So, this one's been kind of tough for me. The idea came when I was talking with @Carcer about Roald Dahl's adaptations and how many of his works have been successfully adapted save for this one. I found it odd, since most of Dahl's works tend to at the very least end well, even when he's not directly involved (especially when he's not directly involved) but when I saw the movie I think I understood why; it was made with the wrong director in mind.
To understand better, Dahl's works, while stories for children, tend to also be quite dark, with abuse, institutional cruelty, scares, yet are things that stand out and enhance the experience with its wonder at such a raw world. But, the director was Steven Spielberg, who despite directing somber and dark stories, tends to be a dreamer and idealist at heart. As such, him bringing the darkness of the book was never going to work.
This movie, I think, will fit better in the 80's, right now, with the brand of horror that the decade is famous for, and with the kind of directors which ai think understand what we're trying to do, and how to bring it about. I also decided to do this in Stop-Motion since I think it would allow for the imagination to flow in how to make the giants, their different forms and idiosyncrasies.
Thus, I give you:
Movie Pitch: The BFG
GENRE: Adventure/Fantasy/Horror
SUBGENRE: Stop-Motion/Action/Comedy
FORMAT: Animated Movie
Set Up: Based on the novel, The BFG, written by Roald Dahl. A young female orphan is met by a harmless giant. Getting to know each other, they become friends and seek help from the monarchy to stop and relocate mean giants who are bullies and like to eat humans. They try to stop them to make sure that everyone is safe.
Director: Henry Sellick and Joe Ranft Writer: Melissa Mathison Composer: Danny Elfman
- Follow the book more faithfully.
- Have different and unique designs for each giant. They don't need to look human.
- Have more scenes showing the giants being a menace to all, to better flesh them out and understand how big of a threat they are.
- Set the novel in the Victorian Period. Use a darker, German expressionist art to better distinguish the locations and tone of the film.
- At no moment due the giants regret their actions. There is no scene where they use dreams to make them feel guilt.
- In the final plan, rather than attack helicopters, replace them with "War Zeppelins" to better fit the period it would be set into.
Sophie: She is an orphan living in the orphanage, usually getting into trouble due to her adventurous and inquisitive nature. Her parents died when she was a baby, and thus she has no memory of them. She accidentally meets the BFG when she disobeys the rule of not looking outside during the night to avoid trouble, thus being taken by the BFG so that she does not let anyone know about him. They soon befriend each other, with Sophie giving the BFG the courage to stand against his "siblings" by going to Queen Victoria and getting her aid to stop their rampages.
Played By: Susan Sheridan Alternate: Judith Barsi
The BFG (Big Friendly Giant): He is a friendly 24-foot-tall giant who has superhuman hearing and immense speed. His name comes out of him refusing to eat any humans, instead choosing to eat 'Snozzcumbers', a disgusting vegetable that grows in his land. He also travels the land distributing dreams and nightmares to boys and girls. Due to his friendly disposition he's often bullied by his other brothers, eventually looking for aid from Queen Victoria when he finds out they plan to raze London to the ground and eat each and every human in the city.
Played By: Ben Kingsley Alternate: Spike Milligan
Queen Victoria: She is the Queen of the British Empire at its Zenith. Firm, bold, and ladylike, Queen Victoria does not believe the "fairy tales" about giants travelling the country side and eating men, women and children. That is, until she is given a nightmare by Sophie that prophesizes what may happen, as well as the coming of Sophie and the BFG with aid for the Empire. Though she does not lead the battle to capture the giants, she is behind enemy lines and giving the orders to the generals.
Played By: Angela Lansbury Alternate: Judi Dench
The Fleshlumpeater: He is the leader of the nine man-eating giants and the largest and most horrible of the bunch. He shows no mercy for eating so many humans over the years, and is happy with what he has done and would continue it if he could. He is very stupid and can barely speak in coherent sentences due to his monstruous form.
Played By: Frank Welker
The Bloodbottler: He is the second-in-command of the nine man-eating giants. He has a fondness for the taste of human blood, and is also the smartest of the tribe, usually working behind the scenes and making sure that the tribe moves as he wishes it to thanks to how easy it is to manipulate the Fleshlumpeater. Cunning and cruel, he feels no guilt for his actions as the story develops.
Played By: Jim Cummings
The Manhugger: He is the tallest, and lankiest, of the nine man-eating giants. Due to his thin form, he believes that he must always be hungry, thus he always seems to be on the hunt for more and more to eat, only stopping when asleep. Unaware that he was tricked by the Bloobottler in order to always keep him away, lest he try to fight for the leadership position.
Played By: Paul Frees
The Meatdripper: A tree-like giant who uses its appearance to pretend to be a tree and scoop humans who pass by, take a rest on his shade, or are having a picnic, into his maw. He has atrocious hygiene, always dripping pieces of the leftover humans around his mouth, which he refuse to clean in case he "needs a small snack".
Played By: John Carradine
The Childchewer: He is the best friend of the Meatdripper, and got his name for his preference for eating children among the entire nine man-eating giants. The Childchewer is among the oldest of the giants, with hardly any hair on his scalp, and the few he has already going grey. His body and face has many folds of flesh that have dropped, his muscles no longer holding it together.
Played By: Phil Fondacaro
The Butcher Boy: He is the youngest member of the nine man-eating giants, and the cruelest by far, seeing nothing wrong with playing mean tricks on the BFG even though he is older than him. As the youngest, he has an innocent face that bellies his true nature, and tends to look more overweight, like a ball with arms and legs.
Played By: Dom DeLuise
The Maidmasher: He is one of the nine man-eating giants, and like its name suggests, he prefers the taste of women and maids when looking for human victims. Probably due to having the smallest head out of the group, but with razor sharp teeth on his mouth. He eats like a piranha, taking small but quick bites.
Played By: Robert Boone
The Bonecruncher: He is one of the nine man-eating giants, the one with no hair at all in his body, and with a giant Jaw to better eat the humans. He crunches up two humans for dinner every night and especially enjoys eating people from Turkey, making him the picky eater of the bunch, although he will go to other countries such as joining the other eight in a trip to England.
Played By: Mel Blanc
The Gizzardgulper: He is the shortest of the nine man-eating giants. He often lies above the rooftops of the cities to grab people walking down the streets. As such, he is the stealthiest and most silent of the group, usually moving ahead of the giants in order to take advantage and get the best pickings before the rest arrive.
Played By: Paul Shenar
Mary: She is the queen's maid, a devoted and fastidious worker who makes sure that everything goes according to the Queen's schedule.
Mr. Tibbs: The firm and by the book Head Butler of the Queen. He makes sure that the workers do their duty with punctuality, and that no one disturbs the Queen without an appointment.
Mrs. Clonkers: She is the director of the orphanage where Sophie lives, a shrieking, cruel woman who despises children and takes all her ill on her charges.
A.N.: My thanks to @Carcer for discussing the idea with me, and hoping that this can help us get a brand-new movie that can be made through Stop-motion with some of the best at the trade. Sellick and Ranft should be available at the moment, though I'm not sure how much experience they may have, they have the same aesthetic as what Burton usually worked with, which I think would be perfect for the movie.
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Daily Variety: Interview with David Cronenberg, March 1983
Daily Variety: Interview with David Cronenberg, March 1983
The buyout of Ardmore Studios in Ireland left many in the industry confused as to what were the higher powers at Lucasfilms planning, and now, one year after the buyout, we finally have news of a new venture as director David Cronenberg has been set to lead the studios new production, Still Wakes The Deep. The following is part of an interview held with Director David Cronenberg about said project, with reporter Connor Nelson interviewing.
Nelson: You and [John] Carpenter have been described as the New Wave of Horror Directors in Hollywood, any thoughts on that?
Cronenberg: Well, I find it funny to be called "New" when I've been at this for nearly ten years now [Both chuckle] but I think it's more likely that the audience is finally giving us a chance to show that Horror is not only something that can thrill and scare, but also make you think, reconsider, and perhaps see the world in a different way than before. John did that with Halloween, which in many ways focuses on themes of sexuality and danger, which has followed in many of the new "Slasher" films that are coming out. There's hardly any of them that don't put in some couple engaging in relations before they are brutally killed. Sometimes in the most silly of circumstances, which makes me wonder "Just what are they thinking?"
Nelson: There has been talk of different offers from many of the independent studios being rejected, is that the reason?
Cronenberg: Well, no... not completely. I've received some projects that feel interesting and would love to explore, but as you may know, I've already accepted the recent project for Lucasfilms in their Ardmore Studio [Still Wakes The Deep], and I may be good but even I would not try to tackle two projects at once [Cronenberg Smiles]
Nelson: I don't think any Director would. That brings us to another topic. Many of us are wondering is, why Ardmore? Just what made you accept the project?
Cronenberg: Aside from the money you mean [Cronenberg Laughs] Well, I'll admit that I was not that enthused at first, but it was Lucasfilms you know; nine out of ten times they seem to knock it out of the park, so I figured that I'd take a look and see if this one was unlucky number ten. It wasn't though, the story really called at me in many ways, so I met with Mr. Eisner and was given the go ahead.
Nelson: Just what was it about the script that called to you?
Cronenberg: I guess it was the entire tone and narrative direction of the film. The themes of violence, horror, but above all how it all seems to... well, I don't wish to spoil anything, but the film makes an incredibly innovative use of body horror, but I guess you already know that if you're seeing one of my films [Cronenberg Laughs]. No, the movie takes what the themes of identity of self and perception of reality, combining them with the previous plans for Body Horror, to make something wholly... new, never seen, for lack of a better word.
Nelson: So, what exactly can we expect from Still Wakes The Deep? There's been speculation around about it being also some sort of historical film aside from Horror, but can you confirm it?
Cronenberg: Well, it is that, but it's more at the same time. The film is set in contemporary times, not even a decade past, yet the time in between would still make it quite alien to anyone who sees it. Let's say that it does involve not only history, but it speaks about politics, not that it delves too deeply into them, and of course there is the environmental aspect where it shows how it affects us and our sense of identity, wondering just where a human starts and where does it end.
Nelson: Wow, heavy stuff. It certainly does not sound like your common slasher horror film. So, are we to expect perhaps something akin to Carpenter's The Thing?
Cronenberg: Well, I always felt that his adaptation of The Thing was one of the best that came out of Hollywood in a long time, it certainly beats the 50s adaptation. But, I'd have to say, yes and no. While some inspiration was certainly taken from the film, I'd like to say that both have their own strengths and weaknesses. His film deals with the suspicion of the individual when an extraneous element is introduced, highlighting the tendency of mistrust of whoever the other may be, and sometimes questioning one's own identity.
Still Wakes The Deep however, works in showing how the individual is often at the mercy of so many crosswinds of society, technology, progress, etc. Exposing the concept of human identity, and showing how, in the end, tends to be fickle, lightning in a bottle as it were, with the possibilities for both the greatest highs, or the lowest of existential horrors.
Nelson: [Nelson Is Silent] ... And you're sure you can't give us any spoilers? [Nelson Laughs]
Cronenberg: [Cronenberg Laughs Loudly] No, no...
Nelson: [Nelson's Laugh slowly dies down] Well, Mr. Cronenberg, moving on then, from the look of things you are clearly attached to this project. Does this mean that you'd be willing to work on more projects with Lucasfilms?
Cronenberg: Well, I wouldn't be opposed certainly. Then again, I also enjoy the freedom of being both an independent director and producer, If I ever get the chance.
Nelson: Really now? Any future projects once you're done with this one?
Cronenberg: Well, I've always been a fan of the books of Ray Bradbury, and Philip K. Dick's. Seeing how one of the former's novels is being adapted by Disney I can only hope their new rebranding brings a proper adaptation of it. Aside from that, I've also been keen on working on some of Stephen King's books as well. Both The Running Man and The Dead Zone seem the most promising, with themes of violence, along with the questioning of the value of human life making them some of the most nuanced I've read in a while.
Nelson: Do you think you'll have the chance? Aside from Lucasfilms, I hear that different studios from Universal and Fox are trying to get the rights. And, as you've mentioned before, Disney's new Touchstone Films are looking for new types of films as well.
Cronenberg: I believe that I should remain open for the possibility, and while I will certainly not give anything less than my best to any project, both the quality of actors and staff which I currently work with should allow me to finish with time enough to spare by next year.
Nelson: There was a rumor that you were already in talks with Fox on a different project though?
Cronenberg: Ah yes, The Fly. Not the first time I'd heard this rumor. It's true that a friend of mine [Marc Boyman] had spoken with me, and for a time I'd thought of joining it. But, the conditions set by Fox for release did not seem quite fair, and the project had already been on the work for three years, by then I was already more immersed on trying to adapt one of Philip K. Dick's novels...
A.N.: I was inspired by @Kaiser Chris Omake, and wanted to try one that addressed Still Wakes the Deep. Originally I wanted it to be in Ireland with any of the magazines there, but apparently the one magazine that focuses on films was not published until four years later. You know, I kept on thinking that there's no way Ireland had so little infrastructure when it came to entertainment or companies, and yet reality once more slaps me in the face with facts.
Fred stood behind the cash register, watching the chaos unfold in the aisles of the store. Shelves that had been neatly stocked just that morning were now a disaster zone, action figures and toy lightsabers flying off the racks as eager customers clawed at anything Star Wars-related.
"Is this what the apocalypse looks like?" he muttered, leaning over to Mark, who was trying to restock the display of Darth Vader helmets for the third time in the last hour.
Mark groaned, rubbing his forehead. "I thought Black Friday was bad, but this? People are acting like they're never going to make Star Wars toys again."
Fred nodded, his eyes scanning the line that stretched halfway to the back of the store. Families with carts piled high, teenagers clutching posters, grown men cradling action figures like newborns. It was like the entire town had been gripped by Star Wars fever ahead of the Return of the Jedi premiere tomorrow night.
"I heard a guy earlier say he was going to buy five of those Millennium Falcon models," Fred said, pointing at the now-empty shelf where they used to be. "He doesn't even have kids. Just wants them for himself."
Mark chuckled, shaking his head. "Can't say I blame him. I'd grab one too if I wasn't stuck working here."
Fred grinned but quickly stifled it as a harried-looking mother approached the counter, two kids tugging at her jacket, both holding plastic lightsabers.
"Excuse me," she said, breathless. "Do you have any more Yoda dolls in the back? My youngest will die if we go home without one."
Fred glanced over at Mark, who shrugged.
"Uh, no ma'am, sorry. We're sold out of those," Fred said, trying his best customer service voice. "But we're getting another shipment in next week, if—"
"Next week?" she interrupted, eyes widening like she'd just heard the worst news of her life. "The movie comes out tomorrow! What am I supposed to do until then?"
Fred bit back a sigh. "We've got some Chewbacca plush toys still available, maybe he'd like one of those?"
The woman frowned but sighed in resignation. "Fine. I'll take two of those."
As she moved off to grab the toys, Fred turned back to Mark, who was now leaning on the shelves, looking defeated.
"You know," Mark said, "I was excited for this movie. I really was. But after today, I'm not sure I can even look at a Star Wars logo without feeling like I need a break."
Fred laughed. "Right? I mean, I love Star Wars too, but come on. It's just a movie. We'll get another shipment of action figures eventually. People don't need to act like it's their last chance."
Mark glanced back at the shelves where the toys were almost completely gone. "You know what the worst part is? We're gonna have to deal with this again after the movie comes out. People who didn't buy stuff are gonna be back here, looking for souvenirs or something."
Fred groaned at the thought, but before he could respond, a man in a faded Empire Strikes Back t-shirt approached the counter, holding a plastic X-Wing in one hand and a tattered collector's guide in the other.
