Release Date: June 27, 2020 (Delayed)

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Re: Release Date: June 27, 2020 (Delayed)

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Postby Gendo'sPapa » Mon Apr 20, 2020 10:38 am

Joseki wrote:I wouldn't speculate on who has the final say, unless you have seen the contracts.


I don't mean to speculate. I hope it's not coming across that way. I'm looking at the issue simply when it comes to theatrical distribution having already spoken to a few filmmakers about it in my personal life.

Distributors assure filmmakers that when a movie is finished it’s marketed appropriately and is able to secure a theatrical run that best suits it. A key thing the distributors make sure of it is that the movie doesn't get released the same day as 15 other similar movies because that could divide up the paying audience and could lessen the number of screens the movie could play on.

Khara working with both Toho & Toei means they want the best release possible for their film. Khara wants the film to play on the most number of screens, they want assurances they'll be on the largest IMAX screens in the country and they want to know they'll have little to no direct competition on opening weekend. No matter what, Toho + Toei will absolutely get them that. The question is just when that date is and with Covid-19 everything has become insanely more complicated.

When movie theaters are able to open again, whenever that may be, Toho + Toei and all the other film distributors will have dozens of already finished or near finished movies that each have specific contracts for a theatrical run and all those movies will need to be rescheduled on the calendar. Distributors will also have to work around the big Hollywood movies that take up a lot of screen space and normally don't budge once they've set their eyes on a date. Theatrical release schedules are usually mapped out months if not years in advance (obviously the bigger the project the earlier the plans are formulated) and now the release calendar will have to be rebuilt almost entirely from scratch.

Evangelion will take a priority over most films because it’s such a highly anticipated release but Khara isn't able to just strut into Toho & Toei’s offices and say "Give us this Date with X amount of Theaters and that's Final" because it could lead to a conflict of interest Toho/Toei have with another film. Here's a simplification but if say the new Pokemon movie has already signed a contract assuring they will release on Date X and are promised 50% of all screens in Tokyo for the first weekend. Then Khara comes along, not knowing of Pokemon's contact, saying they want to release on Date X and want to have 51% of all screens in Toyko then that request can't be meet. (Obviously that scenario is a gross simplification, it's never as easy as only two movies dividing all screens)

I would guess (now this is true speculation) but Khara have given Toho + Toei a list of dates they like - these can be anything from two months to a year + in the future - and the work is being done/has been done to see if any of those are feasible and to assure there are no conflicts of interest. Naturally, the complications of the job has multiplied tenfold because of Covid-19 and not knowing when theaters will reopen again. Most of the filmmakers I've spoken with recently in my personal life say their films are on hold indefinitely or are being sold to a streaming service.

Evangelion 3.0+1.0: Thrice Upon A Time (love that title) won't be going to a streaming service. It also won’t have much difficulty finding a new release date when theaters reopen. It's not a small obscure indie but is one of, if is not THE most highly anticipated Japanese theatrical release that was scheduled for 2020. Once theaters can reopen Toho & Toei will provide them with the best possible release date and once that date is official and worked into the schedule all other distributors will give it a wide berth. But, because of the complication of the Covid-19 situation Khara will have to work with Toho/Toei to confirm a date that works so they all can move ahead on it together. Khara has a say in the discussion - I imagine they can turn down dates offered - but the final decision rests with the distributors who have to confirm if a release date they have in mind can actually happen.

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Re: Release Date: June 27, 2020 (Delayed)

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Postby Lacissal » Mon Apr 20, 2020 1:07 pm

View Original PostGendo'sPapa wrote:Distributors will also have to work around the big Hollywood movies that take up a lot of screen space and normally don't budge once they've set their eyes on a date. Theatrical release schedules are usually mapped out months if not years in advance (obviously the bigger the project the earlier the plans are formulated) and now the release calendar will have to be rebuilt almost entirely from scratch.


Two things to bear in mind with Shin Eva's release will be that i) major Western releases tend to open later in Japan as one of the last major markets they expand into and ii) the Japanese domestic box office is much more balanced with homegrown films often outperforming Hollywood films (and a large amount of them distributed by Toho) . If you look at the box offices for say France or Germany, it won't look too different from the US or UK with 9/10 of the top grossing releases being Disney/Marvel/CGIkidsfilm/otherfranchise, while in Japan Shin Godzilla was the 2nd top grossing film in 2016 and 3.0 the 4th in 2012. Unlike the US box office where a release like Star Wars or Avengers 258 is scheduled for one of a handful of critical opening weekend slots in the early summer or before Christmas, anything else released then being likely to be curb-stomped.

