Iger out, DeBarde In
Ahoy! I was making this fanfiction on AO3 and I thought that I might share it with you. Likewise, there were quest mechanics that may come back when we're all caught up with the AO3 story. So keep your eyes peeled for that, folks.
-Ni Hao-
You are Dan DeBarde and Steve Jobs has tapped you to come along with him to the Disney lot where Michael Eisener was mulling some options concerning the future of animation at the venerable studio. After a few sour goings through the past few years and regular spankings from Pixar, Eisener had half a mind to just give up on the pen and pencil and move onto full-on CGI. The only solace he has is the 50-50 split of proceeds with Pixar, not like they needed Pixar or anything, but it certainly softened the blow to have that. It sure would sting to have that revenue yanked away.
In the re-negotiations, Steve Jobs had a proposal to have Disney's half of the revenue yanked away.
You protested, stating how good their relationship with Disney's been the past decade they've collaborated. If this reaches Mike's ears, they'll be out in the cold with all their IP Vitale'd off into the Disney Vault, ripe for the sullying via direct to video Sequels that run the risk of missing the point those films were going for! Pixar had already seen one such snafu on Toy Story 2 and they thankfully stepped in to deflect that bullet, but what about Monsters Inc., Finding Nemo, they could even try a Toy Story 3 behind their backs. Who knows how hard John Lasseter could end up taking that?
With the argument made, Steve Jobs thinks to himself and hears whispers of the uncertain future looming over the Animation house Disney has in Florida which was just about ready to release Brother Bear later this winter. Put it together with the souring view on 2D films and an idea crossed your mind, so you shared it with Steve saying that it would be worth a shot.
"Mister Eisener will see you now." A cast member informed them, and you proceeded to suggest the two options for renewal.
One where they keep all the proceeds of the next three films to Eisener's chagrin or your proposed plan where they make four more films under the 50-50 split under three conditions: One, the Florida Studio remains in use to produce four animated films. Two, the films from said Florida studio have to be mainly traditional animation to combat the growing shift to CGI at the hands of Blue Sky and Dreamworks. And three, the four films at Pixar would be the final extension for the 50-50 split, meaning they would have to waiver either the earnings or the partnership. So to remind themselves that this may very well be the end, Steve locks in for the fourth of those features, the tenth in the 50-50 split, would be Toy Story 3.
Eisener reluctantly agreed to the agreement on the condition that they send a few of their staff over to help build up the inferstructure needed for the transition that the California Studio was going to undergo. But you were getting the sense that Eisener was just doing this to fend off Roy Edward Disney, who had ousted a Disney CEO once before and could very well oust him after all Michael had done for the company. This was greatly magnified by your 'reward' for this extension.
Executive Producer of Walt Disney Feature Animation as the Florida Studio was going to officially be billed as (The California lot was being rebranded as Walt Disney Animation Studios) with the purpose of creating at least those four films…with those at Pixar and the FA lot who have reacted to the whole deal with cautious optimism so at least you could say you had a crew to work with.
The problem now was figuring out how to put everything in order in time for the 2006 Release window Eisener had strattled them with right as the deal was sealed.
So hop to it, pal!
Michael Eisner watched the two gentlemen walk out of the room with a trumphant glimmer in their eyes and had called in Bob Iger to inform him of the results.
"You did the right thing, Michael." Bob congratulated his mentor. "We need Pixar as much as they need us."
"What can I say, they're practically part of the family." Michael retorted. "At least it'll buy us some more time with them and who knows… if all goes well, we could be owning three major Animation houses by the end of the decade."
"I'm glad to hear that you're taking thi… three?" Iger did a double take. "You mean, you're keeping the Florida lot?"
Eisener nodded back. "With California now focusing on CGI, we'll need to keep a homestead for the classic pen and paper approach. The Pixar guys proposed this as a condition for the continued relationship."
"Mike, isn't three Studios a little too much?" Iger argued. "Heck, I'd like to think two's more than enough."
"Well, it does help to have a counterpoint around to keep us on our toes." Eisener mentioned. "If we can make money off the inverse of our storytelling. Why not draw from both opposites in terms of the art."
"You heard what Katzenberg said!" Iger protested. "Hand Drawn is a relic of the past, you yourself said you wanted to centralize it all under CG."
"You're right, Bob." Admitted Michael. "We can't afford to be left in the past, but that doesn't mean we can just give up on what is an important part of our history. We gotta fight on and keep the craft going for as long as we can."
"We'll be throwing away money if you do this."
"We'll be throwing away Talent if we don't!"
Iger was dumbfounded. "You’ve finally lost it. After two straight decades on the job, you’ve let it go to your head.”
