However, the detail that stands out the most in this book is that it was co-written by Terumi Nishii , the animation director of Jojo's Bizarre Adventure: Diamond is Unbreakable , and a Japanese website interviewed Nishii about this post.
About Terumi Nishii
Nishii started working as an animator in 1999 after graduating from vocational school and actively worked on series like Mushishi and Casshern Sins . Later, he participated as a character designer for the first time in the Mawaru Penguindrum series , the same role he played in Jojo's Bizarre Adventure: Diamond is Unbreakable and in the movie Haikara-san ga Tooru Movie 1: Benio, Hana no 17-sai .
In her post, Nishii answered writer Anna Mochii's questions . To date, the current situation of the animation industry in Japan has become a topic of interest even for foreigners. Furthermore, the original article also includes an interview about Nishii's opinion about the participation of Netflix and other foreign companies that are now participating in anime productions.
Interview about Netflix and intellectual properties
It's a tough situation for anime productions these days, but still many anime series are produced in each season. What is behind that?
Until now, the anime industry has not been that big, so it was thought, "We can survive on DVD sales and merchandise alone." The fact that the industry makes a profit can be analyzed in two ways, one including only the animation itself, and the other when considering all the personnel involved.
A company that doesn't know anything about the industry or doesn't even like it buys a studio. That is a common situation, companies that have no idea of this business and that suddenly created a Japanese animation studio. In the end, all those companies want is to have their own intellectual properties, that's why there are so many series in each season.
Until now, the anime industry has not been that big, so it was thought, "We can survive on DVD sales and merchandise alone." The fact that the industry makes a profit can be analyzed in two ways, one including only the animation itself, and the other when considering all the personnel involved.
A company that doesn't know anything about the industry or doesn't even like it buys a studio. That is a common situation, companies that have no idea of this business and that suddenly created a Japanese animation studio. In the end, all those companies want is to have their own intellectual properties, that's why there are so many series in each season.
So it is. If you have the rights to an intellectual property, you can make a lot of money on business in various fields, and when the series is successful then there is a great guaranteed profit, I guess.
However, I would like to clarify that owning intellectual property does not ensure your success, it is a double-edged sword. That is the situation today.
However, I would like to clarify that owning intellectual property does not ensure your success, it is a double-edged sword. That is the situation today.
A while back, I did an interview about a Chinese animation titled "The Legend of Hei Goods," and the director and representative of the studio that produced it mentioned the exact same thing.
Currently Japan is in the same situation, but in our case it is very different from China, the difference is summarized in "the intellectual properties belong to the producing companies, not to the studios". After all, I think the ideal would be for creators to own the intellectual property and get sales from its exploitation, but unfortunately that doesn't happen.
Foreign companies are not like that either, they are more of an idea of “working together”, because it appropriately accredits the rights to the creators. In Japan, inclusive contracts stipulate in writing "the author's formal waiver of the rights to his work."
Currently Japan is in the same situation, but in our case it is very different from China, the difference is summarized in "the intellectual properties belong to the producing companies, not to the studios". After all, I think the ideal would be for creators to own the intellectual property and get sales from its exploitation, but unfortunately that doesn't happen.
Foreign companies are not like that either, they are more of an idea of “working together”, because it appropriately accredits the rights to the creators. In Japan, inclusive contracts stipulate in writing "the author's formal waiver of the rights to his work."
So are you telling me that the contract says that the person who created the work cannot claim the rights to their own work?
So is. I understand the confusion, but things are like this. Although many of the creations are made by teams of several people, so if only one of them disagrees to sign, the fact that the others will do the signing imminent then.
However, video game companies experience a different version of this formality, since in many cases their contracts say: " You should not say that you were in charge of this project ."
So is. I understand the confusion, but things are like this. Although many of the creations are made by teams of several people, so if only one of them disagrees to sign, the fact that the others will do the signing imminent then.
However, video game companies experience a different version of this formality, since in many cases their contracts say: " You should not say that you were in charge of this project ."
In the case of video games, the name of the production staff has appeared frequently, but this is not the case for the creators of games for smartphones, even to date no name is distinguished.
