The Mike Eisner Action Plan of 1980:
It was becoming a yearly ritual at this point, where most of the leadership of Lucasfilms packed themselves onto a plane, and went to LA for the Mike Eisner Action Plan, as it was now being called.
And Frankly, it was more power to you, and all of them, as money needed to be spent, money required to acquire and create, films, TV shows, and as you learned, Anime. Seriously, you have heard that Don was working with Japanese animators more than Tomino's wild bunch, because they seemed to view him as a sensei, and was just happy to be there, where he was respected.
Oh and Tomino's Wild Bunch, Brad Bird, Eagleman, and some apprentice were really trying to push the envelope.
There was almost something magical about the meetings prior, where Mike was happy and there was commitment, communication, and happiness.
However, this time, everyone was feeling a little afraid. Not you of course, but there were… fun times again.
By that you mean, Mike Eisner was mad as all hell.
Disney had upstaged him, and he was not about to lose to them when 1980 passed. "Right. Steve and George are not here, and they have left a budgetary note of 30 million dollars needed for them." Mike said. "And I'm not going to bother with that crap and try to contact them." He than looked at you. "Well spill it."
"Oh my god, can't you guys ever have a meeting without me?!" You asked.
Tomino laughed. "No. You're the only one who bothers to listen to us."
God, give you strength.
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The Mike Eisner Action Plan of 1980:
The current Lucasfilms Warchest:
4,235,060,235 (This is the money you have available for producing the movies.)
Steve and George are unavailable.
- Martin Scorsese: Martin is easily the greatest artist of the Group of Directors, and that is everyone's opinion, even your own. He wants to make thought-provoking films that are interesting, for everyone. He's a sucker for the Urban dramas that have been made, but he also isn't afraid to tackle new challenges, from epics to biopics… to even something as simple as an adventure story. As long as it strikes a resonating chord with him, he will get it done. Though he also has struggles going over time, all of those things were not his fault, and a result of studio interference. The problem is… well, he wants to do his own thing sometimes… and that thing might not even be created yet. And he doesn't want to make popcorn films like other directors do in their spare time. Even if he might have to.
- Brian De Palma: Brian is the odd one out. He likes directing, has a strong directing talent and he's great for budget and other things. But he has a problem that, in his opinion could be a problem. He's not the best at working with original screenplays, preferring to adapt novels, stories or even outright remaking others than trying his best to make his own. He said that he strongly believes that if he has a framework, he can make it better because he can contort the story to the cinema. And well, he's the only one who hasn't really gone over budget or schedule. Yet he hasn't really worked on huge projects before, so it would be a change for them.
- Paul Schrader: Paul is one of the great writers of The Writers Room, who has a great track record of making good movies. As a writer. As a Director, he's not unproven, but not the most... Creme de la creme, as much of the studio is known for. Honestly, his output is really focused on solitary, art pieces, that are not going to make money. Though it has also led to his reputation as being... creative, but untalented. But you don't believe that is right.
- Francis Ford Coppola: Between the directors, he's the most... controlling, unknowing, and honestly, he's kind of arrogant. But there is one thing that you know. He can make a damn fine film. The problem is, he's not interested in making a quantity of films. He was an art man. You don't care about that too much, but you are running a business. And you do need to make money.
- Wes Craven: Up until John Carpenter burst into the scene, Wes Craven was widely considered the most proficient at Horror films...A title which he doesn't seem that fond of. Wes is good at what he does, his work in the horror genre could be called pioneering even now when he's just starting. Yet at the same time, he wishes to try and expand his horizons beyond what he already knows. Nevertheless, he is prolific writer and director, willing to give his all in every production, and innovate at every chance he gets.
Animation/Anime:
- Yoshiyuki "Kill Em All" Tomino: Head of Animation of DreamWorks, and easily one of the more talented men who work, and the man you put in charge to get your grubby little hands on Gundam. He has since proven himself to be one of the most valuable assets in Dreamworks, and despite all the work and culture clash that his arrival and subsequent hiring has caused to the American and Japanese staff, he's wonderful, though a bit depressive, and needs some help to remind himself he's truly great. He gained his nickname because Gundam had the highest body count of an Animated show... it even made it into the world record book. And he wants to make it bigger.
