[Distribution is sold out] Animation production company executive "If the work hits, Netflix wins. If it does not hit, we (production company) win"
Excerpts from Toyo Keizai Shimpo-sha
>Why Netflix attaches importance to "animation"
>In the Japanese animation industry, there is a strong sense of caution regarding Netflix. An executive of a production company that provides anime works to Netflix says, "If the work hits, Netflix wins. If it does not hit, we (the production company) wins."
>Why is the production company “losing” when it is a hit?
>The reason lies in the contract system with Netflix. When Netflix purchases the animation distribution right, it is "buy out". In other words, a certain amount is paid to the production company at the time of purchase, but that amount does not change, no matter how much the work can be seen on Netflix.
So in short, the dumbass anime studios are and will forever remain the eternal losers, no matter if they stick to the old production committee system meant to distribute anime on TV broadcast, or the newer netflix net original animation format. The animators literally can't win, no matter what.
As for the producers vs the distributors, those don't concern us.
Carson Cruz
>If it does not hit, we (the production company) wins.
It explains why a lot of the netflix originals are souless productions.
Wyatt Gutierrez
Not sure if the same can be said to Devilman Crybaby.
Jack Watson
>The reason lies in the contract system with Netflix. When Netflix purchases the animation distribution right, it is "buy out". In other words, a certain amount is paid to the production company at the time of purchase, but that amount does not change, no matter how much the work can be seen on Netflix. >In the Japanese animation industry, there is a strong sense of caution regarding Netflix. An executive of a production company that provides anime works to Netflix says, "If the work hits, Netflix wins. If it does not hit, we (the production company) wins." That's nonsense from the executive. The production companies get the same amount whether their product is a hit or not. They don't lose anything just because Netflix gets more on the hits. They should be happy that they can peddle trash for a flat amount and not have to worry about a flop. Of course, if they keep bringing hits to Netflix, they can negotiate for higher prices. This is nothing more than whining about not getting all the money with no risk. If the production companies want all the money, fund the entire production and distribute it digitally themselves.
Joshua Robinson
It means they get no money if it's really popular because Netflix actually owns the whole thing. Even in normal production format, if they're part of the production committee or own the copyright, they get some money from licensing to different streaming services, BD sales and merchandise. However, Netflix is much safer than a normal production format, because Netflix pays upfront for the whole production.
Jason Lopez
>It means they get no money if it's really popular because Netflix actually owns the whole thing. No, it means they already got their money. Netflix is taking on more of the risk by paying up front and thus get more of the reward. Instead of complaining about this sort of deal, these companies need to either learn how to negotiate for some sort of "popularity bonus" on the back end or fund and distribute the productions on their own. Or, you only take your low and mid tier projects to Netflix while you take your potential super-hits through another production pipeline. Netflix paying up front for projects that could turn out to flop is a great way to hedge on riskier ventures. Only put a likely big hit under Netflix if you can get them to pay out the nose up front.
There's no reason to ever complain about this arrangement unless you are a poor businessman, except of course to stuff a complaint in a public article in order to pressure Netflix for more favorable conditions in the future.
Jordan Green
Dumb nips forgot the most important rule. "With jews you lose"
Andrew Hughes
The production committee sounds like greedy assholes. Netflix buys their service at a price they agreed to to get something made, that's a win regardless of how it does.
Austin Gonzalez
>if they keep bringing hits to Netflix, they can negotiate for higher prices They can't, because as he says they have no data on how well anything does.
Adrian Thompson
japs are very good craftsmen but have low business accumen.
Nathaniel Carter
one day they will learn
Liam Gonzalez
Well gee, maybe they should have negotiated data sharing in the first place, or spend money after the fact to get the data investigated. If they can't get the data and use it as leverage for a higher price, don't do business with Netflix. This is all pretty basic shit.
Or just go bankrupt on shitty practices and get corporate losers out of the anime industry.
Grayson Watson
So just "magically get a better contract"? Great plan. And how do you propose investigating the data themselves when Netflix is the only distributor?
Landon Ward
It's shit compared to the original you underage spic.
James Ward
"Devils Blade"
wat show is this
Caleb Myers
demon slayer
Ayden Young
If you don't get a favorable contract, you don't sign it. That's how smart business decisions go. If you sign a shitty contract, you really shouldn't be complaining. If Netflix doesn't hand out their data, there will absolutely be firms out there making their own estimates because that data is valuable. This is what happens in any industry where the hard data isn't available or is even just available on a delay. When you negotiate a contract, you bring in estimates from those firms (more than one if you aren't a scrub) to wave in front of the Netflix reps and use as leverage. If you can't go into a negotiation with any data, you are utterly at the mercy of the other party and should not close on a deal unless you are utterly desperate.
Again, all of this is business for dummies level shit.
Jackson Walker
>firms out there making their own estimates Based on what? "I paid someone to pull numbers out of their ass" isn't a negotiating position.
Michael Allen
I'd be pissed if Gonzo tries to negotiate a higher price for 7seeds given how halfassed their work was
Do you not know how viewership ratings were collected in the ancient days of TV? And that's without even getting into shadier shit like buying internal leaks off black market data brokerages that are common in the digital era. If these production companies are really going into these negotiations with no data on their previous works to try to drive their side of the deal, they deserve to go bankrupt and gtfo of the industry.
Caleb Robinson
>NOOOOOOOOO, WE WANT ALL THE BENEFITS IF THE ANIME DOES WELL, BUT WE DON'T WANT TO TAKE THE RISKS IF IT FLOPS Production committees are cancerous greedy kikes.
Colton Sanchez
they should be glad netflix is pouring the insane amount of money in the industry as it is that is letting them get away with the insane amount of trash they have been producing
No, its just that most producers are cowards with no balls. Miyazaki sent a fucking katana to Weinstein and put him in place!
Jackson Morris
>a certain amount is paid to the production company at the time of purchase, but that amount does not change, no matter how much the work can be seen on Netflix. Why do they agree to this?
Sebastian Campbell
the gooks are going to replace nips soon
Julian Gonzalez
Because it also means the production is at zero risk regardless of if it flops.
Colton Brooks
I've never seen someone shill so hard for Netflix. Oh, you're a retard. Everything makes sense now. There's no negotiating for data sharing.