"Hey, you got any Boba Fett figures left?" he asked, eyeing Fred with a glimmer of desperation.
Fred didn't even have to check. "Sorry, man. Those sold out first thing this morning."
The guy cursed under his breath and walked away, shoulders slumped in defeat. Fred watched him go, then turned to Mark. "You think people will camp out in front of the store tonight?"
Mark didn't even hesitate. "Guaranteed. They'll be here before we even clock in tomorrow morning."
Fred sighed, resting his elbows on the counter. "At least the premiere is soon. Once it's over, maybe things will calm down."
Mark chuckled darkly. "Yeah, until the next big movie. You know how these things go. We're just the guys in the trenches, man. We survive one battle, and the next one's already around the corner."
Fred smirked, looking out at the wave of customers still sweeping through the store. "May the Force be with us, huh?"
Mark just nodded. "We're gonna need it."
——————————————————————
Anchor:
"Good evening. Chaos erupted in stores nationwide today as eager Star Wars fans clashed over merchandise ahead of tomorrow's release of Return of the Jedi. What was supposed to be a celebration of the latest installment in the beloved franchise has turned into a retail battleground. Reports of physical altercations between customers fighting over limited-edition toys and collectibles have surfaced from coast to coast."
[Cut to footage of crowds in a toy store, people pushing and shoving, security guards stepping in to break up scuffles.]
Anchor (Voiceover):
"In some stores, security was called to intervene as tensions boiled over. Shelves were stripped bare within hours, with action figures, lightsabers, and other memorabilia selling out almost instantly. In some cases, customers were seen wrestling for the last available items."
[Cut to an interview with a store manager, looking tired and exasperated.]
Store Manager:
"We expected high demand, but we didn't expect it to get this out of hand. People were tearing toys right out of each other's hands. We've had to call in extra staff just to keep things under control."
Anchor (Voiceover):
"Police have confirmed multiple incidents, including a fight at a mall in Chicago where two men were hospitalized after an altercation over a rare Boba Fett action figure."
[Cut to a police spokesperson at a press conference.]
Police Spokesperson:
"Unfortunately, we've seen several injuries today stemming from disputes over Star Wars merchandise. We urge everyone to remain calm and understand that more stock will be available in the coming weeks."
Anchor:
"Retailers have responded by placing limits on the number of items each customer can purchase, but with excitement for the movie reaching a fever pitch, it's clear that Return of the Jedi has ignited more than just a love for the galaxy far, far away—it's created a retail frenzy that shows no signs of slowing down."
[Cut to footage of a family leaving a store, arms full of Star Wars merchandise.]
Anchor (Voiceover):
"Meanwhile, resellers are seeing similar surges in demand, with some items already being resold for more than triple their retail price. With the premiere just hours away, fans are hoping to snag a piece of cinematic history—by any means necessary."
Anchor:
"Stay safe out there, folks. And may the Force be with you. More on this story as it develops."
——————————————————————
Beth stood outside the toy store, staring at the chaos inside through the glass doors. It was like a battlefield in there—crowds of parents and kids fighting over the dwindling stock of Star Wars merchandise. Her heart pounded as she prepared herself for the challenge ahead. This wasn't just another Christmas shopping trip or birthday run. No, this was something else entirely. Sophie, her daughter, was turning nine tomorrow, and there was only one gift she wanted: a Princess Leia action figure.
Beth had been hunting for it for weeks, but she wasn't the only one. Since the announcement of Return of the Jedi's release, Star Wars fever had swept through every store, leaving nothing but barren shelves and frustrated parents in its wake. Fred and Mark, two retail employees she'd seen at the last toy store, had looked defeated as they restocked the empty aisles, muttering about the insanity of it all. She had overheard them joking about the "retail apocalypse," but for Beth, this was no joke. She needed that Leia figure.
As the automatic doors slid open, Beth was hit with a wave of noise—crying kids, frantic parents, and the steady hum of pop music that seemed grossly out of place given the frenzy around her. The action figure aisle, which was once well-organized, now looked like it had been hit by a tornado. Figures were scattered everywhere, boxes torn open, as desperate shoppers grabbed what they could. But Leia? Leia was nowhere to be found.
Beth felt a knot tighten in her chest. This was the fifth store she'd been to today, and it was the same story at each one—empty shelves, chaotic lines, and disappointed faces. At the last store, she'd watched a fight break out between two men over a Millennium Falcon model. Security had been called, and Beth had barely escaped the madness. It seemed like no matter where she looked, Princess Leia was always just out of reach.
"Can I help you, ma'am?" An employee approached her, his name tag reading "Randy," the same kid she'd seen at the first store she'd visited earlier today. He was still wearing the same red vest, though his eyes now looked more exhausted than they had just hours before.
"I need a Princess Leia action figure," Beth said, trying to sound calm despite the urgency that surged through her. "It's for my daughter's birthday tomorrow. Please tell me you have one."
Randy winced, clearly having heard this plea a hundred times already. "I wish I did. We've been sold out since yesterday morning. People were lined up out the door before we even opened." Beth's stomach dropped. She nodded politely, but the desperation was starting to rise in her throat. She thanked Randy and walked away.
Sophie had been obsessed with Princess Leia ever since Beth had introduced her to Star Wars. Every day after school, Sophie would tie her hair into buns, pretend her backpack was a blaster, and march through the house, leading imaginary missions to save the galaxy. Beth had promised her that for her birthday, she would get her very own Princess Leia action figure, one she could carry around everywhere. But now, with only one day left before the big day, Beth was starting to panic.
She checked her watch. 5:30 p.m. Stores were closing soon, but she wasn't ready to give up. There was one last place she could try.
The small, local toy shop was tucked away at the far end of the strip mall, a place Beth had passed by dozens of times but never thought to visit. The bell above the door jingled as she stepped inside, and she was greeted by an overwhelming sense of nostalgia. Unlike the chaotic megastores she'd been to all day, this shop felt quieter, cozier, with wooden shelves packed with toys of all kinds—dolls, puzzles, and, most importantly, action figures.
Beth scanned the shelves, her breath catching in her throat as she saw a Star Wars display near the back. She hurried over, her pulse quickening, but as she approached, her heart sank once again. The Leia figures were gone. In their place were a few scattered Luke Skywalkers and a lone Chewbacca, looking as forlorn as she felt.
Her shoulders slumped as she turned toward the counter, where an older man stood reading a newspaper. He looked up as she approached, his round glasses perched on the end of his nose.
"Evening," he greeted her, his voice warm. "What can I do for you?"
Beth bit her lip, trying to keep the desperation out of her voice. "I know it's a long shot, but do you have any Princess Leia action figures left? I've been searching everywhere, and my daughter's birthday is tomorrow."
The old man studied her for a moment, his eyes softening. "Princess Leia, you say? Not many people come looking for her these days. Seems like everyone wants those newer characters."
Beth's pulse quickened. "Do you have one?"
The man smiled faintly. "Give me a moment. I might have something in the back."
Beth held her breath as he disappeared through a door behind the counter. She stood there, clutching her purse strap like a lifeline, praying that this wouldn't be another dead end. It felt too good to be true—how could this little shop have what every other store was sold out of?
A few minutes later, the man returned, holding a small box in his hands. Beth's heart leaped as she saw the familiar white outfit and brown hair buns of the Princess Leia action figure. It was an older model, slightly worn, but it was perfect.
The man placed the box on the counter. "Found her tucked away in a corner of the back room. Been there for years, I think. I've always been a fan of the classics."
Beth's eyes filled with tears as she reached for the figure. "How much do I owe you?"
The old man waved his hand. "Don't worry about it. Call it a birthday gift from one Star Wars fan to another."
Beth blinked, stunned by his kindness. "I… I don't know how to thank you."
The man smiled. "Just make sure your daughter knows who the real hero of the galaxy is."
The next morning, Beth watched from the kitchen as Sophie tore into the wrapping paper with the kind of wild enthusiasm only a child could muster. Her daughter's face lit up when she saw the Princess Leia action figure, her eyes wide with disbelief and joy.
"Mom! It's Leia! You found her!" Sophie shrieked, holding the figure like a treasure.
Beth smiled, her heart swelling with relief and pride. "I told you I'd get her for you."
Sophie carefully unboxed the figure and immediately began reenacting scenes from the movies, her imagination taking over as she guided Leia on another mission to save the galaxy. Beth watched, tears in her eyes, knowing the lengths she'd gone to make this moment possible. All the madness, the crowded stores, the fights over toys—it had all been worth it.
Sophie looked up at her with a beaming smile. "You're the best, Mom. Leia's my favorite."
Beth knelt down and kissed the top of her daughter's head. "And you're mine, kiddo. You're mine."
The Babysitter! GENRE: Action, War SUBGENRE: Science Fiction,Romance FORMAT: Visual Novel (Original) Anime (Broadcast)
Set-Up:
The year is 2544.
Humanity is at war with the alien alliance known as "The Covenant".
We are losing.
The Covenant have burned our worlds, killing billions in their genocidal campaign.
Now in a desperate attempt to stem the tide of the covenant conquest an elite strike team of the UNSC's Best Orbital Shock Troopers is being deployed alongside the UNSC's greatest Weapon; A Spartan II Super Solider.
Now comes the most important question of the mission? Who's babysitting who?
The ODST's: The UNSC's 105th Drop Batallion D-Squad and the main group of men we follow across the story and O'Brien's Squad.
Pvt Adam O'Brien: The Main Character of the Story, and POV, Adam is an ODST pulled into the unit directly from the UNSC Marine Corps following the Battle of Kholo, despite being 16 at the time. An emotional and brash soldier, he prides himself on the only thing he's ever good at, Sniping. Despite the moments of immaturity (be it as a coping mechanism or pride), he is also incredibly adept at reading body language.
Master Sargent Marco Cortez: Cortez is Adam's Boss, and XO of the mission, despite the fact he's been in charge for nearly all the other ones. Despite being his commanding officer, Cortez and Duch take the place as the guiding path in the Spartan's Mission, giving intel about the Planet and their exploration as well as giving lore about the USNC and the wider universe.
Cpl Taylor "Duch" Miles: The ODST responsible for the medical gear and comms, Dutch is a man who's practical, even-handed and easy to like. However, even he has his misgivings about being on a suicide mission with a Spartan. Dutch is a down-to-earth man, who gives advice and insight into the more mundane parts of the wider Human Space.
Pvt Checkmen: Checkman is one of Adam's friends and the tutorial guide, helping Adam get set for another routine operation sometime before the main story. He dies on impact when his Pod is ruptured when it crashed in a lakebed. Shows up in the "Checkmen Checklist" AKA the You Died and get a Hint system.
The Spartan: A UNSC Cybernetically enhanced Supersoldier, trained from an early age to be the greatest single soldiers to ever walk the galaxy. This is Cal 141.
Cal-141.: A Spartan of extraordinary beauty (And an obsession with keeping her hair long) and with a talent for stealth missions ranging from reconnoitering to covert assassination missions. Amongst the spartans she is renowned for her storyteller abilities, being the one who managed to calm the washout spartans with her fantastic ability to tell heroic stories on the eve of their reassignment long ago.
Having taken a keen interest in archeology leading her to take a doctorate in xeno archeology under the tutelage of Dr. Halsey herself.
In spite of her Spartan indoctrination, Cal is known to have moments of wonder and obsession with her hobbies and skill, and is very protective of her teammates and the soldiers' under her command even to the point of being unbothered by their poor behavior. Cal is ultimately a figure of inspiration who cares for all human life BECAUSE of everything that was done to her.
In the Golden ending: Throughout the mission Cal feels a strange connection to the eeriely human looking ruins on the planet and with Adam's aid she manages to glean a glimpse into it's history that left her strangley shaken to her very core. To Adam she confided that she felt , saw, and most disturbingly remembered something that she didn't have any right to have.
The Endings: The Various Endings O'brien can receive based on his choices actions and relations with his squad.
The "Canon Route"
"The Babysitter": O'brian and Squad don't exactly bond with their Spartan friend, everything is done at an arm's length, they learn about the ruins and hypothesize who built them and make good time in assassinate the Prophet, however, they fail to kill the Brute Chieftain who nails Cal, wounding her to the point of death.
The Squad leave her body in a hidden tomb in one of the Ruins instead of detonating her Armor. The Tomb is that of a Human Warrior who once defended the Planet from a great and terrible Flood.
It ends with Adam in penance over his attitude and living with his regrets over failing the Spartan who risked so much for him.
The "Normal Endings" AKA the One's that involve the killing of the Chieftain and as a Consequence Cal Surviving.
"Just another Mission"- The Mission is a success, with the Brute Chieften Killed earlier by Cal and O'brien the Prophet is assassinated on Schedule. Adam and Cal talk about how the mission went and they go and hypothesize what the Ancient Ruins are. Though now separating due to the reality of the War, Adam has a much fuller understanding of the Spartan Two's and how they aren't just mindless machines.
"A Life and Limb"- Adam loses his arm in a struggle with the Brute trying to save Cortez who is killed when they are ambushed by the Cheiften. The Mission is finished but with the loss of his Arm and his Sargent, Adam feels worse then usual with his life and sulks in contemplation.
The Golden Ending: The Best Path forward is the one that lets something be more.
"Who Babysits Who?"- Adam and Cal have an honest conversation about the Mission and what they saw, noting that while everything is above his paygrade about everything he's at least glad what he heard on the Scuttlebut wasn't true and that she's not just a machine that can kill, she has things she likes, hobbies and other things that make her human and he hopes he can see her again.
Step 1: Cool your temper when dealing with the Marines in the Mess Hall and enjoy Checkmen's joke instead of brushing him off and be honest with Cortez about feeling drained from the constant deployments as of late and hope that they can find a way to get a quiet mission or at least one that won't be one way.
Step 2: Don't lose your temper when you hear a Spartan is coming on the Mission, it makes you look like a gloryhound and an Egoist.
Step 3: Thank Cal for saving your life and forget to tell her to put you down.
ENCOUNTER WITH THE BRUTE 1!:
Shoot the Brute in the chest and arms to distract it while Cal assaults.
Push Cortez out of the way of the Hammer.
Shoot the Brute again to keep it off balance while Cal beats the shit out of it.
Step 4: Explore the Ruins and take Documentation, look for hypotheses given the architecture, and Asian Culture, and Impress Cal.
When Cal Speaks for the first time as a result, tell her that its good to hear what she has to say, does she has an interest in the Ruins beyond an objective, as this is the first time a non-Spartan asked about her hobbies?
Step 5: Curtail and act as the peacemaker between the ODSTs and the Spartan to prevent the one sided rivalry from jeopardizing the mission (solve all tense rivalry scenes and keep unit cohesion and teamwork above 75%)
Step 6: Help Cal organize the Story of the Civilization on the planet and shine a light on a hidden past.
Also have Cal be the storyteller because she really wants to do that.
Step 7 "Picture Perfect Mission": Adam finally kept his team on Mission and made good time on reaching the sniper point, barring a mishap with a Brute Chieftain they could kill. While risking a headshot alone would be foolish (Without Linda at least), synchronized targeting of the heart and head are agreed on and executed.
The evacuation is swift and clean and Cal says "Thank you" to the team for helping her with all her objectives.
A Spartans Story: In this you play as the POV of Cal 141, Unlocked after having achieved the Golden Ending.
Endings when you Play as Cal
"Contact Lost"- Cal 141 and her Team disappeared on [Redacted by ONI Section 3] Following a failed assassination on the Prophet, any and all attempts at retrieval have been denied.-ONI MEMO 194516
"Another Dead Hero"- Cal 141: MIA following the assassination of Minor Prophet, I'm sorry I wasn't fast enough guys...make sure my Team gets a clip of my hair, to make sure that I'm always with them.