- Noboru "The Eagleman" Ishiguro: Another director who you hired and haven't worked with at all, mostly because he's either helping Tomino, spending time with John and Ron... or trying to get his American pilot's license. He also has been going around every airport and military base in the state to get footage of an F-16 flying, which have only been out for a month. The man loved his aircraft, and most flying scenes were under his watch, and they were the best in the industry.
- John Musker and Ron Clements: John and Ron are those two guys that work on everything, don't say anything, but always want to be doing well. Ever since their debut with "A Classical Tale" they've gathered a following of those animators who much enjoy working in more traditional projects, as well as those who keep themselves on the sidelines. You don't know how, but they just seem to bring out the best of everyone under them. They are great. And really that's all you have to say. They are great.
- Don Bluth: The Second in command, and you are damn sure he sees himself on that when it comes to Animation. Not that you could gainsay him. Out of every one of your new set of animators he is the most experienced, and the most dedicated to the art of 2D animation, to the point that he's already being called "The Old Man" by the rest. Bluth's style is still miles above everything you've ever seen, and it actually makes you wonder what the hell was Dinsey thinking by canceling his debut movie. Well, their loss is DreamWorks' gain.
- Brad Bird: Also called "The Fledgling", Brad is a graduate of Cal Arts that decided to go with the new up and coming companny rather than the already established Disney. So far he hasn't regretted his decision, making Director at such a young age, and already trying for new assignements. So far he's working on whatever you're able to find for him, but his ambition is on new and untested stories, ideas that have yet to be given a chance.
- John Lasseter: Graduate of Cal Arts that also joined at the same time as Brad, but his interest clearly lie in computer animation and the newly established Pixar division where he spends nearly the entire day; helping with the technicians and the computer experts, learning everything about this new way of creating animated images, and pushing the boundaries on what it can accomplish for the future of animation. He's a hard man to dislike, with his own brand of humor and charm. Just don't put him and Bluth in the same room!
Live Action Scripts to Produce
- Killer Queen: A personal Project that Carrie Wrote for herself and mom. A family drama that is incredibly detailed and personal. Everyone knows that is more of you and Carrie's Project, and do not want to touch it.)
- The Kung Fu Kid (Another one of your ideas, which Brian has expressed interest in. If only because he finds the idea of shooting in Hong Kong to be absolutely delightful, and just being able to tell another simple story… But again, he's not very comfortable with not having anything to work with, and would need quite a bit of help to do it right)
- The Playground (A Fantasy Coming of Age film that splits between kids and adults like a simple DND Campaign. No one but Carrie knows what that is, but no one said they weren't interested in it.)
- Tijuana Takedown (Dave's… Okay, you'll say it, Cyberpunk Epic. Honestly, you don't see the appeal. George likes it, but that's just because of the technology required to make it is beyond anything that anyone else has. But you think someone might like it… You think. No one has any idea on how to make it)
- Prince of Persia: The Sands of Time (Now honestly, no one is really seeing the potential in the script, not yet at least. But what they do see is an adventure story that is worth making for the helluva it.)
- Prince of Persia: The Thousand and Second Night (Sands of Time Must be completed before this one can be made)
- Prince of Persia: Thus Spoke Zoroaster (Sands of Time and The Thousand and Second Night mmust be completed before this one can be made)
- Devil's Hour: Dead Man's Gold (Francis said he wanted to do this script, and he would not take no for an answer.)
- The Slenderman (Mike said to wait for produce this one. Maybe he knew something about other things)
- Deliver us From Evil (Mike has a plan for that next year. You trust him with that)
- Moonlight Dinner (Part of you wants to do it, but are leaving it on the table for others)
- Across America in 90 Days: (A comedy that is all the better for being true)
- The Dark Forest: (The story inverts the role of humanity and aliens by making the latter the hunted)
- La Victoire En Chantant: (The tale of Napoleon from his first assignement till his exile. Might be a bit redundant now that Kubrick is planning his saga, but perhaps it's still salvageable).
- Undercover: (Biopic of Elizabeth Cochran, the real life Lois Lane. A story deserving to be told).
- Used Cars: (The satire is strong in this one, and the whole deal with used cars make it a fun movie to make).
- Romancing the Stone: (An adventure story, one that truly seems to live up to the name).
- The Hobbit: An unexpected Journey: (First part of the Hobbit tale, hopefully Christopher will agree to the changes made to the books).