As a freelancer, a person cannot post their individual accomplishments, but does so through the company name, so there will come a time in a few years when they will realize that they do not actually own anything that has been done.
In that sense, in the case of animations, the name of the creators always appears in the credits, so it can be said that the video game industry is envious of that aspect.
As a freelancer, a person cannot post their individual accomplishments, but does so through the company name, so there will come a time in a few years when they will realize that they do not actually own anything that has been done.
In that sense, in the case of animations, the name of the creators always appears in the credits, so it can be said that the video game industry is envious of that aspect.
For example, in your case, he has a history as a character designer and chief animation director for a Jojo's Bizarre Adventure series.
It is correct, and I am very grateful that I was offered the opportunity to demonstrate my skills. But from a foreign perspective, even that series seems strange to them. When a foreign company signs a contract to acquire rights to an anime, they always seem to ask: “ Are there not many rights holders for this? There should be more works of this type . "
It is correct, and I am very grateful that I was offered the opportunity to demonstrate my skills. But from a foreign perspective, even that series seems strange to them. When a foreign company signs a contract to acquire rights to an anime, they always seem to ask: “ Are there not many rights holders for this? There should be more works of this type . "
Speaking of abroad, I heard that the anime industry has recently been enriched with the participation of Netflix and other Chinese companies. Does that benefit animators?
In my opinion, everything remains the same at the lowest echelons. I heard that working with Netflix leaves twice the profits for producers, but that did not mean that wages increased in the same proportion. Animation studios were also very excited about this change.
In my opinion, everything remains the same at the lowest echelons. I heard that working with Netflix leaves twice the profits for producers, but that did not mean that wages increased in the same proportion. Animation studios were also very excited about this change.
If the production company does not feel that the profits have improved, then what has been the benefit?
As far as I knew, the story is quite negative, and I think production companies are preparing for a new situation that includes more capital investment, digitization of processes and adjusting to the Labor Law. First of all, there are many companies that are currently in the red.
As far as I knew, the story is quite negative, and I think production companies are preparing for a new situation that includes more capital investment, digitization of processes and adjusting to the Labor Law. First of all, there are many companies that are currently in the red.
Do you think the number of businesses that came in only ended up bankrupting this industry more?
To be honest, it was like a rain in the desert, everything was absorbed by the sand and there was not enough for the plants to emerge. It could have been different if more original series had been produced instead of the same as always.
To be honest, it was like a rain in the desert, everything was absorbed by the sand and there was not enough for the plants to emerge. It could have been different if more original series had been produced instead of the same as always.
In the case of television animations in Japan, the productions are completed according to the broadcast. However, Netflix publishes all the episodes, which means that production had to speed up. Isn't that very heavy?
It is. Contracts with deadlines are probably the most difficult to fulfill, much more so than those with television stations. I am not a producer, so I don't know many details.
However, the work Netflix does for themselves is usually for them to keep the intellectual property. However, if they buy something that has already been produced, fortunately the production companies keep the rights.
It is. Contracts with deadlines are probably the most difficult to fulfill, much more so than those with television stations. I am not a producer, so I don't know many details.
However, the work Netflix does for themselves is usually for them to keep the intellectual property. However, if they buy something that has already been produced, fortunately the production companies keep the rights.
So there is a pattern to the fact that you pay Netflix to monopolize broadcast rights for a year, and then it airs on television.
The projects that Netflix produces normally have double or triple the profit invested in production, but on the other hand, we do not have the intellectual property rights, so we cannot launch merchandise or make profit from the sales of Blu-Rays. ray / DVD. Many companies then prefer to produce the series by themselves and then later sell the broadcast rights to Netflix to receive at least some profit. If you want your series to be successful, then there is no point in selling it to Netflix for them to produce, since the success will be theirs and not yours.
However, as an animator or as a subcontracted production company, you will never be able to own an intellectual property if you worked with them.