"The Babysitter"- "Hey...O'brien...don't blame yourself for this...these things happen, and don't be too hard on what happens next, My War's over,sorry I can't walk you all home and Jorge kept saying I didn't say more...shows what he knows."
"A Small Mystery"- Killing the Prophet but not getting all the details of the Ruins...there will be more opportunities for exploring, its just another mystery.
Playthrough Golden Ending:"Not Just a Babysitter"- Cal having spent time reconnecting with a part of herself, taking a moment to enjoy the beauty of the universe and having explored an ancient mystery alongside someone she considers a friend.
She feels, content.
AN: A little something I wanted to hammer up with @NathanHale117 he did a fantastic job helping me making Cal's char sheet and the endings.
More may be added, but I like to think this is a solid look in the future. I'll get an image up later.
Conrad Bach, long suffering lawyer from the acquisition department of Lucasfilms, and one of its most brilliant lights if he said so himself, once more was faced with a conundrum of the greatest order after he was called by direct order Of Mr. Eisner to his office. It had been some time since he'd returned from making the deal with both Umberto Eco and Jean-Jacques Annaud (which thankfully both Mr. Eisner and Mr. O'Brian had congratulated him rather than reprimand him for overreaching) in order to get the rights for The Name of the Rose and the production rolling, when he was now given another project to achieve.
Truly, the reward for work well done was more work.
It was not even that big of a problem if you looked at it objectively; both Mr. Eisner and Mr. O'Brian had praised both his dedication, quick thinking, systematic approach, and ability to both improvise and compromise when an obstacle appeared in his way. It's true that Mr. Howard would no longer be the assigned Director, but it was not like he was rearing to go at it either. This freed talent from having to work in projects that they did not feel passionate about, and made it possible to obtain the rights with full certainty, while optimizing the chances for its success in the big screen.
Quite logical if he said so himself.
Thus he had been selected to fix another issue that had cropped up once more; it turned out that once again, one of Lucasfilms writers (though not one that worked full time for them... will wonders ever cease) had been overzealous in her duties when they discovered the new book released by Roald Dahl, and thought it would make for an amazing movie. Perhaps it was the incredibly freeing atmosphere that Lucasfilms gave its creators, or perhaps they feared that the book would make such an impact that she better hurry and make the story before someone else would approach the author with a different adaptation. Whatever the reason, it turned out that once more he was being sent abroad (to England this time, thank the lord) and try to convince Mr. Dahl that Lucasfilms had what it took to bring his latest work to film.
The BFG, a children's book of all things. Conrad tried giving it a read to see the appeal, and perhaps understand just why, once more, the writers that Mr. O'Brian employed could not just try and contain themselves and become a very real and liable lawsuit just waiting to happen! And overall... he did not understand the appeal of it. There was certainly some imagination put in there, and he could see how children would be invested what with the main character being a child... but the overall lessons were appalling on their own right! Having a kid be the one that has to find a way to solve a way to stop human eating giants! Showing the adults as, at best, incompetent buffoons! And did he mention about the very explicit Human-Eating Giants!!!
And they wanted to make this into a movie!?
Not for the first time did Conrad had to remind himself of his position; he was a lawyer, and he worked for his client, regardless of his personal tastes. They were pushing and testing him, but he would prevail. He had not gone through Berkeley, had to pass a grueling Bar examination, and then finally secure one of the best paying jobs where he'd been kept busy and productive for the past years just so that he could collapse when being given what should be a simple enough procedure in acquiring a new property, no matter how much he may dislike it.
At the very least he would be going to a real English-Speaking country this time around, and he'd made his research as well, seeing that so far there had been no one interested in acquiring the rights for this specific book this time around, nor were there plans for it to be adapted by the author either. Sure, there seemed to be a TV Show in Britain which was adapting his short stories, and was quite popular from what Conrad had heard; Tales of the Unexpected, as its name suggested, did seem to delight in its twist endings, which once more made you question the viewers' taste.
Nevertheless, his mission was to get the rights from the recently published novel. Not a problem, easy as pie, right?
Wrong.
It was because he'd researched on Dahl and his previous adaptations that he knew of the daunting task ahead of him. The man was famous for having only one adaptation made in Hollywood, the famous Willy Wonka and the Chocolate Factory distributed by Paramount. A charming tale, that nonetheless had its share of dark scenes that nonetheless were balanced by a fun tale of whimsy and fun, not to mention the resolution with Charlie getting his happily ever after. What no one mentions was the chaotic and nearly hellish production, the constant fights to get more funding, or the constant disapproval from Dahl over his work when he tried writing a screenplay that had to be rejected over being too much like a book.
And let's not even begin with the release. Dahl was so offended with the final product that he disowned the film, citing not only how infuriated he was with the final product, but finding it overly sappy, saccharine, sentimental, taking away much of what made the book wholly his and turning it into another product that supposedly was built for parents to feel better about what their children watch, instead of for the children themselves. He's made sure to kill any idea for an adaptation of the sequel (...there was a sequel?!) and so far no other studio had managed to convince him to let them take in another of his works to the big screen.
So, no pressure, right?
Haha... He was screwed wasn't he?
"You're pretty much screwed to borrow your phrase."
Conrad Bach tried to put on a stoic face as he heard from Dahl's agent. Anthony Goff was among one of the few people that Dahl could say he trusted (odd considering some comments attributed to Dahl), which about gave him as much an in to Dahl's as he could get at the moment.
"...How bad is it?" He sighed.
"Look, I won't sugarcoat it. I've known Roald for years now, I've spoken to him at length about his beliefs, his method when writing, his experiences... and they're all mixed together into a single whole. Each of his books are deeply personal to him, which is why the very thought of someone modifying any part of them becomes a personal insult. Perhaps even more, and this novel you want the rights for a film? This one goes deeper, much, much deeper than that."
"Alright, I get it! But can you speak with him about it at least? I called on you first since your his agent, and you know him the best. What do you rate our chances here?"
Goff sighed, rubbing his forehead. "Alright, I'll give it to you straight. whenever Lucasfilms was mentioned, Roald would comment how much he appreciated that there was an actual studio that did not dumb down or tried to play stories for children as "overly sweet nonsense crap" in his words. He really appreciated the work done in both Gundam stories, and the showing of Classical Tales was one of his favorites as well, he kept on mentioning how much his children loved to play as the characters." He stopped to bring some water to his mouth, giving Bach time to collect his thoughts.
Dahl actually liked Gundam?! Well, not so much liked it. but was happy for his children who enjoyed it apparently, but was Goff seriously telling him how his chances were improving because of a cartoon!?
What kind of world was he living in!
"As such" he continued once he finished, "I would think that if there's any chance at all for him to accept any offer, it would be from your studio. However, what you just showed me... well, Roald hated what Paramount did with his book, and I don't think I need to tell you how that ended up."
"It's about the changes? We're not even trying to remodel it all, just-"
"That alone is enough. Look, I get how sometimes there are changes from one medium to the next, but as far as Roald is concerned, if his readers liked the book, then they should have no problem watching the movie be exactly the same as well. Even with the current goodwill that you hold, I find it difficult to think that he would accept this draft."
"But..." But I can't go back and ask them to change it either! Not when both Mr. Eisner and Mr. O'Brian had left this to his discretion and expected results from their confidence in him. Heck, he did not think that the writer would be that keen in changing her script either, which would mean assigning another writer, wait even more time to see the result of said script, then return and wait for another appointment. And that was if there was even a writer available for the script to be made.
He could not just hope that Carrie O'Brian took a liking to the book and wrote a whole new draft! And in the meantime, this meant that others could very well come with a better offer, and with just what Dahl wanted to make, so that they would lose their chance. IN the end, he was looking at a delay of 2-3 years minimum as things stood at the moment.
He tried to think on what he could do to get him to agree; Money? if that was enough then his entire bibliography would have already been adapted into films. Creative Control? Considering what they just told him (and the many stories from Paramount's production of Willy Wonka) he did not think that would fly well when the time for production came around. Heck, the many methods that would usually work with different authors and creators were just useless here.
Well... there was one thing left. It's just... it was the one thing which he had yet to try. it was somewhat ridiculous now that he thought about it, and nonetheless it all came down to it. Despite what every instinct in his body was telling him, despite his mind saying how bad of an idea this clearly was, how it went against everything he'd learned in Berkeley and from his time working with Mr. Eisner... in the end it all came down to one simple act.
"... Give him the draft as it is."
What would Mr. O'Brian do? He would trust on the vision of his writers.
"I'm sorry, what?"
"Give him the draft. No changes, no alterations. Let him judge it for what it is."
Goff opened his mind, ready to yell at him, wondering if he had actually lost his mind after everything he'd told him. But the look in Bach's eyes stopped him. He was not sure what he saw in them, there was just so much passing and twisting within; fear, confidence, hopefulness, defeat, but above all, there was the shine of those men he'd once seen before, those who gambled everything on one single throw of the dice, with the sure certainty that it would land on the right side.
It was a dangerous look, many a time he'd seen the light go out of said eyes when luck had failed to materialize, their entire energy just sputtering out like a candle in a snowstorm. He was tempted to be a bit kinder, suggest he go and take a break, rest it over for the next day and perhaps try again once he was in a more stable state of mind.
But at the end of the day, he had to remember; he was not Mr. Bach's friend nor employee. He was Roald's, and he had to look for his interests first. Whether this succeeded or not, it depended on his client's will.
"I hope you know what you're doing." He said as he took the draft.
"...Me too." Bach managed to exclaim, as the most tense and stressing week of his life began.
Two Weeks Later:
"Yes Mr. Eisner, the contract can be signed as soon as it's received. Both Mr. Goff and Mr. Dahl have reviewed and agreed to it."
"Well that's excellent news Bach. We knew we could count on you; you always deliver on such quick notice."
"Thank you sir. Though if you'll excuse me, there's still some small matters that need my attention."
"Say no more, go right ahead. We'll see you at the office bright and early."
"I'll be there sir." Bach hanged up the phone as he allowed himself to collapse on his hotel bed, the entire room looking like a hurricane had passed over; there was trash thrown around, the bed had seen better days, and the bathroom had been declared a no-go zone for the foreseeable future.
Yeah... he'd found out that he did not do good when under stress. Huh, live and learn he guessed.
It had been an entire week of nothing but double guessing himself, having constant panic attacks, then having to find the right pharmacy that would sell anything to deal with said panic attacks, which would then have him return to his hotel room, then find someplace to eat, which he would then not be able to keep in, having to go to the bathroom, then not being able to sleep right, which only exacerbated his constant stress and anxiety...
Repeat ad nauseum.
It had been one of the worst experiences in his life; he wondered what possessed him to go out of his comfort zone so many times that the question had become stale. He could only thank that he'd given the order to have no one come to his room during the entire period of time. It did give him some peace of mind, though he was beginning to think it may have exacerbated his anxiety.
When Goff contacted him, amazement in his voice, telling him how Dahl had agreed to licensing the rights for the book, provided that it was made just as the draft had promised of course, he was just about ready to faint and perhaps sleep for the entire day. With the need for finalizing the contract being the last issue keeping him on his feet.
It was over though, every 'i' had been dotted, every 't' had been crossed, and there was only one final matter to deal with.
Sleep in... for at least the next two days.
He ended up doing it for three.
The room never seemed as welcoming as then.
A.N.: I've been working on this for a while now, when I remembered reading about Dahl and his reticence to let any of his works to be done by Hollywood studios ever since Willy Wonka and the Chocolate Factory. It was not until the Witches with Jim Henson when Dahl decided to give it another go, and even then he once more disowned the film, this time feeling it had been "too mean spirited". The man's real goldilocks is what I'm saying; it all needs to be just right for him. And considering that he wrote this book with his dead daughter in mind, then I figured we would be needing as much support from him as possible.
"This TV unit's screen, Philips-san, also uses the Sony Trinitron patent and includes your own patent as it includes an integrated Laserdisk. It can…"
Kees nods and smiles at the appropriate intervals, hiding a yawn, allowing Ichigo, the only person from Sony he vaguely recognises from previous visits, to continue with the Presentation. It is clear to Kees Ichigo is uncomfortable and nervous and would rather be back in the Sony labs. Kees understands him perfectly; he would rather be in his lab back at Phillps, not here, listening to this Presentation of Sony's past glories. He wouldn't be here if Philips were not in a similar position, trying to turn a potential foe into, if not an ally, at least someone disinterested in striking out at Philips.
A brief glance around the room reveals several Sony upper and upper-middle-level executives visibly on edge, poised to jump in with answers or praise the products immediately. Anton, the nominal leader of the Phillps delegation, hides his boredom and confusion while giving a good impression of paying attention. Groups of security guards in unusually bright, colourful undershirts loiter near the pavilion's entrances, their presence more pronounced than necessary. One particularly imposing guard seems to keep a closer watch on the Sony staff than on the Phillips team, scrutinising their every move. The executives' moods shift unpredictably as if they are navigating a high-stakes test, with the Phillips staff unwittingly cast as participants in an unspoken evaluation. It was an unsettling and unwelcome change to the Company with which Phillps had commenced negotiations.
When Philips approached Sony with their Red Book project several years ago, Sony was a well-respected Japanese company and a widely acknowledged leader in global tech. Recent revelations about criminal links and illegal activities had worn off some of that lustre. Still, Phillips was now dealing with a sunk cost issue and perhaps a fallacy: too much had been invested to just drop the project.
Sony and Philips had been working on similar devices. A disc that used tiny bumps on the surface and lasers to read data and play music—called the compact disc, or CD for short. Similar enough to create a format war if they weren't careful. Both companies knew the risks of a format war, having recently fought and been on the losing end of the most recent one. The Betamax tape was Sony's invention; Philips worked on the LaserDisc, and both were slowly driven out of the home entertainment market by the VHS. Millions of dollars in time, effort, and development costs, leaving both companies behind, out of pocket, and unhappy.
Out of pocket did not mean going bankrupt and out of the game entirely; it was just that new options needed to be sought and new gaps in the market exploited. The Trinitron screen technology meant that whenever anyone bought a colour TV, they gave Sony some money via patent fees. Likewise, music and audio playback cassette tapes dripped money into Philips' pockets. Yet technology marches on, consumer demand changes and tech companies either fight each other for profits and sales or go extinct by failing to identify and exploit gaps in the market. This compact disk idea, CD for short, seems to be one of them.
That was the point of this tech-sharing and these meetings. Could Philips and Sony work together to assemble a new standard and dominate the market rather than fighting each other and having a third party come and steal the prize—like JVC and their VHS format had just done?
It was a somewhat uncomfortable affair on both sides. Phillips's collaborative business approach, seeking tech partners, and decentralised management with high personal initiative grated against Sony's hierarchical structure, disruptive, and almost overly competitive focus on market moves that created short-term profits and long-term foes. Recent business decisions around Lucasfilm from both companies further strained their relationship as Phillips sided with lucasfilm and Sony was caught acting against it.
Sony's attempt to replicate Lucasfilm's portable music player, the Walkman, resulted in a legal debacle as, Despite warnings, Sony launched a similar device, the Soundabout, banking on lawyers rather than facts for success. It did not work. Rather than accepting their loss, Sony sent an agent to cause chaos in Hollywood. Only to be caught in the act. The fallout from these revelations damaged Sony's credibility and reputation. This demonstration was a last-ditch effort to salvage their standing with Philips and persuade them to continue the project.
