The process of how anime gets greenlit in the first place is something that is often
just taken for granted.
There are many reasons for an adaptation, for instance.
Some are greenlit as a way of boosting sales for the source material.
Some use the existing brand as a way of promoting other media.
For example, a large reason for Magical Girl Site being made is to promote the production
company's signed idol group, Iris.
And in other cases, a producer might just be a huge fan of the source material and wanted
to see it get made.
This was the case for Pop Team Epic, Ancient Magus' Bride and many more.
So with such a diverse set of reasons for why adaptations can get made, let's take
a deeper look into the passion and process that goes towards original anime.
One of the best ways to introduce the means that original anime are created is to track
the history of one of the studios who built a reputation from it.
From the very start, Studio GAINAX operated like a creative think tank, with the credits
only telling half the story.
Although one person might be credited as the director, this small group of Osaka natives
would work together on the idea that they believed in.
The first of these to be realised was Wings of Honneamise.
They approached an acquaintance by the name of Shigeru Watanabe, who was now working with
Bandai's anime production division.
After consulting with Mamoru Oshii, Watanabe decided to greenlight GAINAX's first project.
From that point on, GAINAX continued to both ask for and receive projects.
Sometimes a company would have a pre-established idea, like with Nadia, and sometimes a producer
just really wanted to work with Hideaki Anno, like with King Records and Neon Genesis Evangelion.
But the misconception many people have is that GAINAX caused these original projects
to happen, when in reality, it was GAINAX and all of the production companies they worked
closely with to make amazing things happen.
And these connections are important, because those companies have their own priorities
and they are often more interested in the people and the content rather than the studios
themselves.
So, after Evangelion, King Records helped GAINAX produce FLCL but after that, the collaboration
stopped.
And that was because Anno and his buds had moved off to create Khara.
So instead, King Records started helping produce the Evangelion films, but no longer had an
attachment to Studio GAINAX.
So GAINAX was in a pickle.
They wanted to create original projects, but Bandai Visual wasn't interested in making
a sequel to Honneamise.
But meanwhile, they reached out to Aniplex with a pitch for Gurren Lagann and that established
a new relationship.
But once again, it wasn't a relationship with GAINAX, it was a relationship with Gurren
Lagann.
And so when the staff of Gurren Lagann were planning to leave and create their own new
studio, Yosuke Toba, an Aniplex producer, promised that they would support Studio Trigger.
And so, GAINAX was left with no connections and no original anime.
Unless you count their magical girl series promoting Subaru cars.
GAINAX are still dedicated to creating original shows, but dedication isn't enough and it's
all about building modern business relationships and specific talents to rely on.
It sounds cynical, but as multiple people still at GAINAX have attested to, it's just
not as easy anymore to sell an idea.
So the question remains: how are there still exceptional original projects?
And the answer is: It's because of people like Yosuke Toba.
More specifically, it's because of passionate producers who have the means to act on that
passion.
Before working at Aniplex, Toba worked at Studio Ghibli as an assistant director to
Hayao Miyazaki on Howl's Moving Castle.
He started his anime career with three goals.
To work with Ghibli, GAINAX and with Jun Maeda.
He got the chance to work with Ghibli at the start of his career, but he left because he
wanted to work in anime as a producer, which led him to working on Gurren Lagann with GAINAX.
Soon after, he attempted to complete his dream by visiting Jun Maeda and convincing him to
create an original anime with Aniplex and P.A.
Works, the show that would eventually be known as Angel Beats.
A good producer is one that can effectively
bring together talented staff on a single idea.
Sometimes that is their own idea and sometimes they will work to elevate another creator's
idea.
In this case, Toba wanted to see an original anime by one of his favourite writers, Jun
Maeda and was able to convince all parties involved to collaborate and fund it.
For example, part of the deal was that Dengeki would be allowed to publish their own Angel
Beats manga, Angel Beats!
Heaven's Door and in return, they helped fund the anime as well.
As I mentioned before, Toba was instrumental in assisting on former GAINAX staffer's
productions.
He helped produce The Idolmaster with Gurren Lagann character designer Atsushi Nishigori
at A-1 Pictures whilst also producing Kill la Kill with Studio Trigger.
And this year, he brought the crew back together for the ultimate collaboration in Darling
in the FRANXX.
Yet another original project, which Toba stated that he felt he'd used all of his connections
to achieve.
Which is why the final episode will be directed by Miyazaki.
Stick it on your calendars, folks.
