The Wachowski siblings had been planning the script for months, maybe even years. In their spare time, during leisure moments, they worked on it, filling it with a sense of grandeur. Charlize was eager to see it, while Billy flipped through the pages. She was speaking with Larry Wachowski about women in cinema. The South African actress radiated joy, her dimples deepening as she smiled at the philosophy of Johan Cohen's wife. Billy, half-listening, was surprised by the woman's intellectual depth.
- It's a great idea, - Billy finally said. - But it needs refinement. The script should be purer. There's a lot of philosophy here—we could keep that as complementary material. -
Charlize noticed the collective sigh from the two women, who hadn't expected such approval.
Andy Wachowski, the more diplomatic of the two sisters, asked, "So, are you willing to invest in our film?"
- I fully support it. However, the investment would have to begin next year. There are some logistical challenges, and the company's investment funds are already allocated for this year. I'd be open to it if you're willing to wait eight months. In the meantime, I can provide a modest salary to cover early production and previsualization work for each sequence—\he paused, thinking. - That is, if you're prepared to shoot everything in a single production cycle. -
Billy knew the script was at least 800 pages long, filled with intricate dialogues. What struck him was that it didn't rely on grand visual set pieces—just simple yet striking imagery, shaping a reality that was something other than the truth, a world where everything was a lie.
The sisters exchanged glances. Neither of them had expected such a swift acceptance, and oddly enough, that very approval made them uneasy.
- I can say it's a revolutionary idea. But first, we have a major challenge with visual effects—it will require substantial investment. Second, this is a bold new approach to the Greek myth of the cave, reimagined within virtual reality. It transcends Plato's materialist philosophy of body and mind, incorporating elements that remind me of Asimov and William Gibson while also pulling from Blade Runner. I believe if you refine the script and enhance the visual design, this could be a phenomenal film… We might not make much money, but I can already see it. - Billy commented, pulling out a pen. From memory, he sketched a machine, a power source, and the design of humans waking up—so quickly and precisely that the women at the table were astonished by his creativity.
- That's true, but our series is meant to critique social control—the acceptance of the self as an entity of the state, both socially and politically. We have everything you're asking for. With more time, we could fine-tune the series to raise awareness about the manipulation of reality. - Larry added.
- By next year, we'll be ready for full-scale production. You can start assembling your team, scouting actors, and securing everything needed for the shoot. I'll also look into renting a studio for the duration of filming. - Billy said.
- To cut costs, we're considering filming in Sydney. We plan to conduct six months of action-scene rehearsals with professional stunt performers. We haven't chosen a lead actor yet, but we want someone fresh. - Andy Wachowski responded. She had plenty of ideas on how to reshape most of the sequences.
- We'll make it happen, but we need a long-term vision. If I'm going to invest in three films, we could structure it similarly to what I did with Star Wars—on a smaller scale. - Billy replied.
- That would be incredible! For a film like this... why not have Billy direct? He's brilliant. - Charlize said, noticing it was the second time that evening she had witnessed someone propose a series.
- Would you be willing to take the reins? - Andy asked.
Billy wasn't just tied up with different series—San Jose had Star Wars, Los Angeles could host The Matrix, possibly in Atlanta, maybe South Bay or Torrance, somewhere along the coast where films could be made for the next twenty years. The only issue was the humidity.
Steve Parks had taken it upon himself to handle all logistics for the Harry Potter mega-studio. They were building a full-scale, Victorian-style castle for $100 million, staining the cement with pigments to mimic aged stone, laying vast stretches of concrete, and revitalizing a vacant area near a bay. Even a replica of Hogsmeade village was in the works, complete with an indoor set containing the Hogwarts Express and other crucial filming locations.
- How much are you investing? - Johanna asked, astonished by the scale of the project.
- At least $500 million for production. By 1999 or 2000, everything will be ready. This construction is designed as a shared creative space. We recently did something similar for Star Wars—a five-story production facility, 150 meters by 150 meters. We're aiming for the same here. - Steve Parks explained.
- Then I'm going to sell a lot of books. - Johanna responded, taking in the sheer scale of what was being built, including a small-scale version of different locations—Hogsmeade would be open to the public, featuring restaurants, candy stores, comic shops, and toy stores.
- You absolutely will. Billy is extremely ambitious. I hope all of this excites you—so that when you're a billionaire, you'll consider joining our education, sports, and arts foundations. - Steve Parks replied.
- What other sets are you building? - Johanna asked, curious since she had only written two books so far, with one still awaiting completion.
- For now, just the castle grounds and the village of Hogsmeade. The buildings will reflect an 1800s aesthetic, and we also plan to recreate the Weasleys' house. - Steve Parks said.
- Then I'll keep writing. -
- Billy has been reviewing your books. He wants to meet you. He recently published some young adult novels himself—you two might have a lot to discuss. - Steve Parks added.
....