"Channel selection is crisp and…" continued Ichigo nervously as he fumbled for the channel controller, adjusting the machine from a weather report in Japanese to…
"Miraculous, simply the best…" Music came from the TV as a flash of a red figure and another figure in black appeared above the iconic Paris skyline, just before Ichigo's panicked fumbling turned the TV off.
Every fleeting smile on any of the upper management's faces immediately disappeared. A direct aura of fear appeared among the juniors. Several champagne glasses had fallen shattered on the hard ground, and the bulky security guard that had caught Kees eyes was now furious. A pointed look from the guard, and the Sony man supposedly managing the affair was now giving a very abrupt speech and closing the event.
"Thank you, Philips San, for coming and seeing our work. Please consider continued patronage."
It is less an invitation and more an order from the Sony director of the event as Security, dressed in what seemed to be brightly coloured shirts beneath their suits, appears and ushers the Philips members and only the Phillips members out of the room and back to waiting cars. As the doors slam closed behind them, Kees thinks he hears shouting in Japanese begin.
---
The abrupt return to the hotel leaves more time for the team to discuss strategy and impressions than otherwise. In a pause, Kees idly comments that Ichigo was the only member he recognised, and Ichigo was from the labs. Similar observations are stated by the rest of the team. Anton comments that he noticed the science side of the Company has some new faces, but almost none of the business side are faces they know. There is a joking question if the recent scandal removed the criminals or the scapegoats before talk returns to business.
As the talk returns to business practicalities, Kees finds his technical expertise unnecessary and the discussion points repetitive. He makes his excuses to leave and go for a walk. It is a signal, and the meeting, which had been going nowhere, mutually decides to go back to rooms, to meals or other pursuits. Leaving Kees to freely tour Tokyo alone
---
Tokyo is bustling outside; lights, glass, and neon fight the evening gloom as he walks. Bright-coloured Walkmans are spotted in passersby's hands and ears. Signs hang on doors, and a few Sony TVs show different scenes with Lucasfilm in the corner. Whatever hate Sony has for Lucasfilm seems not to extend to Japan.
Snippets of conversation reach him as he walks, and out of the corner of his eye, he sees a poster for a tour to Hokkaido and "Empire Strikes Back" scenes. Japan seems to love Lucasfilm, yet as he walks further, it is clear that some, primarily traditional or older, seem offended by its very existence. A Sony TV catches him off guard, playing an advertisement for an upcoming show from Sunrise. The host is talking about the American in charge of the studio and his previous successes while also highlighting the achievements of the American animation branch and their Japanese head. Again, the audience reaction is mostly positive. The clip of the miraculous show is followed by another celebrated Japanese name: Mamoru Oshii. What was Sony's problem? Lucasfilm seemed to be respectful of Japan and Japanese culture. Was it simply that they had gotten caught?
Kees walks away from the TV in the window and that storefront, using the gap between shops that leads to a train station to think. Lucasfilm had made ripples and was innovating, yet unless they were to ask for a novel data storage medium, they would be unlikely to be interested in him or his work.
Another sound catches his attention, this time from the alley he is passing. Five thugs surround a figure on the ground. Time stops.
He hears yelling, "Police, come here! A crime is being committed!" First in Dutch, then broken Japanese. To Kees's surprise, the man doing the yelling is himself. The men committing the assault look up. The big man closest to Kees looks offended by the interruption. Behind Kees passersbys' stop. They, too, are annoyed. Not the crime, but that their bubble of safety and normalcy has been disturbed. An officer starts over, almost lazily in his step. Then the victim moves his head. Kees sees.
"Ichigo from Sony?" Kees asks in shock. The name of the Company and their implied connections perform some sort of magic. The policeman moves quickly. The growing crowd seems to swing in favour of helping the victim. The thugs move faster away from the witnesses. The policeman brakes into an almost run. To Kees, that looks like it would be just slightly too slow. The policeman's reluctance is ignored as Kees bends down to help Ichigo. Time resumes.
Ichigo whispers. Words quiet so as not to reach the crowd. "You should not have done that, Phillips San. It will bring danger to your Company. Still, this Ichigo thanks you, Kees San" Ichigo's voice is laboured and pained.
Kees removes his jacket, ripping at his shirt to get bandages. They are wrapped around the superficial wounds Ichigo has, thankfully. As he works, he speaks to Ichigo, attempting to calm him and make sense of the situation.
"Why not? Phillips and Sony are Friends; if not them, you and I shared a beer several years back. You told me of your dream to be a mangaka. Why should I not help a friend?" Came Kees' reply. He carefully helps Ichigo the rest of the way to his feet, blood from a still unbandaged cut on Ichiro's face, narrowly missing Kees's suit jacket. Nods came from the small crowd of passersby, dispersing now that the situation was dealt with and excitement had gone.
Ichigo glances around and judges the crowd too close. "No question here; need to hurry away." Then, louder, meant to carry to the crowd, "Thank you, Phillips san. This Ichigo of Sony Gratefully accepts our Allies' Assistance."
Kees is alarmed by Ichigo's words and tome. Nodding, he turns his face into something approximating normal, shrugs his jacket over what's left of his shirt, and helps Ichigo limp out of the alleyway and past the growing crowd.
"Hospital?" he whispers to Ichigo.
"No, not safe. Not my home or your hotel too. Those Sony watch."
"The men that attacked you were Sony's?"
"Mostly Yes. Some No. Talk later. Must get to Sunrise. Lucasfilm fight Sony before and win. Only chance."
Kees wavers for a moment before seeing the fear and determination in Ichigo's eyes.
"Which way?"
"Tokyo has a good train, this one. But quickly. Being followed."
A glance around showed a new figure with a suspiciously colourful undershirt watching from a distance.
"Let's move." Kees put words into action, dragging Ichigo along and into the station faster.
----
As the train journey progresses, Kees and Ichigo manage to acquire medical supplies, and Ichigo is to with as much care as possible. The rhythmic clatter of the train soothes the tension, but Kees keeps catching glimpses of colourful undershirts at a distance. Connecting Trains are on time down to the second and synced to allow easy transfers. Kees manages to Navigate well enough in Ichigo's direction. At most Transitions, he thinks he sees those men with colourful undershirts being left on platforms when they didn't move fast enough. When he mentions his observation to Ichigo, a look of satisfaction crosses Ichigo's face.
"Good. I will risk a phone call at the next station. But be careful, Phillips san. Not shirt Tattoo. That is how to know Yakuza."
"Yakuza. What is Yakuza, a rival company?"
"Criminal but have honour. Sometimes. You know of Mob. Yes? Yakuza are… dangerous and in many business. They go to companies like Sony to manipulate or control when the Company is weak or an opportunity. This Ichigo sorry for bringing danger to you, Kees-san. Your help and bravery… invaluable. My presence, not good for your safety."
With that, Ichigo returns to brooding silence, watching the night shapes fly past the train windows.
The final stations brightness leads to a dark bus change and then a street. The neighbourhood seems more relaxed than mid-Tokyo. Glass and steel blend interspaces traditional Japanese elements. Places for contemplation and not just business. The streets are emptying slowly as patrons leave bars and cafés for the evening. An attentive officer notes Ichigos injuries and, on hearing their destination, flags a guard finishing a meal. Kees finds himself relaxing as there is no flash of Colour beneath the security guards shirt.
A quick discussion between Ichigo and the security guard, combined with gesturing in the direction of Kees, gains them an invitation into a large blocky building of warm brown brick and glass surrounded by greenery. A billboard on the side advertises animated material with Lucasfilm posters, all in Japanese.
As they enter, Kees finds himself nodding the differences with Sony headquarters. An open-plan floor is broken up into tables for collaborations and alcoves for privacy. Reference materials and drawing tools are within easy grasp; secure elevators and stairs lead to upper, more private levels. By the wear on the desks and chairs, Collaboration is encouraged. Moreover, the lack of Late-night workers crunching for a deadline suggests employees are valued and not resources for consumption. There is none of the rigid hierarchical sterility of Sony with its regimented desks trying to impose its will on the world but a place for creative people to come together and shine. It reminds him of his beloved Labs back home and Phillips's desire for Collaboration.
His musing is interrupted by a man coming down from one of the secure offices upstairs. He introduces himself as Takashi Hisaoka, who takes them over to a booth near the entrance. Kees notes that an American comic book, Marvel, lies on the table while other comic books fill the shelves in the alcove surrounding a TV. The glass doors to the booth are closed, and Takashi intently listens as Ichigo outlines the events of today.
He goes on to explain that some who were fired from Sony as Yakuza after Sony's disgraceful showing in America have come back under different names and with more tattoos. A few questions for confirmation from Kees and Takashi Sits back in contemplation. A Security guard coughs and hands over a document on a clipboard to Takashi, who scans it before handing it back with a nod. The security guard takes it and steps around the corner.
Takashi expression is serious as he focuses on Kees and Ichigo
"Ichigo san. You need to leave the country quickly. Do you have anyone you are close to? Anyone that might be targeted in your place?"
"I have an Aunt in Hokkaido who helps run the Star Wars tour?"
"Hokkaido is far from Tokyo, and we have friends there. I shall call them and warn them. She will be safe. Do you have a passport?"
"Yes, in Apartment. Not safe to go back."
"Not an issue. Travellers lose passports all the time. Housefires are another reason to lose such paperwork."
"Housefires, Hisaoka san?"
Takashi reaches for and turns on the TV, flicking between stations, and suddenly, they are on the news. A presenter is covering an ongoing fire in Tokyo and reports fears that the flat occupant is dead.
Ichigo's face is white as Takashi repeats the statement he made earlier: "You need to leave the country quickly. You have Embarrassed those who control Sony from the shadows. For them, that is unforgivable. Kees san, you are safer, but I would not return you to Tokyo. I can put you on a flight to America tonight with Ichigo. Your passport and other belongings are in your hotel room?"
Kees mouth is dry "Yes."
"I would not advise going back to collect it. I would further advise leaving the country and not coming back. Would you like to call your office?"
"I would thank you."
"That booth has a telephone. I will stay here with Ichigo, where you can see us both. You will be able to see and tell of any Treachery."
"I am not accusing you of anything; I am sure you are trustworthy." Kees protests.
The determination in Takashi Hisaoka eyes almost burns. "Yet you have been affected by a crime. A house is on fire. Your allies Hunt you. These actions are Japan's shame. My shame. I will prove Sunrise and Lucasfilm better. I will prove Japan better."
---
The call to Holland and the Phillips headquarters there is as alarming as it is informative. The Tokyo Police have already approached the Phillps team and advised them of Kees disappearance and fears for his safety, implying that Ichigo was the Culprit of a hypothetical crime. Given the men following Ichigo and the seemingly too-fast news story, Kees happily accepts having his assignment changed to liaise with Lucasfilm in Los Angeles, America, and not to return to Tokyo.
Takashi Hisaoka is as good as his word. A short ride by a van carrying entirely legitimate cargo on a routine delivery takes Ichigo and Kees to a regional airstrip. A bored guard waves the van through with little more than a cursory glance in the windows. An older plane waits near the runway f. The change of clothes Takashi provided was perhaps unnecessary but makes Kees feel more secure as he steps out of the van carrying a crate into the aircraft. Ichigo follows with another crate while the Sunrise driver talks briefly with the pilot. A nod and Ichigo and Kees are directed to some basic chairs and left to strap in. The pilot closes the door and does the final checks. The still unintroduced pilot settles into his seat. He talks to the tower through his headphones, and the engines roar to life; no fuss, no bother, no Yakuza.
Permission is obviously given, and the plane moves onto the runway even as a second van comes into view. As they taxi past their original start location, men get out of the van and start spreading out. Kees is unsure if he sees a glimpse of Colour under the new arrivals' shirt; it is simply his imagination, but he finally feels himself relax as he leaves Japan behind him.
---
Kees steps into the boardroom at Philips' headquarters in Denmark, feeling the weight of recent events lift off his shoulders as he sees his team intact. The mood is one of cautious optimism as the team settles in.
The head of the board, Wisse Dekker, enters and specifically greets him.
"Welcome back, Kees. We've been Concerned."
Kees nodded in return, enjoying the warm reception after the tumultuous journey. "Thank you, Wisse. I'm glad to be back."
As the team took their seats, the room fell silent, anticipation hanging thick in the air. Kees glanced around at the familiar faces of his colleagues, their expressions a mix of relief and curiosity. He began his report, summarising the events that transpired, from the strained negotiations with Sony to the escape and their subsequent safe arrival in the U.S.
"We all hoped for a useful collaboration with Sony," Kees said. However, the recent Hollywood scandal, their conduct, and Criminal infiltration make it clear that Sony is not reliable.
Wisse nods thoughtfully. "It's unfortunate but not surprising. How did the discussions with Lucasfilm go?"
Kees smiled. "Lucasfilm was incredibly professional and receptive. They're eager to explore collaborative opportunities with us. We've already begun preliminary discussions about future projects that look promising. The Digital Camera is mechanically similar to our film ones and uses many of the same mounts and fittings. I also have confirmation they are progressing to final completion of their console. A few competitive bids for components may be in order."
A murmur of approval swept through the room. Lars, the head of the technology division, leaned forward. "And the CD format standardisation? How will this affect our plans?"
"The compact disc standard is set," Anton, the leader of the Sony team, stated. "However, Sony's demands for the disc's diameter will require retooling our production lines. This will be an added cost and delay, but it's manageable."
Wisse expression was one of determined resolve. "We've faced setbacks before, and we've always adapted. I will give the order to…"
Kees raises his hand to interrupt. "One of the parts not fully confirmed for the Lucasfilm console is the memory format for the games. A disk that works on no other machine produced by a factory that uses standard inputs has value from a security and copying perspective. It also does not require us to retool a factory for a potentially large order."
Nods and murmurs around the table with a look of glee to give Sony a dose of petty revenge. The discussion continued, delving into the technical and strategic adjustments needed.
As the meeting wraps up and team members give their farewells, Wisse Dekker thoughtfully gazes at Kees. "You've handled this challenging situation with remarkable professionalism, Kees. Well done. Do you want the lead on the Lucasfilm proposal?"
"And abandon my labs completely? No. I liked what I saw of the Company in Sunrise. Their "Give a genus a budget and a goal" movie methodology Ichigo was raving about sounds similar to our labs. But no, I am not willing to transition from our labs to business full-time. Give Anton the lead, and I will back him up. I will ask you to take me completely off Sony."
"Done. I suspect we will move employees and efforts elsewhere unless Sony changes its security division soon."
"It is a pity. The medium has potential."
"It is possible that a Lucasfilm partnership will allow you to develop it then, unless you want to work with Sony again?"
"NO. Thank you, sir. I would rather watch movies than be part of them."
Wisee chuckles as he walks off. "It is good to have you back, Kees."
"It is good to be back, sir."
I don't know much about Conan so have this instead?
My take on Sony and Philips changed relationship. A significant number of Sony advances have roots in science work done by Phillips. CD's DVD's Minidisks and so on. That might not be happening here.
Yes Sony did it ITL too. Sony originally wanted a 100mm disk and on finding out the tech benefits and that Phillps had a factory ready to go for 115mm insisted on 120mm. In the name of future collaboration Phillps agreed. Factories aren't cheap.
I've refrained from making a pitch for this because Orion Ultor made an Omake that would have given us the script for it. However, I also feel that there should be some sort of pitch that at the very least should show just what kind of actors we could use for the film. I really liked this new version of Aladdin, and though I've tried adding some parts that would have changed (as well as some characters beyond the ones who were mentioned in the Omake) I've also kept some from OTL, like Iago and Abu, since they were such a riot in the original film, and I think they can also serve that purpose in this film.