“Honestly, if it were earlier in these dismal days, a part of me would have agreed with ya.” Eisener shrugged. “But this is the voice of a man who’s willing to take the power back. Who’s ready to pull out all the stops and find new ways to help the medium keep up with CG’s rapid evolution. Who’s willing to see Disney’s magic remain vigilant in the face of a changing culture. This is a pivotal part of the plan going forward, our olive branch to Roy.”
“Are you seriously roping Roy into this?” Iger probed to his superior. “Especially when he’s dusted off his Save Disney campaign with Stanley Gold? You know, what got you in there in the first place?”
“Why not?” snarked the master to the apprentice. “After all, we wouldn’t have all this without it.”
“I don’t have time for this…” Iger facepalmed. “If you wanna play Ghandi, do it when there are human rights on the line instead of our pocketbooks.”
Michael took a look at his famed portrait of Walt and then his cover on Time Magazine before pulling out a pink sticky note. “Then I’ve got to do what I’ve got to do.”
“I get it.” Bob Iger proceeded to walk towards the door. “If you’re really taking it seriously, then try to calm down.”
“I’m trying, sir.” Iger added. “But this albatross you’ve chosen to keep around your neck is more than concerning.”
“So you’re that on edge, huh.” Eisener narrowed his stare. “Fine, if you’re just gonna walk off like this, you’re not walking back in. Do ya hear me? I didn’t take any crap from Katzenberg, I sure as hell ain’t takin’ any crap from you!”
Robert Iger opened the door and took in the gravity of the predicament and spoke: “I don’t really feel clean quoting a show that killed off your likeness in one episode… But in the words of Glenn Quagmire: Giggidy-Giggidy-Giggidy-Giggidy-Piss off, Jew!”
With a blunt slam, Michael Eisener watched helplessly as his protege left behind the destiny he had been planning for him. And once more, he felt like a failure.
Back at the Animation building, longtime veteran Berny Mathison looked to Iger as he made his way out for the final time. If these walls could talk, he would be hearing a faint, yet mournful roar when Iger got into his car and drove out the parking lot.
As for Iger, he tried to keep himself calm in the face of throwing away the biggest opportunity of his career as he drove into the snowy January road ahead. His mind continued to wander until his eyes spotted a little girl watching a smaller boy on his tricycle make his way to the sidewalk… while the girl herself was right on the road.
Iger honked as hard as he could to get her attention, his focus on the two making their way onto the sidewalk instead of the looming toy truck in front of the windshield.
WATCH OUT FOR THATTREE! ARMORED VEHICLE!
-Ni Hao-
You are Dan DeBarde and Steve Jobs has tapped you to come along with him to the Disney lot where Michael Eisener was mulling some options concerning the future of animation at the venerable studio. After a few sour goings through the past few years and regular spankings from Pixar, Eisener had half a mind to just give up on the pen and pencil and move onto full-on CGI. The only solace he has is the 50-50 split of proceeds with Pixar, not like they needed Pixar or anything, but it certainly softened the blow to have that. It sure would sting to have that revenue yanked away.
In the re-negotiations, Steve Jobs had a proposal to have Disney's half of the revenue yanked away.
You protested, stating how good their relationship with Disney's been the past decade they've collaborated. If this reaches Mike's ears, they'll be out in the cold with all their IP Vitale'd off into the Disney Vault, ripe for the sullying via direct to video Sequels that run the risk of missing the point those films were going for! Pixar had already seen one such snafu on Toy Story 2 and they thankfully stepped in to deflect that bullet, but what about Monsters Inc., Finding Nemo, they could even try a Toy Story 3 behind their backs. Who knows how hard John Lasseter could end up taking that?
With the argument made, Steve Jobs thinks to himself and hears whispers of the uncertain future looming over the Animation house Disney has in Florida which was just about ready to release Brother Bear later this winter. Put it together with the souring view on 2D films and an idea crossed your mind, so you shared it with Steve saying that it would be worth a shot.
"Mister Eisener will see you now." A cast member informed them, and you proceeded to suggest the two options for renewal.
One where they keep all the proceeds of the next three films to Eisener's chagrin or your proposed plan where they make four more films under the 50-50 split under three conditions: One, the Florida Studio remains in use to produce four animated films. Two, the films from said Florida studio have to be mainly traditional animation to combat the growing shift to CGI at the hands of Blue Sky and Dreamworks. And three, the four films at Pixar would be the final extension for the 50-50 split, meaning they would have to waiver either the earnings or the partnership. So to remind themselves that this may very well be the end, Steve locks in for the fourth of those features, the tenth in the 50-50 split, would be Toy Story 3.
