Via Anime Insider: License Costs and DVD Sales (April 2005)

An article explaining the high-relative-to-other-US-boxes cost of anime DVDs. A couple of really interesting figures in here (via Forbes and Geneon VP Nobu Yamamoto):

-ADV paid between $1 million and $2.6 million for each anime TV series, and $0.5 million to $5 million for each anime movie. (Forbes) I believe that’s production, including licensing, but it’s not entirely clear.

-Licensing for a popular anime title could reach $50,000/episode. (Yamamoto) That’s a far cry above the max of ~$33,000/episode paid for Pumpkin Scissors and Air Gear (the most expensive shows on this 2006-2007 ADV list). Licensor collaboration may have proven effective.

-For the same popular anime as above dubbing ran $12k/ep, authoring/materials/quality control ran $10k/DVD release, marketing ran $15k/box set release. Manufacturing and royalties cost an additional $15/box set.

-Wholesale retailers typically got 50% discounts on more popular series.

-The cost of licences grew almost a factor of 10 faster than the size of the market since 2000. (Yamamoto) Presumably some of this was just Japanese companies getting their fair cut of things as prices adjusted to more properly value the market, and some was overvaluing just how strong the market was.

Continue reading

Via Anime Insider: US Industry Collaboration (February 2005)

This article describes an attempt of which I was not aware of by Funimation, ADV, and Geneon to cooperate and drive the price of licenses down. It likely worked (more on that in just a moment), despite the fact that one of the three closed down and another declared bankruptcy.

Continue reading

Via Anime Insider: Manga’s Performance in the US (December 2004)

A quick article on the impressive dominance of manga in the US in 2004, where manga titles reportedly made up 47 of the top 50 selling titles.

(Which reminds me: I should probably go back and add 2003-2006 US manga data at some point.)

Continue reading

Via Anime Insider: Shoji Kawamori (December 2004)

Shoji Kawamori talks about the largest number of projects he ever worked on at once (17!) and the difference between doing comedy versus drama. He also names The Spring of Kenji (aka Spring and Chaos/Kenji no Haru) as his favorite among his many works. Coincidentally, studio Satelight’s work on that project was how he became involved with them.

Continue reading