One thing I've added is that there can be another Genie like in the story, where there was a Genie of the Lamp and another Genie of the Ring, but this time I think it can be used by Zhang Ming so that he has something else besides the Snake Staff, since I don't think this version of the Sultan would fall for it here.
Thus, I give you:
Movie Pitch: Aladdin GENRE: Adventure/Fantasy/Comedy
SUBGENRE: Musical/Romance/Action
FORMAT: Animated Movie
Set Up: Based on a story in the book One Thousand and One Nights as supposedly narrated by Scheherazade. It tells the story of Aladdin, a street-smart Uyghur living in the city of Kashgar, in the Xinjian region of China in ancient times, as he struggles to survive and make a name for himself. Everything changes when Aladdin meets Princess Nazife, a headstrong and independent Uyghur princess who longs for a life beyond the palace walls. The two soon realize they have more in common than they ever imagined, and embark on a magical adventure together. But their journey is not without danger, as the power-hungry Chinese official Zhang Ming seeks to control the city and crush the Uyghur people's cultural heritage to better assimilate them into the Empire. With the help of a mischievous genie and a loyal group of friends, Aladdin and Nazife must fight to protect their way of life and save their city from Zhang Ming's tyranny.
Director: John Musker and Ron Clements Composer: Alan Menken and Howard Ashman
- The beginning of the story shows an old storyteller in a park being asked to tell the children a story, which after a while debating and mentioning all the tales he knows, he settles on the tale of Aladdin and his magic lamp. At the end of the tale, we return to the storyteller, who finishing the story leaves the park, and once out of sight turns once more into the Genie of the Lamp, before flying away.
- The movie is set in the Xianjian region of China, Featuring Uyghur architecture, music, dance, and cuisine, this version of Aladdin is a celebration of the rich and diverse cultural heritage of the Uyghur people.
- Aladdin and the Princess are not caught by the guards, but manage to escape, and go on different excursions afterwards. It is during one of said excursions that he finds the "Genie of the Lamp".
- Zhang Ming possesses the "Genie of the Ring" who although can grant unlimited wishes, it cannot alter, nor create anything out of nothing. Its power is limited, and as such he is looking for the "Genie of the Lamp".
- There is no attempts to marry off Jasmine until much later when, after another escapade with Aladdin, her father finally agrees to Zhang Ming's idea to have her married off to Prince Jiang Xiu.
Aladdin: He is a young Uyghur Street rat in the city of Kashgar. He is street smart, agile and is always one step ahead of the law. He became friends with Princess Nazife during one of her outings from the palace, and both of them tend to go on adventures through the city, sometimes venturing out of it. During one of their expeditions, Aladdin finds an old lamp that when rubbed releases the "Genie of the Lamp" who become a companion for their adventures while he waits for Aladdin to use the three wishes he has.
Played By: Michael J. Fox Alternate: Johnny Depp
The Genie of the Lamp: He is a larger-than-life jinn residing in a magic oil lamp. For thousands of years, the Genie served as a slave to whomever held ownership of his lamp, to which he was eternally bound unless granted freedom by a master. The Genie possesses phenomenal cosmic power that allows him to grant wishes, shapeshift, and transcend space and time. Though he sees Aladdin as just another master to serve at first, as time passes a friendship builds between them, to the point he's willing to forsake his freedom for him.
Played By: Robin Williams Alternate: Dan Castellaneta
Princess Nazife: She is an independent, willful, and combative Princess of Kashgar. Skilled in both riding, as well as bow and arrow, Nazife has been known to skip on her lessons and go on adventures through the city or outside of it with her friend and partner in crime, Aladdin. Her relationship with her father is strained due to his constant attempts at keeping her safe inside the palace, as well as the many times he seems to listen to Zhang Ming's advice, even though it seems to harm her people.
Played By: Kath Soucie Alternate: Jodi Benson
Zhang Ming: He is a Chinese official sent as an envoy/ambassador to the Khagan, soon becoming his most trusted and loyal advisor. In truth, the imperious Zhang Ming held nothing but disdain for the Khagan and the barbarians he was forced to live among. He's dedicated nearly his entire life to further the "Union" between both peoples with a political marriage, which will allow the Empire to subsume them, and him to return home in triumph, with riches beyond his dreams. He has a magic ring that grants him power through its genie as well.
Played By: Jonathan Freeman Alternate: James Shigeta
The Genie of the Ring: She is a sultry, yet also somewhat moral Jinn who's powers, though weaker than the ones from the Genie of the Lamp, are still able to be used more than three times per master. Unlike the "Genie of the Lamp", she holds nothing but disdain for her current master, and never gets to see or feel for humans the way they do. Both of them tend to get into verbal fights, and is subsumed by Zhang Ming when he makes the mistake of wishing to hold her power, taking her Jinn essence and turning into one himself. She then leaves to start a life for herself.
Played By: Michelle Pfeiffer Alternate: Kathleen Turner
Khagan Abduweli: He is the ruler of Kashgar and the father of Princess Nazife. He is a benevolent ruler, but also severe on his daughter, wishing to protect her from the outside world after the death of his wife. He tends to trust Zhang Ming in nearly everything thanks to him saving his life on several occasions, unaware that Zhang Ming had planned for said assassinations with the aid of his genie to gain his trust.
Played By: Arthur Malet Alternate: Clive Revill
Abu: He is a mischievous, kleptomaniacal monkey, Aladdin's loyal pet and partner-in-crime. His unshakable urges to steal whatever catches his interests, can land him into quite a bit of trouble and appears to frustrate Aladdin from time to time. Abu can also be quite greedy and selfish in this regard, as he constantly takes more than he needs. Nevertheless, the monkey has redeemable qualities and, at his core, has a soft heart.
Played By: Frank Welker Alternate: Jack Angel
Iago: He is a sarcastic, loud-mouthed, and short-tempered parrot that served as Zhang Ming's sidekick during the latter's attempt to overthrow the Khagan and subsume Kashgar to the Empire. Iago's primary obsessions are riches and power, which—coupled with his disdain for the Khagan's crackers—motivated his villainous deeds.
Played By: Danny DeVito Alternate: Gilbert Gottfried
Prince Jiang Xiu: He is one of the many princes from the Empire, technically the one arranged to marry Princess Nazife. He is a vain, pompous and overbearing prince who sees all Uyghurs, along with their lands and culture, as beneath him. He is adept at using a sword however, and is both captured and humiliated once Zhang Ming's plans go awry in the end.
Played By: BD Wong Alternate: Brandon Lee
Head Guard Hakim: He is the head of the Guard in Kashgar, a man who is devoted to the Khagan and merciless to all sorts of troublemakers and thieves, putting him always at odds with Aladdin.
Played By: Jim Cummings
Gazeem: He is one of Zhang Ming's agents in Karshan. A cowardly thief who spies on both Aladdin and Princess Nazife, revealing their locations, plans and the possession of the lamp.
Played By: Dave Goelz
The Storyteller: He is an old storyteller who lives hundreds of years after the tale of Aladdin. He regales the children in the park with the story, and at the end it's revealed he was the Genie of the Lamp all along.
Played By: Robin Williams
A.N.: Alright then, this is it. The Aladdin version of TTL, proposed by Orion Ultor's Omake and hopefully a bit more fleshed out so that it can be produced sooner as well. I do like the idea of making this as another dig at China if possible, and its closer to the original tale as well. It also keeps the possibilities open to get Richard Willaims to work with us. His animation is good enough, and a deal could be made that we would support it if he agrees to support our other animation projects.
"For the want of a nail the shoe was lost,
For the want of a shoe the horse was lost,
For the want of a horse the rider was lost,
For the want of a rider the battle was lost,
For the want of a battle the kingdom was lost,
And all for the want of a horseshoe-nail."
For the life of her, Lisa Bonet did not understand just why was she doing this.
"Five minutes before the next one" one of the assistants called out to the rest of the hopeful auditioners, a flurry of action between them all ensued. Re-reading their lines, preparing for their turn, fearing the time limit as if they were to be the next ones even though they weren't. How did she know this? Simple.
It was her turn next.
She took a couple of deep breaths as her mind repeated the lines assigned to her, all the while also thinking on just why did she think it would be a good idea to try and audition for the next installment of Conan when she had at best some experience in modelling and ads. She was not even supposed to be here, it was a school day and she had yet to tell her mother about it. Did she really think that they were going to choose her? She had just seen Janet Jackson, the sister of Michael Jackson himself, a close friend of Bruce O'Brian's wife. As she'd arrived she'd also seen Rae Dawn Chong, an already award-winning actress!
Compared to them, just what did she bring to the table?
"Lisa Bonet! You're up."
Had five minutes passed already!? Looking at the clock on the wall she saw it had. She stiffly stood and made her way through the door, passing the rest of the girls, refusing to look at any place but forward lest she lose her nerve. Passing through the door, she found herself in a spacious room, a large table in front of her where three people sat on, looking at her.
Her nerves were such that she never noticed the cameras around her, not when her attention was on the man at the center of the table. Everyone and their mothers would recognize Bruce O'Brian by sight nowadays, the face of Han Solo and Batman had become ubiquitous through the entire country, yet for the life of her she could not recognize the other two who were with him.
"Alright. Welcome Miss. Bonet. Now, you're auditioning for the role of Princess Octavia, and according to the notes, you'll be reading her first meeting with Conan for this. Any questions?"
His voice was reassuring enough for her to try for one. "W-well, uh, what exactly is Octavia's motivation here?" Her voice growing smaller with each word uttered as she saw the disapproving glances sent by the men at his side.
Bruce remained smiling though, which she took as a good sign, as he replied. "Right, here's the thing. Some changes were done for the original character so what we want is not so much a word-by-word recreation, but something that aligns more to her new circumstances."
Alright, so she had not bombed out yet with her question. That's good to know.
"As such." he continued. "What we want for the character is a sense of alienation from everyone." Wait, what? "Octavia is the illegitimate child of King Yezdigerd, and she's known that her entire life. She never fit in the court, everyone rejecting her because of her heritage. When she was discarded and enslaved by her own family she found no allies nor succor from the slaves either, seeing her as the symbol of their oppression. She never belonged to either side, and she has to find her own way, her own path, and overcome that stigma that comes with her just for being born."
At one point, hearing Bruce describe all the different details of the character, Lisa's mind could not help but replay her life; she never knew her father, raised only by her mother. She was alienated in school by both the white kids and the black kids, neither seeing them as one of them. She never fit in Highschool, her way of thinking not conforming to the more normal children, at times wishing she could just adapt as easily as they did...
"So, think you can work with that?"
Her face, who'd been looking down from the moment she entered, lifted once more, her eyes now holding a near serene yet complex look in them that had even the other two members of the audition re-evaluating her.
"Yeah, I can do that." "...with Bierman out of commission after the death of his daughter, and no signs of any director willing to take on the challenge for the remake, the production of 'The Fly' entered a period of development hell that had Mel Brooks take one of his biggest gambles when he contacted his old colleague, David Lynch, and offer him the script. Though not the first choice that Kip Ohman would have gone with, in the end he had to acquiesce to the man who was basically funding the entire project. For all intents and purposes, he understood that he could just as easily be replaced, as Pogue had before him.
"As for Lynch, his previous work at Lucasfilms had left him with a greater reputation, one which he was making use of to get funding for his long-desired project, 'Ronnie Rocket', found 'The Fly' the perfect vehicle under which to realize his ambition. The deal made with Brooks, aside from creative freedom, also included a promise for production of 'Ronnie Rocket' as the next project for Brooksfilms.
"Once the minutia was done, the task of finding the lead began. At first, Lynch was hoping to get Mark Hamill with whom he'd worked with during 'The Elephant Man', unfortunately he was already working in the upcoming Amadeus film. John Malkovich and John Lithgow were approached by Brooks, yet both refused citing either personal or professional reasons.
"It was not until the end of 83' when finally they got their lead as Brooks managed to get ahold of Pierce Brosnan..."
-Extracted from 'The Bizarre Production of The Fly', YouTube Channel 'Yesterworld Entertainment' For Tom Werner, the decision to leave ABC had come at the most opportune moment in his career. He was not ignorant to the fact that the current direction that the company was going through was beginning to enter its complacency stage, after nearly an entire decade of success and innovation, the company was ready to sit on its laurels and let the rest of the decade go by. And so, though it pained him to leave at the time when Three's Company was just starting to take the country by storm (and being told he was insane by more than one of his colleagues) he decided to leave and try for new pastures.
Not that he was striking out blindly of course. He'd been scouted by a newcomer to the game, one of the most unlikely ones as well, but the offer was intriguing enough to make it worth his while. The forming of a new Network in the Paramount Television Network presented both, new challenges and opportunities to those willing to take them, and he was determined to be one of them.
Not that he needed to do it alone of course.
"I spoke with Bill, so far he's still on the fence for that new actress, but he understands we can't hold off for too long either. Barry is patient, but not when the delay is because of one capriciousness". Said his friend and partner in this venture. Marcy was not what many expected when they thought of TV executives, yet he would not trust any other with his back, or project, as he did her. She had also been scouted by Paramount and proved herself as adept at producing in a new environment as himself. The both had worked in making sure shows like Taxi as well as Mork and Mindy became the new flagship series, along with Star Trek: Phase II and Gundam when the latter was still on the network.
And God willing, The Cosby Show will soon join their rank.
"We might have to cut the role if he remains stubborn, we just can't hold on for this long."
"Bill will hate that, and you know it. He's set on the fictional family to imitate his real one, and you know he has the near support of the rest of the cast. We might be able to replace them, but we are not getting another Phylicia to replace her." She argued.
"Well, what does he expect us to do?" Tom sighed. "Not like we can get his own daughter to audition, right?"
She rubbed at her brow as she actually considered Tom's words before shaking it off. Perhaps they could try looking at non actors or models, heck at this point she would be fine with even a regular highschooler.
Just, who knew casting Denise Huxtable would be that difficult?
Coming up next on "Dark Disney Night"; The golden hero from the East, 'Phantoman'. Then recapture the magic and scares from 'The Black Cauldron'. And finally, he thought he was bringing his friend back to life, but he could not have predicted what would happen then in 'Frankenweenie'
Only on The Disney Channel!
-The Disney Channel, October 31, 1984. "Cut! Alright, its good. Let's prepare for the next one!"
For Michael Winslow, working on his first big role on the big screen, the call could not have come sooner. It turns out that working for TV, or just small productions, was a whole other world than when you were trying for a big picture from one of the "Big Five" in Hollywood. He had not believed his agent when he'd said it, even when claiming that the most lenient like Lucasfilms would still demand the best out of his actors. But this was a comedy, one where he got to do the same thing he always did in all his appearances; make the funny noises and let everyone be wowed.
He wished he could go back in time and slap himself at this moment. Police Academy was turning out to be as demanding as he'd made fun off.
Moving towards where the cold drinks where, he wasted no time in just chugging an entire bottle of water to refresh his sore throat. It was near noon; they'd been at it since 4 A.M.! There had been small breaks like these ones, yet not long enough so that they can take advantage of every minute of darkness and sunlight they could get.
"It's all about the director you know"
Michael choked, the water coming out of his mouth in a rush as he tried taking deep breaths. He felt small pats on his back from the man where the voice came from.
"Sorry about that Mike, should've known better" Charles "Bubba" Smith apologized. The man moving like a ghost despite looking like the football player he used to be.
"No 'Cough' that's fine Bubba. No harm done" he said in between coughs and wheezes. Michael should have been more alert, what with the small space and constant calls from the director to begin with barely any prep time.