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Re: Release Date: June 27, 2020 (Delayed)

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Postby Gendo'sPapa » Mon Apr 20, 2020 3:38 pm

^ Oh, I am in no way insinuating Eva needs to worry about box office. Short of an unexpected surprise, had 2020 proceeded as planned Eva would have likely been the biggest moneymaker of the year. Bringing up Hollywood is just something to be aware of because they are still successful - 30 weeks in 2019 had a Hollywood releases accounting for number one at the box office -, they do take up a lot of screen real estate, they plan early - if theaters are reopened by the end of the year a November release for the film might already be out of question unless Khara is willing to share/give up a a lot of screens because Black Widow and James Bond have already rescheduled their Japanese releases dates to Nov 6 & Nov 20 respectively - and theater chains, even Toho, want to work with Hollywood because of the strong repeat business.

Eva won't have an issue finding an ideal new release date. (My hypothesis is the film is going to be shifted back a full year to June 25, 2021 but that's just my thinking and I would love to be wrong and have it be much sooner) . I'm just saying the final decision won't be decided by Khara just picking a date but has to be negotiated and worked out with Toho/Toei because theatrical distribution worldwide is going to be a clusterfuck for the next year or more.

https://en.wikipedia.org/wiki/List_of_2019_box_office_number-one_films_in_Japan

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Re: Release Date: June 27, 2020 (Delayed)

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Postby kuribo-04 » Mon Apr 20, 2020 5:18 pm

while in Japan Shin Godzilla was the 2nd top grossing film in 2016 and 3.0 the 4th in 2012.

I was under the impression 3.0 was the second highest grossing of 2012 too, only behind a One Piece movie.

if theaters are reopened by the end of the year a November release for the film might already be out of question unless Khara is willing to share/give up a a lot of screens because Black Widow and James Bond have already rescheduled their Japanese releases dates to Nov 6 & Nov 20 respectively

I don't know what the plans will be, but IIRC 3.0 competed with that year's Bond (was it Skyfall?) and I remember news about it selling more tickets.

And yes, Thrice Upon A Time sounds great.
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Re: Release Date: June 27, 2020 (Delayed)

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Postby DarkBluePhoenix » Mon Apr 20, 2020 8:36 pm

Ah yes, I believe it did outsell Skyfall... however this is a landmark film coming up - the 25th film and Daniel Craig's last so its highly anticipated, not something you want to risk competing against on an opening weekend.
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Re: Release Date: June 27, 2020 (Delayed)

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Postby kuribo-04 » Thu Apr 23, 2020 5:54 am

More of my "wouldn't a digital distribution future be nice" fantasy, so don't bother reading if you think that's dumb:

SPOILER: Show
Eva 1.0 has accumulated 3.7 million views on YouTube in 3 days. I imagine most of those views are Japanese people, since the film has no subs. This is a 2007 film that most Eva fans probably know in and out by now (really similar to the series beginning as well) and it still made those numbers. 2.0 and 3.0 have less views but still a lot, probably because people are watching them in order, so not everyone will get to the latter ones.

If 3.3 million of those views (so less than the actual total of only the first three days) had payed 15$, they would have made 50 million by now, which was 3.0's total box office.

Now imagine if this was the final Evangelion film, which no one has seen yet and fans are desperate to watch. They could ask for more money, use a platform more secure than YouTube, etc. It could have subs, reaching people all over the globe.


I also have no idea how they'll manage to release the films that are accumulating month after month. It ain't looking pretty. I continue to be disappointed by this year in all ways imaginable.

I've spent lots of time just taking screenshots of 3.0 on YT. That film is so pretty.
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Re: Release Date: June 27, 2020 (Delayed)

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Postby FreakyFilmFan4ever » Thu Apr 23, 2020 6:19 am

I get it, dude. 2020 sucks hard and makes me feel depressed more than I have the energy for.

SPOILER: Show
I hold these movie nights with my friends and screen titles that many of them wouldn’t otherwise see or even have access to. (I have some out-of-print titles that makes the rounds occasionally.) The whole thing is a success, with a lot of people realizing as adults that they’re actually kinda fans of Godzilla, certain anime, or other non-American-blockbuster affair.