But that's just one producer, and whilst he's been instrumental on several ambitious
projects over the last decade, mostly original shows, he's only a drop in the pool of producers
who help to pursue creator's vision.
A Pony Canyon producer once said that between the roles of Director, Series Composition
and Character Designer, two of those three should be big names.
So it's important that anime producers are tuned into the current landscape and are building
positive connections with those who are already great as well as those that will become great.
One of the best examples of this is a man who I've wanted to talk about for over a
year now, Takayuki Nagatani.
He started his anime career working at Bandai Visual's Emotion subsidiary, but left in
2010 to form his own production company, Infinite.
Now Infinite is a bit different from Aniplex in the fact that Infinite is pretty much just
Nagatani.
He even manned his own stall at Anime Japan this year, where I bought a Shirobako interview
booklet from him.
So since Infinite is such a small company, Nagatani is less involved in the funding side
of anime production now, and more involved in planning and production.
He will work with studios and staff to develop a series idea, then go out and convince companies
to help him fund it.
He's been involved at the very start of today's popular modern anime studios, including
White Fox, P.A.
Works and Studio 3Hz.
I got the chance to visit P.A.
Works and speak to their vice president, who told me that Nagatani was someone who joined
on to help P.A.
Works at the start and continues to work closely with them today.
He also mentioned that Nagatani is someone who really cares about the staff.
And based on the news surrounding him, it's not that hard to believe.
You may recognise his name during the situation surrounding Regalia: The Three Sacred Stars.
The show was a collaboration between Studio 3Hz, who Nagatani assists with production,
Studio Actas and Nagatani's former employers over at Bandai.
During production, the staff apparently expressed disappointment with their work on the show.
So, in an effort to let the staff spend more time to create their ideal vision, Nagatani
stopped the production entirely, filled the timeslots with his own shows like Hanasaku
Iroha and True Tears and then continued Regalia months later.
In the end, the changes were pretty minor and the whole thing was made entirely more
expensive than it should have been.
Whilst he recognises that this is generally a bad idea, he noted that his priority is
allowing the staff to create the vision they had planned.
So basically the point of all this is that whilst many studios love to do original works,
it's often these external anime producers that allow them to do it.
Without Nagatani and Infinite, Studio 3Hz wouldn't have a reputation for creative
original works like Flip Flappers and Celestial Method and P.A.
Works wouldn't have been able to jump so confidently into creating so many new original
projects like Shirobako and Kuromukuro.
Without Yosuke Toba and Aniplex, Trigger wouldn't have been able to produce a full length series
so soon, would have relied on short series for a lot longer and some of your favourite
shows may have never existed.
There are many producers like this that spur on original projects and although they are
technically businessmen, it's the ones that respect creatives that end up creating the
most memorable anime.
In fact, that's Nagatani's business model.
A large part of his job involves advertising, event planning and merchandising and he aims
to do this years after the show's debut.
If you ever get the chance to ask an anime producer a question at a convention or elsewhere,
please take advantage of those opportunities.
Ask them about the shows they created, how they got started, what they'd like to make.
Hell, you could even ask them to rate your idea for an anime series.
Although if it's really good, they might steal it, turn it into a series and sell a
load of merch from it whilst you get nothing, so on the other hand, maybe keep the good
ideas to yourself.
Thanks for watching The Canipa Effect.
Fun fact: Nagatani was planning on quitting the anime industry until he produced Shirobako,
which he loved so much that it spurred him on to continue making anime.
He's now planning to announce something new for Shirobako in a week.
Meanwhile, he's producing Sirius the Jaeger at P.A.
Works and Black Fox at 3Hz.
He's a busy boyo.
Also, there's a different type of original project referred to as a "Mixed Media project",
these are the sort of shows that are launched along with other media at the same time.
For instance, the Eureka Seven anime was made because they thought it would also make a
good video game which was launched at the same time, along with a manga and light novel.
I'll be talking about these sort of projects in a future video.
But before I go, I'd like to thank these super people for supporting the channel.
In particular, I'd like to thank:
The beautiful Bashnekk, the funny Frog-kun, the laudable LittleCrow, the super Salyma,
the cheery Chariot, the outgoing Osama, the cool CappyBro, the fearless Faux Wizard, the
youthful Jakob Gadhe, the intelligent Isaac Woo, the amazing Austin Hardwicke, the healing
Hamad, the mighty Mike Tamburelli, literally my own mother and the captivating Christopher
Wade.
If you enjoyed this video, please consider supporting the channel on Patreon.com/TheCanipaEffect
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