Wait. "What do you mean it's all about the director? Have you heard anything."
He looked shifty for a moment, making sure no one was hearing. "Well, I hear from gossip you see. Most of it not that good about the big honcho upstairs. Turns out, Murdock is preparing for some sort of big offensive at the theaters, and is pushing for as many films as they can be done, and if they're cheap then all the better. Our current director's deal is that he has a contract that allows him to direct this so long as it's both."
"Fast and cheap, huh? Yeah, that sounds just about right." The asshole, he thought as he went back to drinking his water.
"Could be worse man. I hear that the original plan had us go against Star Wars."
And there went his water again! By the time he'd recovered his breath, Hugh Wilson was calling the actors back to their places. Still thirsty, and somewhat hungry, Michael could only thank his lucky stars that at the very least his first movie would not have to face the juggernaut that was Star Wars.
He pitied the poor bastards that would though.
(...) George Lucas bought the rights for Christine, seeing it as an excellent portrayal of America's obsessions with cars, and in some ways a deconstruction of his own American Graffiti, hoping to produce it himself, but unfortunately had to be delayed due to massive well of support Star Wars received after Return of the Jedi. As the creator, this kept him busy moving from location to location during the first months, eventually delegating the project to Edward Neumeier.
His initial choice for director was Wes Craven, already known as one of the best at the craft, yet he had to refuse due to his already packed schedule. After which he decided to go with Sam Raimi, coming out recently from his third film, and having recovered from the ordeal that was Sisu. Raimi would tackle the project with the same enthusiasm and energy which he did on his previous films. When asked about his thoughts years later, Raimi's opinion on the book was not that it was that frightening, but it was just plain fun (...).
-From Christine (1985 Film), Wikipedia the Free Encyclopedia August Sinclair: So, when did Marvelman came to your attention?
Jim Shooter: It came at a time when we were not able to do much, or perhaps better to say that we could but choose not to. By then, when we'd heard what [Dez] Skinn was doing after leaving our UK branch, we had so much to deal with, what with the expansion with our imprints [Eclipse and Atlas] as well as having to clean house and re-establish the hierarchy at Marvel after the buyout. Sure, we could have tried and sent a "Cease and Desist" order, but by the time we found out, Skinn and [Alan] Moore had successfully rebooted the franchise and gathered a significant following.
AS: Is that when the plan to have them join the Atlas imprint came about.
JS: Well, no and yes. At first, we were ready to go to court before cooler heads prevailed. Both Geoff [Senior] and Simon [Furman] were on site and had worked with Skinn before. They mentioned that he was more reasonable than we would give him credit for, and could be talked into a proper compromise. They argued that we would be wasting a very valuable fan base that could well join Marvel if properly handled, so with that in mind, there was agreement to try and speak with him first.
AS: It was not as things were done I assume? Marvel was not known to let other imprints or magazines use heroes with their names on it.
JS: The precedent was set that Marvel as a brand needs to be unique to the company only. Captain Marvel was made to take advantage, and despite reassurances from Geoff and Simon, we were still ready to turn this into a battle if we were pushed into it. Meeting Skinn was not what I expected however, though I should not have been surprised. If you'd met a creative in Marvel then you've met the baseline for all others. During the talks their main concern was less on the money but in how would this affect the story they wanted to tell. I think this was what convinced us to deal rather than sue in the end.
AS: Not everyone was happy about it though. Alan Moore was among the biggest critics at the beginning.
JS: Yes, it was hard to make peace with the fact on his end. I don't know what it is about British authors, one would think they'd be more prone to keep in line what with their monarchy and all [Softly laughs]. It would take time for him to see that we were willing to keep to the agreement; Marvel as a brand becomes licensed to Skinn and Warrior magazine, and in return we get the publishing rights for the Atlas imprint in America. Both sides benefitted and we got a new title out of it.
-Interview with Jim Shooter, May 1, 1991.
Year
Title
Role
Notes
1973
The Final Programme
Catherine
1977
The Brute
Diane
1977
The People That Time Forgot
Charly
1978
Superman
Ursa
1979
Conan the Barbarian
Valeria
1980
Superman II
Ursa
1985
Howard the Duck
Beverly Switzler (Voice)
1986
Highlander
Brenda Wyatt
1987
Over the Top
Christina Hawk
1988
Twins
Linda Mason
1989
Lethal Weapon 2
Rika van den Haas
1991
The People Under the Stairs
Mrs. Robeson / Mommy
1993
Falling Down
Beth Trevino
-From Sarah Douglass (Actress) Filmography, Wikipedia the Free Encyclopedia "Are you sure about this George, you're not going to go back on it?" Steven asked his friend, both trepidation and hopefulness in his voice.
"It's fine Steven. Look, I know that at the time the entire thing seemed amazing. But now, when I re-read this it just seems so..."
"Edgy."
"Edgy."
Both men looked at each other and chuckled at the entire situation. In the end, it was not as dramatic as one would think. The Script for Temple of Doom was not on a timetable, they had more than enough time to make the alterations as they needed, yet the stubbornness that came to them sometimes reared its ugly head.
"It's not like it's all bad, it's just that it could be better with just some simple adjustments. The framing you used in Conan... well, the first Conan now, to explain to the audience how this is a previous adventure for one. Show we're not trying to forget what's happened before."
"Might as well change some of the more insulting scenes when entering the palace. We can still have the gross out food, but perhaps we could show that this is either the corruption from the Sankara Stones, or that the higher ups are so indoctrinated that they see nothing wrong with eating that."
"Make it something of a joke, that's good." George was already taking notes as Steven brainstormed on what could be done to improve the script. "We are still keeping Willie though"
"Yeah, yeah, I know how much you love the character." Steven laughed. "I also want to keep the initial scenes with Lao Che and escaping Shanghai."
"No argument from me there. What about the ending? I still want Indiana to be rescued by the British."
"Perhaps we can change it by introducing a new character. We can look for a new actor to play the role of a militia leader who is looking for the missing children and runs into Jones when they need help."
"Hmm, it can work out. Now, how about..."
George and Steven stayed awake all through the night as they tossed ideas back and forth, the energy in the room infectious as they made sure to polish a diamond till it shined brighter than before. "(...) the explosive expansion of Dragon Ball through America caught Marvel with its pants down. Though they had expected the series to be somewhat popular, they had never expected it to reach the levels where every man, woman and child wanted to read about the adventures of Goku and his search for the Dragon Balls. The combination of childish antics, mature themes, and kinetic fighting scenes that found fertile ground among the more martial arts obsessed crowds combined to make a product never seen before.
"(...) The Expansion from America to different countries came when demand expanded near the second half of the 80s, when Marvel, once more stable after its many expansions, saw fit to license the publishing rights to different companies around the globe, provided that they agreed to a stipulated contract whereas they were forbidden to make any bootleg copy of it. Though nearly all countries agreed to it, many were the copies from the other side of the Iron Curtain that did their own thing, and that's without even mentioning China and their attempt at suing for infringement rights...
"(...) 'Amerimanga Magazine' was launched in 1986 in Japan to, as Marvel UK had done in Britain, expand on the distribution efforts in the East like Taiwan and the Philippines, but at the same time to find new talent that could be coaxed to work for them and perhaps bring in their titles for the Eclipse Imprint. For the first times, many Japanese were invited to take a look at the different comics from America, as well as the takes from the Eclipse imprint. Dragon Ball alone made them a small fortune, with Usagi Yojimbo and Bubblegum Crisis coming in a close second and third place...
"(...) Masami Kuromada was one of the first Mangaka's who submitted their work for distribution in America, with Saint Seiya (Known in the west as Knights of the Zodiac) making its first appearance in April 1987, and gaining its own loyal fanbase, with children everywhere buying the models and toys, discussing who would beat who, and which of the knights was clearly the strongest, with talks about Seiya or Ikki usually being in the top ten, though Shun would make for a tough opponent as well. Personally I would always think Shiryu could take them all...
"(...) A young game designer by the name of Ryo Mizuno who came with an entire new concept that many would refer to as if "Lord of the Rings was made in the East", but its creator would call it "Record of Lodoss War". A series of Mangas and stories which would tell the overall story of the world, as well as side stories describing the worldbuilding and characters that could not be expanded in the main story. From there, it expanded into TTRPGs made by R. Talsorian Games, with Ryu becoming one of those rare sights; a mangaka that would see its work expanded into games and anime as well. Record of Lodoss War was an epic tale that enthralled all fans of DnD, with it becoming a close second along with 'Forgotten Realms' in popularity..."
-Extracted from 'Marvel in Japan: Manga and Amerimanga', YouTube Channel 'Owen Likes Comics' Joey Mak marched along his fellow alumni, their placards high in the air as they made known their voice to the people and the government represented by the police around them. Though not at the number when they nearly managed to bring the city to a near standstill with the chaos, they still made for a sizeable number, enough that everyone around had to take notice of them instead of being ignored. All for the better in his opinion, as the people needed to know the truth.
Though the city of Hong Kong had yet to enter the rule of the Communists in the North yet, it was up to him, and people of like mind, to make sure that everyone knew just how dangerous such an occasion would be to them all, how close they were to destroying the small freedoms they had at the moment... how many of them had been duped into supporting them once.
Like he had before.
It shamed him to admit it, but he'd once been one of the main supporters for reintegration with the mother-... with the Communist in the North! He'd been drunk on patriotism back then, so sure that they would finally achieve their rightful destiny when they expelled the foreigners out, that the future could only be greater than what they had at the moment.
Then the Communists had to try and kill Bruce O'Brian and get themselves expelled from the international community. It still sickened him the amount of excuses that the so-called Leaders of the party tried to peddle as if they were to accept them. The constant hectoring and badgering, pushing them to not ask questions and just continue as if nothing had ever happened. That alone made him question whether he was on the right path, but it was the second wave of refugees from the mainland, and the stories they told, that cracked its confidence in the party.
When the leaders once more tried to shut them up, claiming that they were "enemies of the revolution" and that they deserved everything they had gotten, he knew that he had to leave.
They say that there is no zealot like a convert, and in that Joey was proving everyone correct. Freed from the belief of the Communists in the North, he embraced democracy and Home Rule like a fish taking to water, helping in the organization of his fellow students, meeting with the different organizations that would be willing to lend their aid in educating the population of whatever lies they may have been fed, and when the first proposals of independence under the Commonwealth were whispered about, he jumped on them and organized rallies to garner support.
And though he could not claim the entire credit, he'd liked to think that some part of his work make Hong Kong's new "Commonwealth Party" first rally a success. "...By the end of 83' it was already well known that the studio would be expanded, 'and about time' many of us thought. Now don't get me wrong, working on DreamWorks projects were some of the most enjoyable moments we had, when we could bring about our thoughts and opinions on just how a story should go. I still feel pride when Miss. Titus took heed of my thoughts for 'Basil of Baker Street' and applied them to the final draft. I was riding high those days, feeling like nothing would top that moment.
Of course, I was wrong, but more on that later.
Despite it all, you'd hardly find any animator that was not being used in a single project at once, since most of the time we were needed to make up for the lack of inkers, writers, painters... you name it. Thank the lord that DreamWorks invested so much in the new technological advances, otherwise we would not have been able to bring out a single movie for at least two years!
It was with that thought in mind that we approached the New Year Party. Now let me tell you, parties when we worked at Disney were somewhat rare, but still enjoyable between members of the staff. Parties at DreamWorks? You did not want to miss them! Even more when you had the chance to meet with the Head Honchos of the place!
And for me, it was the day when my big break came... and nearly undid me as well.
I'd been spending the time with my fellow writers, some of us getting into a drinking competition (with a designated driver of course, we were not suicidal!) when I had to leave for the bathroom. I must have been more blitzed than I thought because finding the right way became like a trip through the labyrinth of Knossos. At least until a kind soul happened to find me and walked me back. I was still somewhat drunk, so I could not see him very well, but he was easy to talk with, always with a polite small on his face.
I must admit that after that I could not completely recall just what happened. I know that I accompanied the man back to the main hall for the festivities, and I do recall meeting and speaking with Mr. O'Brian about the different scripts and drafts it would take to make an animated film come to life, but also how the computer technology had advanced enough to aid us in the development.
I recall assenting to many things that night, but I'd forgotten them by the morning when I awoke back home vowing vengeance against the sun and its tyranny, spending time with my family, and in general just enjoying my time off, when I suddenly got a call from Terrell.
"Steve, just what the hell just happened?! What the fuck did you do?!"
"Wha- Terrell? What's the matter?"
"How the fuck did you got as the lead writer for the next animation project?!"
"WHAT?!"
Yeah, that man who helped me get back? That was Jim Henson, who'd arrived and spoken to Bruce O'Brian about the newest project he wanted them to produce. An animated movie this time, and one that I'd somehow managed to get myself involved, and had to now make sure it was written and animated to its best capabilities.
You should know its name by know. At the time they were calling it "Henson's Folly".
We knew it as 'Tale of Sand'.
-Extracted from 'At the Feet of Titans: An Insider's Look at DreamWorks Animation' by Steve Hulett Laughing at the most recent Jump Magazine, a young Eiichiro Oda could only lament that this was the last chapter of Dr. Slump that they would be presenting, with a message at the end promising a whole new direction they would be taking from here on end, and with new vistas that would change the way Mangas are written.
For him though, he could only lament that he could no longer read Dr. Slump. Toriyama-Sensei was one of the most amazing Mangaka's he'd ever read, and that was saying something considering that he'd read as much as he could for the day when he would join his ranks.
He'd tried writing to the magazine and asking if they knew anything about where did Toriyama-Sensei was planning to write his newest adventures, yet nothing had come out of it. It almost seemed like he'd vanished from the world.
But perhaps it was luck or destiny, the day he met a tourist family, and their son was reading a... what did they call it again... a "comic"? Yeah, that's what the west called its Mangas. A comic that had drawings that were very familiar to him. The child was clearly waiting for his parents, so he approached hoping to find out more about just what was he reading.
He should have remembered that tourists don't speak Japanese.
Through some grueling attempts at communication, which at some points involved charades of all things, the impasse was resolved when out of all things, the kid understood when he said Toriyama-Sensei's name. Well.. not so much understood as butchered it when he spoke it backwards, but hey, it was the thought that counts.
The kid's parents came and took him before he could understand much of what he'd said, but Eiichiro understood at least two different words he'd said beyond just Toriyama-Sense's name...
The first, the name of the comic; Sand Land.
And second, the name of the Magazine...Marvel.
Toriyama-Sensei was still making Manga, only now for Marvel, a company in the west.
What else could he be working at, he wondered. And what could draw him from Japan to work in America of all places.
And though he did not know it yet, at this point in life, was when the first seeds were sown for his future endeavors. A.N.: I've had all these snippets or small Omakes with me for different ideas, but at the same time I did not feel that they could be properly developed into a big Omake. So, I thought that perhaps I would put them all together and bring it, sort of like an anthology for all of you to enjoy. The theme here is the "Butterfly Effect" and how all our changes, big or small, have consequences that perhaps we don't think about it, but they still influence the world around us. Hope you like it.
Life was strange, and in how a few decades everything that seemed normal and would never change would suddenly flip on his head. Such was the case for Abraham Fujimoto where growing up in post-war America, he often times had to pretend he was Chinese to avoid the ire and suspicion of veterans and white elders who harbored feelings of hatred and disgust to Japan for their actions. His elder siblings and parents weren't too shy of sharing stories of burden and sorrow from the interment camps, and even forty years later it left a tremendous scar on their psyches. Abraham's own name was a consequene of such trauma, where the Fujimoto's sought to act as white American as they could with Abraham being named after President Lincoln to show how American they were.