The projects that Netflix produces normally have double or triple the profit invested in production, but on the other hand, we do not have the intellectual property rights, so we cannot launch merchandise or make profit from the sales of Blu-Rays. ray / DVD. Many companies then prefer to produce the series by themselves and then later sell the broadcast rights to Netflix to receive at least some profit. If you want your series to be successful, then there is no point in selling it to Netflix for them to produce, since the success will be theirs and not yours.
However, as an animator or as a subcontracted production company, you will never be able to own an intellectual property if you worked with them.
So even with the advent of Netflix, is there no difference in the industry?
There are not many relevant changes. This kind of contract is only between Netflix, the production committee and other higher links, so the animators haven't even seen any improvement in their working conditions. They always ask me " Isn't it good for you that Netflix makes money then? "To which I never know what to answer or, rather, I would get in trouble if I do.
I heard that not only Netflix, but also China, has become almost impossible to make productions due to that government's censorship. Doing business with them is also seen in the red.
There are not many relevant changes. This kind of contract is only between Netflix, the production committee and other higher links, so the animators haven't even seen any improvement in their working conditions. They always ask me " Isn't it good for you that Netflix makes money then? "To which I never know what to answer or, rather, I would get in trouble if I do.
I heard that not only Netflix, but also China, has become almost impossible to make productions due to that government's censorship. Doing business with them is also seen in the red.
On the other hand, it seems that you have been working abroad individually, right?
For me Vince Shortino, who is the president of the Japanese division of Crunchyroll, is operating abroad as a good manager. Vince has called me on many productions, and I am quite grateful for that.
For me Vince Shortino, who is the president of the Japanese division of Crunchyroll, is operating abroad as a good manager. Vince has called me on many productions, and I am quite grateful for that.
It seems like you disappeared from the industry for a while, why did this happen?
That's right, about two years ago, after working on Jojo's Bizarre Adventure: Diamond is Unbreakable and Haikara-san. In fact, while working at the latter, the company he belonged to went bankrupt and was about to die of stress.
For this reason I separated myself from the animation industry, mentioning: " I cannot aspire to much if I continue like this ". Therefore, I preferred to move to the video game industry.
That's right, about two years ago, after working on Jojo's Bizarre Adventure: Diamond is Unbreakable and Haikara-san. In fact, while working at the latter, the company he belonged to went bankrupt and was about to die of stress.
For this reason I separated myself from the animation industry, mentioning: " I cannot aspire to much if I continue like this ". Therefore, I preferred to move to the video game industry.
Is the video game industry better financially than anime?
I think it depends on your work, but the games are definitely better. However, the game I worked on at that time was easily suspended. This is something that rarely happens in the animation industry, I was really shocked when the development of a game in which hundreds of millions of yen had already been invested, was suddenly stopped. But even so, I made more money there than in the anime industry.
I think it depends on your work, but the games are definitely better. However, the game I worked on at that time was easily suspended. This is something that rarely happens in the animation industry, I was really shocked when the development of a game in which hundreds of millions of yen had already been invested, was suddenly stopped. But even so, I made more money there than in the anime industry.
From your perspective, what do you think of people who aspire to become animators?
That they never do, but I'm still grateful that they like this industry so much that they get into this hell.
I have been to many vocational schools, but the illustrators section always has more people than the animators section. Many of the young people who aspire to become animators are very gentle.
That they never do, but I'm still grateful that they like this industry so much that they get into this hell.
I have been to many vocational schools, but the illustrators section always has more people than the animators section. Many of the young people who aspire to become animators are very gentle.
So, almost to finish, why did you write this book about this situation?
Mainly out of courage. Everyone, I am sure that all my colleagues work very hard in their animator positions and they must always ask themselves, “ Why am I not being paid as I should be? " It's a job you started doing for love, and then you start hating it.
Basically, there is no one to blame, " I would like the project to be successful and generate profits ", is what everyone in production thinks. But it is easier said than achieved .
Mainly out of courage. Everyone, I am sure that all my colleagues work very hard in their animator positions and they must always ask themselves, “ Why am I not being paid as I should be? " It's a job you started doing for love, and then you start hating it.
Basically, there is no one to blame, " I would like the project to be successful and generate profits ", is what everyone in production thinks. But it is easier said than achieved .