2020 was gonna be the year I introduced my friends to Evangelion via the “Rebuilds.” (It’s a lot easier to handle in a group setting than the show, both within terms of duration and narrative emotional stability.) But Covid-19 put a halt to that as well, as me and my roommates have decided to quarantine. Aside from my film gigs (which have completely dried up now) I also work in a pharmacy. So I still have income, but I’m constantly in contact with sick people. My job has taken several precautions, but even then I don’t feel comfortable inviting friends over during a pandemic, as I might catch it and infect them, some of whom are auto immune deficient in some way.

I tried holding virtual movie nights, streaming some of the titles that I have in my collection, but after two weeks of that the GPU of my computer fried, and now I’m without a computer until I can figure out what to do. (I’m typing this on my phone.) The “Rebuilds” still go unwatched, and I can’t even Skype with anybody until I get my computer replaced. (It’s a Mid-2011 MacBook Pro, so there’s no fixing it.)

I hate this quarantine, I hate this virus, and I hate having to interactions with friends. Not even virtual interactions. It’s almost like I’m living in the 90’s. But at least I have a physical movie collection of over 500 titles and some art projects to keep me busy, so at least I’m not going insane.

Unfortunately I don’t know if the same amount of people who log in and watch a movie for free on the internet are also willing to pay $15 for the same experience. This is all uncharted territory. There’s no analytics to go by, and that concerns distributors.

I’m so bored, though, I’m watching the first movie that comes out to theaters in my area after all this. I don’t care if it’s a Hallmark Christmas special, it’s happening.
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Re: Release Date: June 27, 2020 (Delayed)

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Postby kuribo-04 » Thu Apr 23, 2020 9:40 am

Unfortunately I don’t know if the same amount of people who log in and watch a movie for free on the internet are also willing to pay $15 for the same experience.

Yeah lol. That's why I called it a fantasy. It's really a best case scenario. There's no guarantee people who watch something free would pay for something similar. Though I feel confident to an extent that it would play out fairly well. But who knows.

I'm gonna answer that part you put in a spoiler in a spoiler as well:

SPOILER: Show
All of that sucks. I've been away from my friends for years now, so I know how it feels to have some kind of group activity taken away. Though in this case the circumstances are uglier.

Also sucks that you have to work at a pharmacy, but it's thanks to people doing these jobs like you that society can keep going. I hope in the future you can look back on this proudly.

I'm just completely alone now, with way too much time to overthink stuff, nightmares pretty much every night and a real lack of energy. I'll finally go back to my family next month though, it'll be my birthday and I have some media to look forward to (films and games I don't have access to where I live now) so hopefully it'll get better.

The hardest thing for me is dealing with the disappointment this year is, after a series of hard years. I thought 2020 would be "the shit" in comparison. (These disappointments are about "real life stuff", but not gonna lie, the Eva delay is a much smaller in comparison but still real part of this amalgamation of unexpected negative turns.
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Re: Release Date: June 27, 2020 (Delayed)

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Postby robersora » Thu Apr 23, 2020 12:15 pm

View Original Postkuribo-04 wrote:kuribo's fantasies, restated


Two things; there's the artists side and the production side.
First of all; Yes, but it's going to get pirated instantly; you'd be surprised how small the fraction of people is, who are willing to pay for art. Trust me, I'm a working musician and a big part of my job is persuading people that art is worth money. The producers know this.
Second of all, Anno has stated he really wants these movies to be experienced in cinemas. They are made for cinema and not for someone to watch on their phone. People who view media as content that has to be consumable at their leisure might struggle to understand; but artists have real pride in their chosen medium y'know?
This is especially true in Japan, where most people don't have Home Cinema set ups... They won't hear the painstakingly implemented amazing sound design as it was supposed to be on the TV. They won't have the glory of a huge screen capturing their field of view.

On the other hand: I do agree, the cinema system is flawed - we have to wait for an eternity to get Japanese movies outside of Japan, and where I live most but the biggest titles like Wheatering with You or Dragonball won't even make it near me
or
how for Q apparently nobody gave a fuck to make the movie officially available to the US audiences for two whole years

So I do get your frustration, but I tend to look at things as art and not as content, and I for one am willing to engage with it in a respectful manner.


Also, kuribo and Freaky, while I am very empathetic/sympathetic (?) to your experiences, please keep it out of this thread as it is not very on topic... if you could move this to FML I would very much appreciate it, thanks a lot!
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Re: Release Date: June 27, 2020 (Delayed)

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Postby kuribo-04 » Fri Apr 24, 2020 7:21 am

Putting the insane kuribo fantasies in spoiler for same reason as before.
SPOILER: Show
First of all; Yes, but it's going to get pirated instantly; you'd be surprised how small the fraction of people is, who are willing to pay for art.