Now, with the 40th anniversary of Pearl Harbor just last year, things had changed in a way that still left his relatives in a near constant state of daze. Now America and Japan were not only close allies, but Japan was one of the most beloved and idolized nations in the US. Boomers and Gen X as the youth were called were fascinated by Japanese culture and history while corporate America looked to the Japanese Miracle with envy and tried to replicate their success. Kids played Japanese video games at the arcade, teens drove around and vibed to Japanese pop music on the radio, Japanese cinema had a dedicated following, manga was being more frequently seen hand in hand with comics at stores. Even Japanese restaurants like Sushi and ramen shops were now the vogue culinary destinations.
Most importantly, and perhaps a major factor in the creation of the "Japanese Invasion" was the rise of anime. Mobile Suit Gundam while not on the same level as Star Wars, was its own level of iconic within pop culture and characters like Amuro and Char were household names. With the creation of Gundam and other Dreamworks material, anime was now mainstream and seen as cool and respectable to watch for all ages instead of how animation had been relegated to kiddy stories since the end of the Disney Golden Age. Sure stuff like Toshiro Mifune's performance as Obi-wan and the Hoth scenes from Empire really pushed Japanese cinema. But it was another thing entirely to have anime be seen as elite and prestigous, Zeta Gundam currently breaking records and achieving popularity thought impossible since Snow White.
America wanted anime, and it wanted it yesterday. The good thing was that anime was a heavily diverse medium, not a genre persay but a way of storytelling with multiple genres that could cater to everyone. The major studios after Gundam created entire new divisions to import Japanese media or form new connections, and anime was at the top of the list. Fortunately Lucasfilms in its hubris only sought to uplift Sunrise, and while they were the best persay, that did leave an entire market with rich untapped potential, and it wasn't as if all the good artists were solely working at Sunrise.
Thus came Abraham's latest vocation, being the "Vice President of Japanese Relations" for Buena Vista Distribution. It was a very fancy title that in essence meant Abraham was in charge of networking and negotiating the importation of Japanese media to be distributed under the Disney brand domestically. In the grand scheme of things he wasn't high on the corporate ladder for Disney, though it didn't stop his parents from bragging constantly that their son was a Disney VP.
It was a huge step up from where Abraham had been in the mid 70s as an executive assistant helping the Parks Division with the construction of Disneyland Tokyo by being an interpreter and the middle man for exchanges. Even then he merely lucked in getting the position because he was Japanese and spoke fluent Japanese, a gift he was thankful to his mother for drilling in spite of the family's Americanization. It had been a very strenuous four years since his promotion in 1978, but Abraham was proud of the work he did and all the major connections Disney had created, his greatest being the importation of Castle of Cagliostro and gaining the trust and respect of Hayao Miyazaki.
Many of his relatives were bewildered on why he would work for Disney when Lucasfilms had opened the door for the Japanese Invasion and in a roundabout way, had played a major role in healing the post-war sentiments. While such was hard to dispute, Abraham didn't feel like jumping ship when Disney had treated him so well for so many years. Besides, while Lucasiflms may have had a head start, there was no reason Disney couldn't do the same, if not better if given enough time and some good old mickey magic.
This lead to what Abraham was focused on currently, helping to bring anime to the Disney Channel, Disney's very own premium channel set to release next year. Thanks to Gundam, Miraculous, Pacific Rim and Pluto, TV animation could now be made in a cinematic fashion. Disney, eager to remain the kings of animation and not be usurped by Dreamworks, was going to do their best to follow by creating original content for the Disney Channel, and if Abraham was successful, make anime a staple of the network.
His pitch would be delivered in early November at Walt Disney Studios. Such an action would already be of high importance, but it was even more critical that day as he was going to do it as part of a collective meeting of Disney Channel's leadership to discuss changes in direction, mainly in response to LucasTV and its success and recent developments.
The conference room where it was sited was certainly more grandiose than anything at Buena Vista and certainly gave the chamber an air of a war council rather than a corporate meeting. For the most part Abraham kept to himself as everyone was preparing and conversing with one another, being a bit demoralized from heavy interaction when the receptionist treated him like he didn't speak any English just from appearance, although he certainly did look the part of a salaryman.
At 10 precisely, Jim Jimirro and Alan Wagner, the heads of Walt Disney Home Entertainment and the Disney Channel respectively entered. Abraham, embarassingly reinforced stereotypes by performing a deep bow at his superiors, still stuck in the Tokyo business mindset that he had taken on for near a decade, though thankfully they didn't seem to notice or care so he sat down and did his best to avoid attention at the far end of the table near the door.
The meeting started off with some minor good news, mainly that the board had successfully purchased a tower down the street for the Disney Channel to use as their corporate offices separate from the studio proper. Though such niceities and positive developments were few with Jimirro immediately adopting a war face.
"Now, as I'm sure you are all wondering, shall the Disney Channel still be America's Family Channel in light of the commercial success and popular and critical acclaim of LucasTV." Jim began, casting dark clouds over what was a bright and sunny day.
From what Abraham understood, a mix of cold corporate strategy and earnest belief in Disney Magic had lead to the design of the Disney Channel being that of a "Family Channel". In short, the broadcast day would be divided into four runs for separate age groups. 6 am to 10 am was for little kids and pre-schoolers to start the day the Mickey way and engage them with fun learning and developmental programs. 10 am to 3 pm was for adults who stayed at home, were on break or off work. It would mainly consist of movies, but most importantly in the lunch hour was EPCOT Magazine which would serve as a behind the scenes and news program for all developments Disney.
3pm to 8pm would be a time for general audiences where kids and adults could watch together and have fun, though most programming was hoped to aimed at pre-teens to young adults. Some days would be movie focused, but in general it was meant to be original content that told new and imaginative stories focused on the Disney brand. Then there was Disney Nighttime from 8pm to the channel's closing at midnight. An adult focused block, though lacking in sex and profanity, mainly a mix of airing classive live action movies, popular PG imports, more "edgy" content like the Looney Tunes or anything in general that was bold and daring rather than the safe magic Disney was known for.
Ultimately, no one expected the Disney channel to be a dominant channel on its own that would be a peer to the Big 4 or for Disney to be lead by its televised content. Rather, Disneychannel was meant to serve as a gateway to build Disney families where kids would fall in love with the company and adult fans could relive their childhoods and form new memories with their friends. It also helped that the Disney Channel would be a family first channel during a time where sex, violence and maturity were all the rage.
Then LucasTV debuted and dropped a metaphorical nuke on the world of television.
It was bad enough that most of their shows seemed to be of genuinely spectacular quality that easily guaranteed a majority of the LucasTV library to be in the Nielsen Top 30 with appropriate critical acclaim, it was bad enough that Lucasfilm's catalog of prestigous movies was now available on TV with frequent appearences, it was bad enough that Lucasfilms was collecting hundreds of millions of dollars from merch via shows like GI Joe and Luke Cage. Worst of all for Disney, it was that Lucasfilms seemed to crack the code and beat them at a "Family" channel eight months before the Disney Channel was set to release.
Rather than designing the channel so that certain segments of the day would be catered to only certain age demographics, Lucas made it so that LucasTV would be "All ages all the time". Programming such as Family Ties, The Nguyens, Mafia and Cupid were designed as such so that relatively everyone besides little kids could be invested and enjoy on an equal level while the movies combined with Hanna-Barbera reruns kept the old and young engaged throughout the day. Hanna-Barbera's new reinvention from cute concept dialogue-driven shows into high quality story-driven shows gave LucasTV the title of the best animation on TV, also aided heavily by Zeta Gundam and Macross. Really the only mature shows were the prime time action-driven stories, and even then it was accessible enough that teens and older kids could happily watch.
PrestigeTV was a nickname for LucasTV, and when you could get the best programming that the entire family could rally behind, why bother with any other subscription, even the Disney Channel?
"To start off with, I have spoken in length with Roy and the Board, and they have agreed to drop our plan to $5 a month." There was a chorus of sighs and sucked breaths of varying nerves. Thanks to their ludicrous cash reserves that were enough to rival Scrooge McDuck, LucasTV could engage in financial illiteracy and offer their plan for only a dollar per year, something that would have made the likes of HBO bankrupt. Disney may have doubled its income in the past five years, but no one, not even Roy or Ron Miller was willing to operate the Disney Channel at a loss.
The $5 per month instead of the planned $10 would certainly attract more customers, but asking for customers to spend $60 per year instead of $1 for comparative quality and quantity with Lucas was going to be a hard sell. That limited the market to diehard Disney fans and the middle class and rich. Technically not new ground for Disney, but the company wasn't eager to have the urban and rural youth grow up devoted Lucas fans. Nevermind the logistics and how the reduced price plan meant that they now had to get 4 million subscribers to break even instead of the previous target of 2 million.
"Can't we just increase our free preview times? Maybe we do two weeks instead of one or cover entire holiday cycles like Thanksgiving week or Christmas break?" Asked a female executive.
"We will be doing such, offering a combined six weeks of previews throughout the year instead of the agreed four, but marketing has stressed that the dollar subscription of LucasTV is going to be the biggest hurdle for outreach. Even if our shows are the greatest television ever made, working-class Americans will prioritize financial safety and ease of access. Our competitors will be following similar approaches, even if none of us can outright match LucasTV's cheapness." Alan Wagner responded.
"What about seasonal deals? 'Sign up for Disney Channel this Christmas season and you can get your subscription for 50% off your first six months'."
"Maybe, but the board will not allow any deviations in price until the first year has passed and we have established a definitive subscriber base." Wagner affirmed with a defeated air, the room sharing a resigned glum at the price war. It would be one thing perhaps if it was just the Disney Channel which was going to be the main focus for the company, but with so many new ventures across the globe, they just couldn't be so cavalier with finances like Lucas.
"Will we be able to offer mature content for Disney Nighttime?"
Disney Nighttime referred to the Disney Channel's night time block meant for adults and late teens. While planning so far tried to paint it as a mature block, it was more of a venue for Disney adults to relive beloved childhood movies rather than the more edgy and daring content that Touchstone was making.
Jimirro sighed, "I've been in discussions with Roy and while he thinks that there could definitely be a time to broadcast stuff like Halloween and The Thing on Disney Channel, that it's a bit too counterintuitive to the channel's identity and could potentially keep away customers. Perhaps things might change for next Halloween, but we can't go higher than PG-13 for the moment, and even then it may be a stretch. Some of the board will also only back such a move if Touchstone VHS sales justify the existence of a demand."
Considering Jimirro main priority as head of Disney Home Entertainment was handling the company's VHS sales, such an endeavor was arguably just as, if not more important than the Disney Channel's success. While Abraham personally had mixed feelings of Carpenter's work, he appreciated the quality and admitted it was a right step in pushing Disney to stay competitive instead of just being a kid's company.
"Now, let's do a review of the LucasTV content and see where we stand in comparison. I would also welcome performance reviews of our current productions when approached."
Thus for the next two hours, the conference room picked apart the LucasTV lineup while offering their own reports on the current state of the Disney Channel original productions. It was undeniable that LucasTV had a raw edge in terms of quality, although the room was confident that even with the new state of Hanna-Barbera and their Sunrise offerings, that LucasTV was weak in broadcast share to children and that the channel lacked a firm identity with rather abstract theming and mixed daytime schedules hurting the casual viewing experience. It was the common belief of those present that were it not for the movie catalog and extreme cheapness of the price, that subscriptions would be far more modest and in line with competitors.
So overall, Disney could hypothetically have competitive daytime ratings, though school days would see weak numbers and prime time was agreed to be a bust as LucasTV's prestige shows would have no direct competition from Disney who just viewed it as movie nights. Weekends could be competitive, though the USFL deal was going to be a major headache for Sunday ratings.
Really the only avenue for initial success without spending hundreds of millions of dollars in developing primetime shows was to drive home heavily its role as the family channel so at the very worst, America's youth would grow up with Disney and Lucas stories as their fondest childhood experiences.
Though it was not all bleak, there was one potential avenue for direct competition, perhaps even overtake Lucas if the cards were played right, animation. As part of the radical overhaul to Walt Disney Animated Studios that Chuck Jones brought, a new sister studio for original television animation had been made in the past year after the success of The Black Cauldron. Its mission was to introduce Disney to the silver screen and make new shows that would be just as iconic and magical as the Disney theatrical lineup.
So far there were four interesting products to make up the Saturday morning lineup. The shows were designed to be new takes on classic Disney characters while also building on current popular trends. The star of the animated block was Duck Tales, an adaptation of the wildly popular comic book with Donald Duck's nephews going on adventures with Scrooge McDuck, the series being stylized like an adventure serial comparable to Indiana Jones.
Chip N Dale Rescue Rangers saw the titular duo rise from minor shorts to become detective heroes helping animals in need, with Mac and Tosh from the Looney Tunes now becoming part of their lore as Chip N Dale's financial backers, thus turning the series into a loose parody of Charlie's Angels.
Tale Spin was a really bizarre and out of left field choice to have Baloo the Bear from the Jungle Book be a cargo pilot going on adventures in Africa in the late 1930s. Abraham had no idea how one could think of such a premise when watching Jungle Book, but Indiana Jones was hugely popular and every studio was trying to make their own serial to capture the George Lucas magic so it was hoped to draw in general audiences from the aesthetics alone.
Lastly was a show nearly as bizarre as Tale Spin, Loonatics Unleashed. With the recent success of Looney Land and the Disney Channel's debut to see the airing of the Looney Tunes go to Disney World, it was undeniable that the Tunes would get their own show. Somehow thanks to the wild success of Superman and Batman, that translated to a futuristic superhero parody as a slightly edgier version of the Justice Friends. Apparently Miraculous and rumors of a second season in the works at Sunrise were the main motivation for a superhero show, but whereas Miraculous was an exploration of superheroes, Loonatics was to be a wacky and fun action fest with a primary emphasis on comedy.
Altogether it was a pretty solid lineup and it was perhaps Disney's one of Disney's best directions and a strong return to form for its animation department with the quality nearly matching the Sunrise animation and the focus on magic and fun sure to bring back old fans and form new ones. It was doubtful that any one could match the cultural weight and popular following Zeta Gundam was accuring, but just maybe Disney could make some new childhood memories.
And if Abraham played his cards right, his team could be a part in shaping that experience and Japan would get some much needed cultural exposure to further build on its latest success in the West.
"Now, I believe that Mr. Fujimoto here has some proposals for Japanimation to join our lineup." Wagner introduced, with Abraham doing his best not to wince at the once again butchering of the word anime. At the very least though, the meeting had taken his reports on Zeta Gundam and Macross seriously, and while no immediate counter could be produced at this time, there was ongoing research for an original mecha or space creation with the most popular push being a Duck Dogers series depending on the movie's spinoff.
"Thank you Mr. Wagner. While we cannot deny that Dreamworks and Sunrise have made some truly spectacular shows, it would be ignorant to say that this is the only works of art that Japan has to offer. Sunrise was not made in a vacuum, and as Lupin III has proven, there are artists with high talent that exist independently of Lucas-Sunrise and prefer the House of Mouse. Nevermind how in the luster for "Sunrise Smooth", animation fans forget the wealth of stories which exist before and concurrently."
Abraham took a deep breath and rose, gathering a collection of slides and some VCRs he intended to use for the projector for his demonstration. "For the past two months, my team at Buena Vista International have gone over anime productions within the last decade and have found a collection of shows that we believe would not only complement our original Saturday morning lineup, but for some could serve as an independent block on Disney Night Time to introduce anime for older audiences and complement our recent pursuits in Disney Dark and other mature takes on animation within Disney."