- Dune (Part 1): (First part of the Dune book, you envision Francis Ford Coppola to direct this one, and he seems to be willing to take on the challenge)
- Dune (Part 2): (You'll need to finish making Dune (Part 1) before starting this one).
- Messiah of Dune: (You'll need to finish making Dune (Both parts) before starting this one).
- Gilbert and Sullivan: The Musical: (The tale of some of the best composers told in the musical style and with compositions they created).
- Big Wednesday: (This story just sounds like a beautiful, and tragic, coming of age story. Perhaps with the right actors it can be a true contender).
- Hansel and Gretel: Witch Hunters: (You don't know what it is about it, but the dark re-interpretation just sounds so cool).
- A Dream of a Dream: (Carrie wrote this for Debbie, and if her reaction is anything to go by, then this is one that will hit you in the feels).
- The Score: (Hmm, the characters are a bit unlikeable, but nothing that can't be fixed if you want. It may give you a franchise, but it would depend on how the audience reacts to it).
- An American Saga: Rise to Rebellion: (The first movie of a trilogy about the American Revolution, showing both sides of the conflict, as well as the spirit of revolution that pushed the founding fathers to fight. A story worthy of being called a Saga).
- Solomon Kane and The Shadows of Africa: (The follow-up to the Christian Warrior whoo kicks ass for God! You just hope the subject matter is still relevant this time around).
- The Taxman Cometh: (Perhaps one of the funniest satires you think you've seen so far. A good tale that is both commentary and comedy on the IRS that you're sure many will get a chuckle out of).
- Back to the Future: (How did Zemeckis come up with this?! It's absolutely amazing, a franchise in the making if the ending is anything to go by as well).
- Amnesia: The Dark Descent: (Damn, this one is dark, mysterious, and brought a chill through your spine. You can see this becoming a franchise that will last ages.
- Conan the Destroyer: (An original story sent by an author for a possible new movie of Conan. It's not bad, though it may need some revising if you want to keep it in the same spirit as Howard's previous tales).
- Call of Duty: Ghosts: (A tale set in the same universa as Tijuana Takedown, though this one seems to be a bit more on the nationalist side than the previous one).
- Lucius: (This one is going to give you nightmares for days to come...you're not even sure if there's going to be a child brave enough for this role).
- Wendy the Witch: (Ah, a movie involving one of the old Harvey comics characters. Seems like a fun reinterpretation, though you're not sure how well would it be accepted).
- Stormchasers: (This movie just screams "Coming of Age" story, and you can't find anything that would stop you from making it)
Animation:
- The Great Mouse Detective: Basil of Baker Street: (John and Ron said they want to do it, mostly because they are huge fans of Sherlock Holmes).
- Atlantis: The Lost Empire: (Everyone in the animation department wants to see this one done, though you think you can do a better job if you wati for a little while).
- Tarzan: (No one has actually tried making an animated version, despite how obvious it should be that this is the best medium to better show his adventures).
- The Legend of Sinbad: (One of the most amazing stories that deserve more love, and hopefully more adventures in the future).
- War for the Crystal: (An amazing original fantasy adventure that could rival Lewis' travels to Narnia if you're creative enough)
- Sword of the Stranger: (A story on the style of Kurosawa about a man protecting a boy from his enemies. Made in the Japanese style of animated movies. You think they call it...OVA?)
-Pacific Rim: You saw this as a story of, sweet Jesus its giant robots and awesome fights, who wouldn't like this!
Currently all but George and Steve are Available for production to serve as directors
Francis Ford Coppola can serve as producer of 2 films while directing one film, or produce 3 films.
Don Simpson and Jerry Bruckheimer can each produce 2 films.
Mike Must produce two films as per the Agreement.
Sunrise Productions can produce 1 Animated Film or show of their choice, or begin production of the Next Gundam Season, or create another animated pitch from the Anime pitches that are somewhere.
Dreamworks can produce 2 Animated Film or can join Sunrise and grant a +200 to Quality on a Sunrise Animated Project.
Example Vote for one person:
What Film does Martin Direct:
-[]The Playground
-[]Budget:10 Million
-[]Producer: George Lucas.
Example for Sunrise/Dreamworks:
What Film does Dreamworks work on:
-[]Work on Gundam with Sunrise
-[]Budget: 15 million.
Example for Malpaso Productions
-[]Work on Your own picture Clint
-[]Budget: 10 Million
AN: There is a Moratorium for 12 hours to plan this out.