Yeah that's a real concern. But even films shown in cinema seem to have a camrip on the internet pretty quickly. There are tons of factors that would be relevant as to how this plays out, but I think the people who wouldn't pay to see the movie streamed are the same ones that wouldn't go to the cinema, and that the numbers would be similar. There are also ways to make screenshots or screenrecording impossible (or at least more difficult) so you'd still need the official way for the high quality version.
And as for the number of people who don't want to pay, I believe that. But what about the more "otaku" audience?

Second of all, Anno has stated he really wants these movies to be experienced in cinemas.

I think I've said this before, but Anno's prefered way of releasing the film is of higher priority to me, it's his project and the result of his hard work (and all of khara). But I still personally disagree, so I guess I'm divided.
Keep in mind I'm an aspiring artist/director/hopefully anything at all, and I personally wouldn't mind the way the audience chooses to watch my work (though I'd probably be vocal about what I think is the ideal way). It sort of becomes theirs at that point. (I'm remembering all the movie ruining experiences I've had at cinemas...including sound being gone)
My opinion on this could change obviously but right now I don't think so.

People who view media as content that has to be consumable at their leisure might struggle to understand; but artists have real pride in their chosen medium y'know?

To add to the point above, I think I've done enough to call myself an..."artist" (in quotation marks lol) and I feel I'd like it if my audience can enjoy my work in the way they feel they'll get the most out of it.
Keep in mind movies being shown not only at cinemas hypothetically would be giving people choices, not removing a type of presentation the artist themselves likes.

They are made for cinema and not for someone to watch on their phone.

Reminder that watching a movie at home doesn't equal watching it on the phone. (Most of the time) I have access to a 4k HDR TV with 5.1 surround sound. There aren't many advantages a digital cinema can offer at that point (to me).
Also, while I nerd over audiovisual perfection, I feel a truly good movie will make you forget about the specific way you are watching it. A screen will occupy about the same space in your field of view (ideally) regardless of it being a phone or cinema screen.
Maybe I'm weird, but my preferes first watch is usually on a laptop. I feel it's more intimate and I can better concentrate on the experience, the story, the shot composition, etc. I can still watch afterwards in all numbers of ways.


This is especially true in Japan, where most people don't have Home Cinema set ups... They won't hear the painstakingly implemented amazing sound design as it was supposed to be on the TV.

I did not know this. But maybe that's just a sign those people don't care?

On the other hand: I do agree, the cinema system is flawed - we have to wait for an eternity to get Japanese movies outside of Japan, and where I live most but the biggest titles like Wheatering with You or Dragonball won't even make it near me

Yeah usually that's my experience.

So I do get your frustration, but I tend to look at things as art and not as content, and I for one am willing to engage with it in a respectful manner.

My frustration is a result of my respect, since all I want is to watch in the way I will get the most out of a movie. Usually when I go to the cinema it's for movies I care less about. I don't think that's related to viewing art as content. (And really I think all content is art anyway.)
I think a sign of disrespect would be to demand it be done how I want. But I'm not. It's just my opinion on how it would ideally be, which is as valid as the contrary.
Otherwise, I could also argue that artists are lessening the potential impact of their work by being stubborn and treating films more as an event that something to intellectually engage with (<---I don't believe any of that but that's how one could make it sound to invalidate the opposite opinion).


Also, kuribo and Freaky, while I am very empathetic/sympathetic (?) to your experiences, please keep it out of this thread as it is not very on topic... if you could move this to FML I would very much appreciate it, thanks a lot!

Will keep this in mind for the future. :)
Sorry about that.
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Re: Release Date: June 27, 2020 (Delayed)

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Postby pwhodges » Fri Apr 24, 2020 4:32 pm

This article from a - surprise - conservative US site argues that new releases may get held back after resumption of business, or even pushed to streaming, because with people not confident in returning to theatres, takings are bound to be hugely less than was originally budgetted:

https://thebulwark.com/we-cannot-reopen-america/
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Re: Release Date: June 27, 2020 (Delayed)

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Postby Joseki » Fri Apr 24, 2020 4:38 pm

Some Hollywood movies are being sent straight to online rental, 24h for 19.99, but nothing major yet.

I think all majors are waiting for the fist big blockbuster to gamble and react to that.
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Re: Release Date: June 27, 2020 (Delayed)

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Postby robersora » Fri Apr 24, 2020 11:13 pm

View Original Postkuribo-04 wrote:Putting the insane kuribo fantasies in spoiler for same reason as before.

