DreamWorks had two heavyweights and two new market opportunities to address fully. Hollywood's competitive pond was a battlefield of negotiations, investments, and strategic moves. With Billy, who handled money like a fish in water, they secured the property purchase, began construction, and established a modest production studio.
At the same time, they restructured the animation team and started organizing the administrative unit, bringing in young managers to oversee operations. Various administrative projects were lined up, including a $36 million film, Amistad, set to debut the following year under DreamWorks Pictures. Meanwhile, DreamWorks Animation was moving forward with The Prince of Egypt, already in production—an ambitious launch for both divisions, paving the way for major films and significant deals.
-Who would've thought we'd have a way to fight back… It's more complicated than we imagined. But that kid is a brilliant administrator, - remarked David Geffen, who had invested a considerable amount of money. The usual power players had been sidelined.
-More than just a visionary, he understands exactly what a company needs. The innovation he brought to animation, combined with his business acumen from a creative perspective, is pushing the entire machine to its limits, .- Jeffrey Katzenberg added. He was now convinced that while movie stars were valuable assets in productions, sometimes high-quality voice acting—delivered by seasoned professionals-was—was even more crucial. And Billy was leading the charge in promoting American dubbing.
-But stars are appealing, - Steven Spielberg pointed out.
-That's irrelevant to kids. Billy has proven it time and again. Sometimes, all they need is a recognizable face in the audience. But if we allocate high dubbing costs toward animated channels, schools, shopping centers, and theme parks, it becomes far more profitable than just focusing on one film, - Katzenberg explained. The asymmetrical nature of the children's market, unlike adults, responded to entirely different stimuli—it was all about finding the right approach.
-I'll bring in new music stars. Our place is at the top—just like when United Artists came together to form a new kind of film company, - Spielberg said, envisioning their ambitions. The industry was shifting, entertainment was settling into new patterns, and it felt like the coming years would be golden, though, in many ways, they already were.
Success endures through crises, and every crisis reshapes the landscape. Generational shifts were evident—major directors were retiring, fresh talent was entering the industry, and new actors and writers were emerging. But perhaps, more than anything, animation was the game-changer they had been waiting for.
-We'll use some intermediaries—we need to strengthen our relationships with the elite, - Spielberg said.
-I've sensed some tension with the music industry… unsettling currents moving in calculated ways. I've often seen hidden tricks at play. Sometimes, looking from the inside, I fear we might be misjudging things. But it has to be done, - David Geffen sighed. The coming years would bring heavy responsibilities in navigating these relationships.
-We can always justify ourselves with 'the grandiosity of art,' but in the end, that won't matter. What will matter is the need to talk, to whisper behind closed doors, - Geffen added, though he seemed unconvinced. Katzenberg, as head of operations, was rarely involved in that world, but Hollywood's nature dictated constant reinvention—change locations or be left behind.
Spielberg and his allies were consolidating their vision. Katzenberg had officially joined DreamWorks, and alongside Spielberg, they were shaping their ideas. Billy, surprisingly, chose to align with Spielberg, founding his own company but opting to collaborate rather than compete.
One recurring issue in cinema, both grammatically and inherently, was how nudity was handled. Two scenes had Billy particularly on edge: one with Monica in the entrance hall and another with Charlize. Both pushed his comfort levels.
-What could be more provocative than a scene like this? - Billy whispered.
But in the end, it didn't matter. This was the world of cinema—the discomfort of his body under the scrutiny of cameras. He had filmed such scenes before, but this time, it felt entirely different.
-I think you understand the challenge this presents. The camera will be just two handspans away. We'll do one close-up shot and another from above, - director Taylor murmured, studying the setup with fascination.
-Scene 152, take two.-
EVIN: What's going on with Kathy?
MARY ANN: What do you mean? She's pregnant again.
KEVIN: Ah. And that has nothing to do with…
MARY ANN: Kevin, I never see you anymore. Now that you've landed this big case, it's only going to get worse. I don't know anyone here. These women terrify me. If you can believe it, I'm looking forward to your mother visiting.
KEVIN: What about the apartment?
MARY ANN: Exactly! You just go out, buy yourself a few new suits, and you're fine. Meanwhile, I have to fill this entire place. And sure, we have all this money, and it's supposed to be fun—but it's not! It feels like a test! Like everything is one big test! I feel alone.
KEVIN: Let's have a baby.
MARY ANN: Don't mess with me.
KEVIN: I wouldn't. Not unless you asked me to.
MARY ANN: You hate my hair, don't you?
His hand moves against her cheek, then down to her nape. She leans into him… (EFX) Suddenly… she is Christabella… right there… in his arms… before he can react… before he can speak… she finds his mouth and they're kissing… and then—she is Mary Ann again. He's pulling up her dress, and she's helping him, his hand sliding up her bare thigh…
-Cut. -
Billy exhaled, finishing as quickly as possible. The scene had played out, and in the brief pause, he spotted Monica chatting casually with Charlize. He didn't fully understand women, but their ease in such moments never failed to surprise him.
-You don't like being naked in front of the camera, do you? - Monica murmured as she approached.
-That's not it. It's not that I find it inappropriate, - Billy replied. - Not in the way you're thinking. Sometimes, it just feels unnecessarily sexualized when the scene doesn't add much to the story. But it's not a big deal—I'm just rambling. The scene felt awkward, even on paper. -
Fully immersed in his character, he did what was required and chose not to dwell on it.
-Your voice changes when you talk about this. It fascinates me, Monica noted.
-What do you want from me, woman? I do what I can when playing a character who is always in control. And when that control slips, that's when he starts to break.-
-You want me naked—just for you.-
-Always so provocative. -
Not wanting to misinterpret her intentions, Billy let her kiss him. Then, with a sway of her hips, she walked away.
There were only three scenes left before the film wrapped. The final sequence, set to be shot at dawn on a fully closed-off street, was the grand finale. It was the moment to convince himself that this was a great film—one that would soon premiere. And Billy knew that by December 1997, his position in the industry would shift. He still had more films to shoot and business ventures to pursue in the coming year.
-You should take a breather—you've been rather intense these past few days. Every morning and every night. - Billy remarked, gripping her waist.
-A woman has her needs. -
....