and are StevenisThe cardThe uain night on the main shots, the red carpet, not as elegant as Disney's, not as strong and publicized on els. Disney's power was like a star in the sky, fag Lux Animation's fledgling attempts. The rgest animated house in Hollywood peted with everything—a rid intriguing story, a massive advertising campaign, and signifit iments. The voice of Disney's test film was on everyone's lips. Every 30 mihere was news about "The Last King," so much so that children lined up eagerly to see it. The once overshadowed "The Lion King" was viewed by some as a cssi animation. However, the first Friday, Saturday, and Sunday, prising the crucial opening weekend at the box office, only garnered an unappealing 1.5 million. The iment of 33 million seemed distant with these poor box office figures for the first crucial weekend.

  trary to this, "The Last King" earned 15 million, half the film's value, and jubition ensued.

  Toxic jabs sent to Lux Animation echoed in neers as a signifit blow aling of scores.

  The June 16-19 premiere was once again overshadowed, not boding well for Lux Animation, which had taken such a gamble.

  Armand Millester observed the costs and expenses, furrowing his brows. Siurday, he hadn't given any response, indig whether this would be the pany's great failure.

  -We should ask some questions, - Staian said.

  Armand just smiled. More than a smile, it was a grimace of reje, built by the poor animation numbers in the first three days.

  -We must tinue; nothing more be done. Also, this is the pany's litmus test. If the film is good, it will gradually recover, but if it is not loved and cherished by the audiehen it doesn't matter what we do, - said Armand Millester, director of Lux Animation and Pixar's animated film distribution pany.

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  Steve Parks tightened his tie. Toor Book was bang the pany and taking possession of assets after its purchase, a total.

  Among the mas made in Toor Books' ercial saga, the first and most important ones improved the artistid liberal image of the sce fi books published by the pany. The pany had Toor Books and Tor UK, each fog on the practical publication of fantasy and sce fi series.

  A building in an important part of the city, a single-floor property, was one of the pany's most expensive assets, and its value justified its price. Along with 38 books published so far, many of them part of sagas.

  Steve Parks, though more aced to iations, was here because he found the administrative procedures particurly annoying. The Writers' Fund and the Colborators' Fund were established on June 17, 1994, but why did he feel so much rese in his heart? The administrative procedures he had to carry out tio bother him.

  The fund was designed for novice writers who wao veo the world of writing. To his surprise, nine reliable writers in the Uates applied, having passed Billy's stri trols—being over 21, having publications or literary works, or uy studies in the field of letters, and eieed.

  In the United Kingdom, triple the number applied, and the filters led to 34 approved applits. Billy was clear that for now, the fund had only 800,000—not a huge amount, but it couldn't be allocated more for these initiatives, which were already seen as donations to people in need in academic fields. In all seriousness, creating these types of schorships—Stanford's annual schorship, 90% payment for two young artists, and now a fund for writers.

  He ehe rge room, knowing it would take several hours to finish with the eight people. He had to ask questions as if it were an interrogation. It didn't surprise him, even though he didn't demand a specific literary ge was implied between the lihat anyone helping the pany would be sidered more important for the iation list.

  Steve Parks adjusted his colr as best he could, thinking, "W in New York isn't that bad." He liked the big city much more than Los Angeles or the dreaded San Jose. His portfolio had the resumes of all present, and curiously, there was a shared schorship application. Steve Erikson and Ian Esslemenont had both submitted meticulous essays about the grand series of dark epitasy they were w on. They expihat they couldn't dedicate 100% of their time to writing. From ada, they respohat they learned about the opportunity from a friend at the publishing house. A potential writing fund roposed for two to three years to plete a book.

  Alongside them was David Foster Walce, who had already published a book but was fag eis preventing him from tinuing to write. His first novel was good, but the early '90s crisis was devastating, and he was still in a critiegotiation period.

  -Our main assessor has arrived, - Steve Parks asked Joey, the editor-in-chief of Toor Books.

  -Well, Mr. Orson said he'll be here in thirty minutes. Something about not pletely fitting into the city and the trains that drive Ameris crazy, those were his literal words, - Joey replied.

  -Of the profiles, whies catch your attention the most? - Steve Parks asked, tapping the desk forcefully with his fingers. The rule is to state that only three be accepted, but with so few and funds rger than initially expected, they choose three in batches and leave some on the waiting list when they look at Tor UK.

  -I don't think it's right to give my opinion; it might be biased for you and Mr. Scott. But I have some important things to say. We have a very small group, the best is here, and it's already estimated that all didates are possible for the fund, -- Joey said seriously, winking at him. -- I like the passionate ohe ones who are in the business for the love of it. Those writers who dream while writing are the most plicated, but in my experiehey often give me pleasant surprises. -

  -It's going to be a challenging afternoon. Ensuring impartiality is quite plicated, - Steve Parks murmured. The assessments are personal and will be made on a rating scale of 1 to 10, with different ratings.

  -Mr. Card is in the lobby, - said someone from the entrance.

  -Okay, start bringing in our writers, - said Steve Parks, the business-minded individual.

  Joey was the heart, just as they had told him. She wasn't a very strong person, nor did she have a high title, but she was a failed writer who loved reading and, deep down, a sidered editor. She became the editor-in-chief, but she remained aor, and Orson was the key figure.

  Orson arrived, the writer radiating kindness, with a sturdy build, gsses, and a pleasant demeanor. As a writer, his fame was fio a small circle, known more for being a disaster and often running into problems, especially with women, due to his nervy youth.

  ...