I think it's great you're thinking outside the box, I just argue for this release in particular this is a castle in the sky.

View Original Postkuribo-04 wrote:Yeah that's a real concern. But even films shown in cinema seem to have a camrip on the internet pretty quickly.
There are tons of factors that would be relevant as to how this plays out, but I think the people who wouldn't pay to see the movie streamed are the same ones that wouldn't go to the cinema, and that the numbers would be similar. There are also ways to make screenshots or screenrecording impossible (or at least more difficult) so you'd still need the official way for the high quality version.
And as for the number of people who don't want to pay, I believe that. But what about the more "otaku" audience?

This tends to not be that big of a problem with Japanese releases, also, there is a difference between a shoddy camrip (even if phone cameras have gotten amazing recently) and a rip of a high quality stream. I only see this being less of a concern for Khara, if they put it onto Netflix - where revenue would come in anyway - BUT Khara would basically throw away money, since payouts from Netflix per stream is a tiny fraction of a movie ticket.





View Original Postkuribo-04 wrote:I think I've said this before, but Anno's prefered way of releasing the film is of higher priority to me, it's his project and the result of his hard work (and all of khara). But I still personally disagree, so I guess I'm divided.
Keep in mind I'm an aspiring artist/director/hopefully anything at all, and I personally wouldn't mind the way the audience chooses to watch my work (though I'd probably be vocal about what I think is the ideal way). It sort of becomes theirs at that point. (I'm remembering all the movie ruining experiences I've had at cinemas...including sound being gone)
My opinion on this could change obviously but right now I don't think so.
....
Keep in mind movies being shown not only at cinemas hypothetically would be giving people choices, not removing a type of presentation the artist themselves likes.

Just by offering the option for people to watch it on a phone as opposed to in a theatre they would decide that the artist's vision is less worth than the comfort of the audience.

View Original Postkuribo-04 wrote:To add to the point above, I think I've done enough to call myself an..."artist" (in quotation marks lol) and I feel I'd like it if my audience can enjoy my work in the way they feel they'll get the most out of it.

We are young people, happy enough if 10 people care about our work, while Shin Eva is is very much the culmination of Anno's whole career as an artist. The context is completely different.
View Original Postkuribo-04 wrote:Reminder that watching a movie at home doesn't equal watching it on the phone. (Most of the time) I have access to a 4k HDR TV with 5.1 surround sound. There aren't many advantages a digital cinema can offer at that point (to me).

That's why I put forth the example of the average Tokyotee set-up


View Original Postkuribo-04 wrote:Also, while I nerd over audiovisual perfection, I feel a truly good movie will make you forget about the specific way you are watching it. A screen will occupy about the same space in your field of view (ideally) regardless of it being a phone or cinema screen.

Of course it does, but I'm sure the effect of seeing a Cinema in EOE in an actual cinema after experience an audiovisual orgasm is quite hard to to replicate anywhere else.



View Original Postkuribo-04 wrote:I did not know this. But maybe that's just a sign those people don't care?

It's more that they simply don't have the space and resources to afford it. An apartment that would be soundproof and big enough to have enough space for a home cinema is extremely expensive in Tokyo.


Will keep this in mind for the future. :)
Sorry about that.[/quote]
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Re: Release Date: June 27, 2020 (Delayed)

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Postby kuribo-04 » Thu Apr 30, 2020 3:45 am

SPOILER: Show
BUT Khara would basically throw away money, since payouts from Netflix per stream is a tiny fraction of a movie ticket

Does Netflix work per view? I thought they just payed whatever they wanted on their catalogue, and kept subscription money for themselves. So in theory Netflix could pay khara an estimate of what they would have made at the box office. Which is a lot of miney of course..But is it for Netflix?

Just by offering the option for people to watch it on a phone as opposed to in a theatre they would decide that the artist's vision is less worth than the comfort of the audience.

This is assuming the artist does consider the advantages of cinema part of his vision. Remember Anno is the guy that came to the conclusion you just needed Yuko Miyamura and a sharpie to express the character of Asuka. I don't know what his stance on cinemas specifically is, but he did not come up with them. It's just the standard. So I don't know what he thinks.
Anyway, as I explained I really don't consider other ways of watching a movie lesser versions, and don't think the artist's vision would be significantly compromised. I do feel empathy however for the artist who has a different opinion than me and considers this important.

The context is completely different.

I honestly don't think it depends on the context, but what that person specifically considers important.