Eisener reluctantly agreed to the agreement on the condition that they send a few of their staff over to help build up the inferstructure needed for the transition that the California Studio was going to undergo. But you were getting the sense that Eisener was just doing this to fend off Roy Edward Disney, who had ousted a Disney CEO once before and could very well oust him after all Michael had done for the company. This was greatly magnified by your 'reward' for this extension.
Executive Producer of Walt Disney Feature Animation as the Florida Studio was going to officially be billed as (The California lot was being rebranded as Walt Disney Animation Studios) with the purpose of creating at least those four films…with those at Pixar and the FA lot who have reacted to the whole deal with cautious optimism so at least you could say you had a crew to work with.
The problem now was figuring out how to put everything in order in time for the 2006 Release window Eisener had strattled them with right as the deal was sealed.
So hop to it, pal!
Michael Eisner watched the two gentlemen walk out of the room with a trumphant glimmer in their eyes and had called in Bob Iger to inform him of the results.
"You did the right thing, Michael." Bob congratulated his mentor. "We need Pixar as much as they need us."
"What can I say, they're practically part of the family." Michael retorted. "At least it'll buy us some more time with them and who knows… if all goes well, we could be owning three major Animation houses by the end of the decade."
"I'm glad to hear that you're taking thi… three?" Iger did a double take. "You mean, you're keeping the Florida lot?"
Eisener nodded back. "With California now focusing on CGI, we'll need to keep a homestead for the classic pen and paper approach. The Pixar guys proposed this as a condition for the continued relationship."
"Mike, isn't three Studios a little too much?" Iger argued. "Heck, I'd like to think two's more than enough."
"Well, it does help to have a counterpoint around to keep us on our toes." Eisener mentioned. "If we can make money off the inverse of our storytelling. Why not draw from both opposites in terms of the art."
"You heard what Katzenberg said!" Iger protested. "Hand Drawn is a relic of the past, you yourself said you wanted to centralize it all under CG."
"You're right, Bob." Admitted Michael. "We can't afford to be left in the past, but that doesn't mean we can just give up on what is an important part of our history. We gotta fight on and keep the craft going for as long as we can."
"We'll be throwing away money if you do this."
"We'll be throwing away Talent if we don't!"
Iger was dumbfounded. "You’ve finally lost it. After two straight decades on the job, you’ve let it go to your head.”
“Honestly, if it were earlier in these dismal days, a part of me would have agreed with ya.” Eisener shrugged. “But this is the voice of a man who’s willing to take the power back. Who’s ready to pull out all the stops and find new ways to help the medium keep up with CG’s rapid evolution. Who’s willing to see Disney’s magic remain vigilant in the face of a changing culture. This is a pivotal part of the plan going forward, our olive branch to Roy.”
“Are you seriously roping Roy into this?” Iger probed to his superior. “Especially when he’s dusted off his Save Disney campaign with Stanley Gold? You know, what got you in there in the first place?”
“Why not?” snarked the master to the apprentice. “After all, we wouldn’t have all this without it.”
“I don’t have time for this…” Iger facepalmed. “If you wanna play Ghandi, do it when there are human rights on the line instead of our pocketbooks.”
Michael took a look at his famed portrait of Walt and then his cover on Time Magazine before pulling out a pink sticky note. “Then I’ve got to do what I’ve got to do.”
“I get it.” Bob Iger proceeded to walk towards the door. “If you’re really taking it seriously, then try to calm down.”
“I’m trying, sir.” Iger added. “But this albatross you’ve chosen to keep around your neck is more than concerning.”
“So you’re that on edge, huh.” Eisener narrowed his stare. “Fine, if you’re just gonna walk off like this, you’re not walking back in. Do ya hear me? I didn’t take any crap from Katzenberg, I sure as hell ain’t takin’ any crap from you!”
Robert Iger opened the door and took in the gravity of the predicament and spoke: “I don’t really feel clean quoting a show that killed off your likeness in one episode… But in the words of Glenn Quagmire: Giggidy-Giggidy-Giggidy-Giggidy-Piss off, Jew!”
With a blunt slam, Michael Eisener watched helplessly as his protege left behind the destiny he had been planning for him. And once more, he felt like a failure.
Back at the Animation building, longtime veteran Berny Mathison looked to Iger as he made his way out for the final time. If these walls could talk, he would be hearing a faint, yet mournful roar when Iger got into his car and drove out the parking lot.
As for Iger, he tried to keep himself calm in the face of throwing away the biggest opportunity of his career as he drove into the snowy January road ahead. His mind continued to wander until his eyes spotted a little girl watching a smaller boy on his tricycle make his way to the sidewalk… while the girl herself was right on the road.
Iger honked as hard as he could to get her attention, his focus on the two making their way onto the sidewalk instead of the looming toy truck in front of the windshield.
WATCH OUT FOR THAT
SMAAaaSH!!!