There was a chorus of excited whispers and gossip at this announcement. It was one thing for Disney to make "Dark" movies like War of the Worlds and Dark Cauldron, as even in Walt's times Disney could be bold and daring in the presentation of its films, one didn't play safe by having the Devil appear in Fantasia after all. However, no one thought to shift Dark Disney to TV, and if anime comparable to Gundam could be aired, that would open up the floodgates for the Disney Channel to be a truly all-ages channel.
"That is quite an interesting offer to present Mr. Wagner. I can't make any guarantees for an animation block on Disney Night time, or any regular show block, but why don't we start with Saturday morning imports and work our way to there?" Wagner offered.
Fujimoto bowed his head in thanks, not expecting much more and presented his first anime, "Now, we at Buena Vista are well aware that Disney original programming must come first, and as such all we ask for daytime programming is two anime series. Each cater to boy and girl demographics respectively and are genres that Dreamworks has not yet explored." Abraham said, grabbing their attention.
"First is a show for which I must apologize to our film department if there were any concepts for an adaptation, but I assure you this is the penultimate adaptation in the same way many regard Bruce O'Brian as the definitive Batman. This is Anne of Green Gables."
"It has been floated around the studios to make an Anne movie, but there hasn't been any definitive work on it." Chimed in the head of Disney Television Animation Gary Krisel.
"It is rather fortunate as I must admit that Walt in his heyday would struggle to match this." Abraham admitted, catching people's attention. Sure Walt Disney wasn't perfect, but he was WALT and even though everyone by now knew of his flaws, it was rare to be so flagrant.
"It's a very beautiful story combined with crisp and painting animation with all the hallmarks that would associate with a classic Disney film. The story will be familiar to many of our older viewers and can be a major draw to advertise in English-speaking Canada as a French dub has met with heavy acclaim in Quebec. At the time of its release, Anne of Green Gables was widely well received as one of the best children's anime and had similar ratings to Miraculous." Abraham emphasized, murmuring some excitement.
"Little House on the Praire is ending next March so this would be timed perfectly and draw in a lot of fans, not to mention it fits well with the company's western ventures." Wagner admitted.
"And if the show is successful enough, we could add some Anne themed materials to the Canada Pavillion at EPCOT." Abraham suggested.
"Let's keep out of parks Fujimoto, while television material being featured would be great, we can't order them and that's a whole different breed of company politics we don't have leverage over right now." Jimirro affirmed, with Abraham nodding in concession.
He then showed the executives some clips from Anne, and the animation alone had been enough to capture their hearts, with their profit-driven minds approving of the focus group reports who admired the similarities to classic Disney.
"As for boys, while our lineup leans more male-centric, it can be weak in grabbing the focus of adolescent youths. Right now the demographic among many interests is obsessed with sports thanks to recent cultural shifts and the success of Kung Fu Kid. While LucasTV may be airing football, we could focus on developing entire series set around sports." Abraham said.
"There's too much hassle and liability nightmare to do any fictional sports show and broadcasting sports games veers too far from branding."
"True, but with animation, entire sports and teams can be created with no danger of real world injury and any sport can be brought to the small screen with no limits in creativity or presentation. Japan has been developing the genre for the past decade and right now there is one series dominating young boys and girls entertainment that would fit well within the Disney Channel brand. Touch.
A coming of age story focused on the lives of two twin brothers and their female neighbor, there's a mix of sports at play with the main sport being baseball, but also elements of boxing and gymnastics present. There's lots of exciting action though its mixed with plenty of interesting character dynamics and drama for non-sports fans, especially the love triangle between the three main characters which can draw in girl demographics. It's manga, the Japanese comic book, has sold eight million copies and the series has been consistently within the top 5 of Japanese ratings with high enjoyment across all age demographics."
While Abraham enjoyed Anne, he had to admit that he was rooting for Touch hard to be accepted. It reminded him a lot of his own childhood and it's slice of life and sports stories could be an excellent route for Disney. Most importantly, Touch did what Sunrise surprisingly neglected, tell grounded stories set within modern Japan. Sunrise seemed to heavily favor the future or the past for national storytelling, so it was nice to have Touch show what life in Japan was like and share that experience with American children, bringing the two nations further together and preventing tragedies like WWII from happening again.
While the audience was skeptical at first, demo's that showcased the animation with the sports events which was close to Sunrise Smooth and the interesting dynamics that played out between the main trio had the room convinced that there was some potential within this slice of life. It also got some of the veterans excited that if this type of story could succeed, it could revitalize the family films of the 50's and 60's.
"Overall, Anne of Green Gables and Touch tell character driven and heartwarming stories that can be embraced by the entire family with narratives that complement the Disney brand while their successful distribution can further our relationship with Japanese media. The more mature and grounded topics and themes present in both can also serve as a testing ground for anime-style storytelling and productions of Television Animation." Abraham concluded.
Fortunately Abraham had played his cards right and chosen well by presenting some of the best that anime had to offer for the Disney Channel. While there was some hesitation towards Touch, the board couldn't deny that both shows fit well within Disney and it was hard to argue against the numerous focus groups who all had pretty strong reception.
With this greenlight, Abraham had at least succeeded in some of his objectives. Now came the hard part, pushing mature animation for Disney.
"I understand it is unlikely that these shows will be able to be played on a daily basis or have daytime reruns, but I think as a nightly block at least once a week that anime can help to garner at minimum casual primetime interest with some greater potential for franchise collaboration between Disney and the respective studios in whatever form it takes." Abraham stressed.
"Firstly is Lupin the 3rd Part 2. The series is an episodic adventure story surrounding Lupin III and his friends as they travel around the world performing heists while frequently confronting vile criminals, all the while pursued by the relentless Inspector Zenigata."
"Why Part 2, why aren't we doing part 1?" Asked an executive.
If Abraham was animated he was sure to have performed a sweat drop, "Well part 1 admittedly had a more crass and dark tone that even with new directions wouldn't fit for Disney. Part 2 is more popular and generally enjoyed by all ages as a lighthearted action-comedy, plus it serves as a soft reboot for the setting so there's no need to watch Part 1, or even Castle of Cagliostro." Abraham was rather fortunate no one at Disney had watched Part 1 before distributing Castle or else the movie would never have seen the light of day in America. Fortunately, the room was instantly on his side thanks to the success of Cagliostro.
"To counter Mobile Suit Gundam and Macross, even if on a limited scale, we would have Space Battleship Yamato. In the year 2199, humanity is under threat by the evil Gamilas who have irradiated Earth's surface and threaten to wipe out humanity. However, in its darkest hour, Earth receives an alien transmission of an offer of aid from one of the Gamilas' rivals which can help them win the war. By retrofitting the old battleship Yamato into a space warship, an international coalition of its crew flies off to save mankind before its too late.
The concept was an easy grab for the room as while Disney did its best to replicate Lucasfilms' Sci-Fi success as seen with Black Hole, Duck Dogers and Starship Mayflower, they never were able to copy the formula from Disney or Dreamworks. Fortunately for them, Battleship Yamato was in many ways a massive inspiration for Gundam and its premise shared a lot of similarities to Macross, both links Abraham repeatedly stressed.
"Just as Yamato influenced the space aspects of Sunrise Mecha, so too did this series heavily influence Gundam, Pacific Rim and Macross, in many ways it is the first true modern mecha, Mazinger Z. When the mechanical hordes of evil under the nefarious Dr. Hades seek to conquer the world, the only thing that can stand in their way is the Mazinger Z, a super robot entrusted to Koji Kabuto, the grandson of the Mazinger's inventor who must rise to the occasion to save the world."
Admittedly, Mazinger would have to have a fair amount of edits in the dub and some minor animation changes to make it palptable, the villain being Dr. Hell was not an easy sell in this time of heightened religious ferver. Still, the overall story was servicable as a sort of superhero story with mecha and Japanese youth enjoyed it with no issue, though it would probably be the most likely to stay in Disney Nighttime.
"Lastly is a sort of callback to our own stories, King Arthur and the Knights of the Round Table. A retelling of Camelot lore with some interesting original changes, it's an action packed adventure with similar presentation to Excalibur and finally brings the Epic to the silver screen."
"Well Mr. Fujimoto, this is quite an interesting selection. I can see where you are coming from and the choice of the inspirations for many Sunrise anime is a good call. I think it's safe to say that we can go ahead with Anne and Touch, but for the others I'll need to run this by the board so we can go in with a united consensus."
Abraham bowed in thanks, "Thank you sir. If you have any further questions or would like for us to pass on our findings to the board, my office is always open.
Flipping through the Disney Magazine during his lunch break of the Conan auditions, Bruce O'Brian was very intrigued by what the Disney Channel had to offer. He had no doubt that LucasTV was objectively the superior product, especially with Zeta Gundam leading the charge and Carrie's USFL becoming the new craze of the nation. Still, it seemed like Roy and his team did make some interesting shows and anyone who was a diehard Disney fan like his niece and nephew would absolutely fall in love. Bruce also unfortunately knew there was a good chance he'd have to subscribe, if not for scoping out the competition than to satisfy the kids who would most likely be jealous if they ever discovered it at Cat's house.
Flipping past a page focusing on a rather bizarre Looney Tunes show, Bruce was completely stunned when he saw several images with familiar anime aesthetics, this particular section titled, "East Meets West: Disney's Anime Imports."
To: Mr.Bruce O'Brian,Mr.George Lucas and Mr.Michael Eisner
From: Mr. Edward Magorium head of the toy sub division "sunset toys"
Date: Twelve April 1983
Re: Progress report on the creation of new Star Wars toys and merchandising as well as stocking of a sufficient quantity to meet demand for the upcoming new film List of completed or abandonned projects and milestones achieved:
Polly Pocket and Micromachine: The collaboration between Bluebird Toys (Polly Pocket) and Galoob (Micromachines) is progressing very well. The development of mini vehicles, mini figurines, and mini pocket universes is nearing completion, with the majority of models ready for production. Both Bluebird Toys and Galoob are extremely pleased to be working with the Star Warslicense, and they are ensuring that all aspects of the collaboration run smoothly.
Bluebird Toys, in particular, had already been exploring ways to expand the Polly Pocket line to appeal to a male demographic through their upcoming "Mighty Max" range. This foresight has provided them with a wealth of designs and concepts that require minimal adaptation to align with the Star Wars theme, streamlining the development process.
Given the success of the collaboration so far, and the strong synergy between the mini universe and mini vehicle product lines, it is expected that similar partnerships in the future will be seamless and highly successful.
Jabba the Hutt Lollipop : We have completed the disposal of the preproduction models for Lollipop Jabba the Hutt, which were intended for group testing purposes. This task was notably challenging, as is typical with such matters. It has come to our attention that some of these prototypes were distributed internally within the company; however, we have successfully recovered all copies that havn't been eaten.
In addition, we have retrieved all related documentation, including design materials, promotional content, memos, and other pertinent documents. Non-disclosure agreements have been signed where necessary to ensure confidentiality.
A single box containing the final version of the prototype, along with all related documents, has been securely archived for record-keeping purposes.
It should be noted that the intern, Frank Smith, who was partly responsible of this incident has been formally addressed .
We advised to cease any further references to the Lollipop Jabba the Hutt prototype and ensure that this matter remains confidential.
Waffle maker: All tests for the new waffle maker have been successfully completed. Production is now underway as planned.
It has been decided that a selection of approximately twelve designs will each have their own dedicated decorated waffle maker. This includes notable designs such as the Death Star, Millennium Falcon, R2-D2, and the Jedi Crest. The remaining designs are plate only and will be available for purchase separately.
One of the key features of these waffle makers is the ability to remove and replace the plates. All plates are designed to have a uniform general shape and feature a consistent hanging hollow for the attachment clips, allowing for easy swapping between different designs.
We are confident that this approach will enhance product versatility and appeal.
C3PO Tape Dispenser: To address concerns about the initial placement of the tape dispenser's outlet, we have revised the design so that the tape now dispenses from a different location. This adjustment ensures that the tape is dispensed in a more practical and aesthetically appropriate manner, rather than from C-3PO's groin area.
This change has been implemented to enhance user experience and avoid any potential issues related to the previous design. We are confident that this updated design will be more satisfactory and align better with both functionality and customer expectations.
Task planned for next months:
Contacting Lego: Our toy department has developed significant interest in the possibility of collaborating with LEGO on Star Wars-themed sets. Our creative team has already drafted several designs, which have been well-received internally. Given LEGO's existing track record for high-quality construction sets, we believe this partnership could enhance both brands and drive significant consumer interest.
We understand that Kjeld Kirk Kristiansen, who recently inherited over leadership of LEGO, may be particularly receptive to exploring this opportunity. This collaboration would provide him with a unique opportunity to leave a personal mark on the company and build on the legacy of his father and grandfather. Should this initial collaboration prove successful, there is potential for expanding the partnership to other licenses within our portfolio.
New designs: I am pleased to inform you that the designs and molds for the new Star Wars characters, ships, creatures, buildings, and related items have been completed. The final designs encompass a broad range of products, including action figures, t-shirts, costumes, coloring books, remote control vehicles, and more.
With the design and mold development now finalized, the next step is to dispatch these materials to our manufacturing partners. This will allow us to integrate the new items into our existing product lines and ensure their availability in the market.
Dog costumes: The marketing department has identified a promising opportunity in this market and has conducted preliminary discussions with design offices specializing in canine apparel.
The design offices have proposed a range of innovative ideas (a sample in the attached file) for dog costumes, reflecting their expertise in this niche. We are currently in the process of negotiating a contract with these design firms. We anticipate that formal agreements will be finalized shortly, with work on the project expected to commence next month.
Current roadblock:
Bubblegram: We have encountered significant challenges in the mass production of the Bubblegram decorative novelties. The primary issue stems from the fact that these items are derived from a patented technology originally developed by Industrial Light and Magic (ILM) for holographic effects. The production process for these Bubblegrams involves the use of laser technology, which, while effective for small-scale or custom projects, has proven unsuitable for large-scale manufacturing due to the fragility of the equipment, the labor-intensive nature of the process and the substantiall difference between the original ILM creations and the Bubblegrams. This mismatch has led to difficulties in achieving consistency and efficiency in manufacturing.
Our team is actively working to resolve these issues. We are currently exploring existing laser technologies that may be adaptable to our production needs. Our goal is to identify a suitable laser that can handle the requirements of mass production without the need for developing an entirely new system.
We will continue to provide updates as we work towards a resolution, and we remain confident that a viable solution will be found to move forward with production.
Aquarium decoration: Weneed to review the electronics of our glowing aquarium decorations. Recent attempts to modify these products post-production have proven ineffective. The necessary adjustments to address performance issues are extensive, including the replacement of both the bulbs and batteries. This change will require enlarging the cavity within the decorations to accommodate the new components.
Our primary concern is to ensure that these modifications do not delete the risks of overheating, which have lead to battery combustion and explosion. We are prioritizing this issue to prevent any safety hazards and ensure compliance with all relevant safety standards.
Additionally, I want to address the impact on our team. Janice from the accounting department, who suffered injuries and damage to personal property due to shrapnels from the explosion of the Boba Fett decoration in the aquariem next to her, has been offered compensation. This includes coverage for her injuries,damage to her handbag and a significant bonus. Furthermore, the accounting department has been allocated a budget for a new mascot to replace Sir Swim-a-Lot, who was unfortunately lost in the incident.
We are actively working to resolve these issues and will keep you updated on our progress. Should you have any questions or need further information, please let me know.
finished,once again i would be happy to hear any constructive critisism or modification suggestion if i missed something or got it wrong.
