Still with me?
Well now I’m just pressing my luck, seeing if I can finish this before…well, I never watch the Weather Channel but Fred was over here making sure my car had all the liquids that wouldn’t freeze and he was watching it. And I shit you not, the graphic they had said COMING WINTER INVASION.
Is that ridiculous?
Oh my God! An INVASION!
Now where was I?
THE RIGHT MAN W/
Matt’s doing doubleduty with his hard-on for us to have a property already lined up. One, it makes us an easier yes which, two, means less work for them.
Problem is we’re not connected to a suit. Ideally, he’d be a guy with connections already. But a novice who has hustle could tackle it fairly easily.
And there’s gonna be a significant outlay of cash—to pay Monty Hall, a lawyer for the deal, and pretty positive there’s a trip to Japan in the mix. And I think there would be a significant amount of cash it’ll take to secure the property. I just can’t see a Japanese studio is gonna doing a handshake deal with a coupla yay-hoos from Texas they’ve never met before.
There is an outside chance the licensor could do all the negotiations for us. I just think that’s unlikely.
I could do it. You could do it. Question is: do either of us want to?
SO THE MESSAGE TO MATT WOULD BE
either formally in the pitch deck (after he’s been wooed by the concept and the research) or shooting straight with him over the phone:
Tell him we were kinda hoping that we could use their relationships with the studios as our entry instead of us having to do it. Does that make us sound lazy? Are we lazy?
THE RIGHT TIME
Another enormous time suck is going to be looking at the potential properties, never mind the fact that they’ll be hard for us to find and that might take some Benjamins for someone to help look but, as we’ve seen between you guys’ search results and my research guy (who I’m in for 1-200$, haven’t received the invoice yet), it’s probably gonna fall to me in the end anyway at some point.
And we all started off pretty gung ho and that’s seemed to have tapered off once we got in and saw the real work load of what it was gonna entail and see for ourselves just how limited our reach is.
I’ve got a cockamamie idea to address that but the more I sit with it the less noteworthy it seems.
I guess I couldn’t really get behind all that legwork and man hours unless I had some kind of commitment from someone—Netflix, Crunchyroll, etc. Something that was pretty much a guarantee that we were getting on the air or they coughed up development cash.
And personally, the wind got knocked outta my sails when we showed the results of our research. I gotta be honest, it made me think that everybody was real gung ho for the idea when they thought it meant coming up with jokes for cartoons but if it meant heavy lifting like research or a to-do list, it was like Count me out.
But I’m so proud of the work I’ve done, see: below!
Where are you with all this? I mean, I’ve been spinning my wheels a lot but I’ve spent hours and hours on this stuff. The initial goal was to do something together because that’d be a lotta fun. And, yes, it’s a great opportunity.
And what’s probably gonna happen is I’m gonna just send you a short email. I’ve had a nap now and in the cold light of a snowy day I’m wondering if this is just an elaborate way of saying I’d love the opportunity but I’M the one not wanting to put the work in.
Anime was consumed via DVD, bootlegs, fansubs, and broadcast. Which meant turnaround times were extremely lengthy and the show wouldn’t hit the states until it’d already finished its season in Japan.
But the fantasy then was, If only we could get the shows right after they aired and turn them around as quickly as possible!
So unless you were really connected with a hardcore otaku who had connects overseas, you were pretty much at the mercy of the companies and the calendar as to when you got your anime.