pixar, the heat still pressed on with a kind of intelligence, carrying with it something that could only be called a blossoming adventure. The Pixar complex, with its glass buildings, reflected the brilliance of the occasion. From different vantage points, it was clear that John Lasseter was fully aware that the upcoming project was nothing short of majestic. One advantage of working with literary classics is that they can be produced in studios anywhere; information can be faxed, the material sent, and the piece returned. But this time, it wouldn't be handled that way—it was Billy who had taken it on, just a few days earlier.
Unlike The Road to El Dorado, where he would take part as one of the characters—Mónica herself had been listed for participation in that project—his work wouldn't be seen in The Magician's Nephew from Narnia. Still, the goal was clear: six animated films a year, more than enough to fill libraries or children's blockbuster shelves. The children's division owed much of its success to Billy; his tireless work had made him a solid asset.
-We've got it. All that's left is polishing the dubbing, but everyone's already signed. I believe that in the coming months, we'll launch new stories just like we did with Ice Age and Toy Story. I think this one's the real deal. – John Lasseter spoke with the excitement of a child, utterly convinced that reaching the billion mark again was inevitable. With the recent board decisions, Pixar's investments were considerable, and he was almost certain that in the coming months, bonuses would only be distributed if box office earnings surpassed $1.2 billion. That was the threshold they considered sufficient to finance their expansion into New York, which would soon host a new Pixar headquarters—a towering building in the heart of the Big Apple.
-It's $150 million in real estate—land acquisition, building renovations, green areas, and designated spaces. Another $20 million for staff and $20 million more for equipment, maintenance, and consulting. Honestly, sometimes I feel like shaking my head at the sheer scale of it all. – John Lasseter whispered, though he knew that in the coming days it wouldn't matter. Thousands of people would be seeking work, some even moving to New York.
-Less than two days. – John Lasseter remarked as he stepped into Pixar Studios to view the latest updates, his tone brimming with animation. The critical moment was quickly approaching.
-Boss. – said Jeff Camelio.
-Hey, this is fantastic… I just watched the edit. In terms of narrative timeline, maybe—just maybe—we have one of the greatest films ever made. – John Lasseter replied, fully aware of the weight of his words.
-Come on, let me take you to meet Ed Catmull. He's got an idea for new software. – Lasseter added, placing his hands on Jeff Camelio's shoulders and letting out a laugh.
-I wanted to stop by Randal McArthur's office… he's a little distant. – Jeff answered.
-Well, Billy's got hotels in Miami, Hawaii, Toronto, and New York. Word is he'll be buying one in Europe for the upcoming holidays. A Pixar-themed hotel would be a brilliant idea for everyone who's just about to start dreaming. – Lasseter said.
Jeff Camelio nodded. The reality of vacationing at Billy's hotels was undeniable—they were attractions in themselves, driven by stories and the desire to create unique experiences unlike any other.
-They don't have other hotels. – Jeff whispered.
-They've got a waterpark hotel in San Jose. – John replied. – But I'll put in the request. –
He almost mocked the wealth laid out before them. Deep down, he was convinced that once the proposal was made, the young man would consider it. Perhaps it would become Hilton, or Carson—a new empire of hotels where everything revolved around a single, premium brand.
-Nooo! Come on, it's already more than enough that they take me anywhere with all expenses paid. That's a blessing. – Jeff Camelio whispered.
***
Billy, as always, sought to throw himself into the role, to embody it fully. Almost complicated, almost consuming. But Matrix Revolutions was precisely the kind of project where that immersion was both necessary and timely. He knew Carrie-Anne's mischievous eyes had given him an unspoken invitation, a sign that this was an open door.
-Well, well, Mr. Carson, we've been expecting you. You know what you need to do. – said Zach Staenberg.
-So everything's ready. – Billy replied, just a minute away from stepping into character. His shoulders felt lighter, though his mind was trapped somewhere inside itself. Even so, it wasn't particularly complicated. He tensed, dropping into the role of Neo—a man driven by his own will.
-How complicated life can be. – Billy remarked, almost certain of himself.
He took a long breath. They would be using an old section of the studio, recently renovated for a simple reason—something obvious, almost beyond question, though a little indecorous.
-Scene 19, take 1. –
(Mobil Ave. Train Station)
Sati: Are you from the Matrix?
Neo: Yes. No. I mean, I was.
Sati: Why did you leave?
Neo: I had to.
Sati: I had to leave my home too.
Rama-Kandra: Sati! Come here, sweetheart. Leave the poor man alone.
Sati: Yes, Papa.
Rama-Kandra: Forgive her, she's still so curious.
Neo: I know you.
Rama-Kandra: Yes, from the Frenchman's restaurant. I'm Rama-Kandra. This is my wife, Kamala, and my daughter, Sati. We are honored to meet you.
Neo: You're programs.
Rama-Kandra: Indeed. I manage systems for the power plant's recycling operations. My wife is a designer of interactive software—very creative.
Kamala: What are you doing here? You don't belong here.
Rama-Kandra: Kamala! My apologies. My wife can be very direct.
Neo: It's alright. I don't have an answer. I don't even know where "here" is.
Rama-Kandra: This place is nowhere. It's between your world and ours.
Neo: Who is the Trainman?
Rama-Kandra: He works for the Frenchman.
Neo: Why did I know you were going to say that?
Rama-Kandra: The Frenchman never forgets and never forgives.
Neo: Do you know him?
Rama-Kandra: I only know what I must. I know that if you want to carry something from our world into yours, something that does not belong, you must go through the Frenchman.
Neo: Is that what you're doing here?
Kamala: Rama, please!
Rama-Kandra: I don't mean to be cruel, Kamala. He may never see another face for the rest of his life.
Neo: I'm sorry. You don't have to answer.
Rama-Kandra: No, it doesn't matter. The answer is simple. I love my daughter very much. I find her to be the most beautiful thing I've ever seen. But where we come from, that is not enough. Every program must have a purpose; if it does not, it is deleted. I went to the Frenchman to save my daughter. You don't understand.
Neo: I've just never…
Rama-Kandra: …heard a program speak of love?
Neo: It's a… human emotion.
Rama-Kandra: No, it's a word. What matters is the connection the word implies. I see that you are in love. Tell me, what would you give to hold on to that connection?
Neo: Anything.
Rama-Kandra: Then perhaps the reason you are here is not so different from the reason I am.
-Cut. –
A breath.
-We need to run the take again. – Billy was told through the microphone.