Of course it does, but I'm sure the effect of seeing a Cinema in EOE in an actual cinema after experience an audiovisual orgasm is quite hard to to replicate anywhere else.

I agree that that exact feeling was specific to that time, but is it better than other ways of viewing the film? I certainly wouldn't change my first time viewing EoE on a laptop for anything else. And it became my favourite movie. I still intelectually understand and can relate to the effect this must have had on an audience.

Anyway, sometimes I think it's impossible Eva will come out digitally, other times I see news likke yesterday, of Shinzo Abe saying they don't know if the 2021 Olympics will take place, and then I think "Yeah it's gonna come out digitally eventually".

Make no mistake: I'd be excited to watch the film, but that doesn't mean I wouldn't feel sad about the circumstances. On the other hand, I think the fact that we could be able to watch the film despite tge situation, (possibly) globally to me would be pretty uplifting in that it shows what we are able to do.

I dunno, 2020 sucks.
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Re: Release Date: June 27, 2020 (Delayed)

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Postby Rei IV » Thu Apr 30, 2020 9:27 am

True but I'm a bit optimistic for 2021 as well as when Thrice Upon A Time Comes out. :nyao:
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Re: Release Date: June 27, 2020 (Delayed)

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Postby TheFriskyIan » Thu Apr 30, 2020 11:40 am

I refuse to talk about the movie in any fashion of the idea that it will be released in 2021, I am pushing hard for the belief that before midnight of December 31st this year I will have seen some form of the movie.
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Re: Release Date: June 27, 2020 (Delayed)

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Postby intermediateO » Fri May 01, 2020 5:00 am

Up until very recently, I was heavily under the impression that there was pretty much 0 chance of an atypical release for Shin Eva, but now, I don't know.

Firstly, not only are they free streaming the other Rebuild films on the Eva Extra app, but also on YouTube. Plus they have subtitled versions. Plus they have commentary versions. Plus they even did live watch-alongs with staff and fans interacting. It started to make me feel like they were experimenting for something.

Then yesterday, news broke of the first anime film in Japan to go the VOD premiere route, forgoing it's original June theatrical release.

So, could Shin Eva technically do something similar?
I do think they have the physical capability to do so.
With Avant almost a year ago, and the teaser way back in 2018, it wouldn't be surprising to me if they had the movie basically all together by now.

Do they want to?
Of course not.
Would they make less money compared to if the pandemic didn't happen and they could have had a normal launch?
Almost certainly.

But,
the only real question that matters in this "can't be helped" situation though, is...
Would they make more money releasing Shin Eva asap on VOD, or would they make more by delaying it months, maybe even years, until the theaters go back to normal?

And that's the thing. That answer is not clear.
Everyday I feel more and more that the theater option will become less financially viable. Who even knows what the theater landscape is going to look like after this situation.

There is one thing that is for certain though. Shin Eva will make it's money back. No ifs, ands, or buts, it will be profitable. The production budgets of anime films can only balloon to a certain amount, with true "hits" may sell tens of thousands of discs upon physical release. Eva completely blows all of these out of the water, always selling hundreds of thousands of discs when it comes out. Basically, Eva will make around 20 to 30 times as much money as other comparable productions, and they obviously aren't putting in 20 to 30 times the spending into the movie. (They just physically can't, unless they do gimmick stunt celebrity voice hires or something.)

Anime isn't like live action where the big, action blockbuster titles are dozens of times more expensive because of all the special and practical effects and big explosions.

So, lets say they did release it VOD. Why do I think that isn't that crazy? Well, it's because Evangelion is evergreen. It doesn't matter when they release it. The YouTube streams have seemed to prove that to me. In just one week they have racked up over 21 million views.
1.0, a 13 year old movie, has racked up almost seven million by itself. And this is excluding all the additional streaming numbers on other platforms.

Basically, the sooner you can get an evergreen title on the market, the more money you can make, simply because it doesn't depretiate in value. It's the same information Disney's abusee for their vault hoarding.

Eva is not a shlocky blockbuster film like The Expendables, needing to ride a wave of hype to a its-never-gonna-get-better-than-this theater release, and then ending up in a $10 dvd bargin bin as part of a 3-in-1 pack the next year.

So basically, I thinking a VOD option is becoming more and more "financially resposible" by the day. But, that didn't stop Anno from hemorrhaging money for years between 3.0 and now simply because he could. It'll ultimately be up to how he wants people to see the movie for the first time.

Here's hoping that Shin Eva has a feel good "let's band together" emotional punch so that it makes Anno decide it is more poignant to release during the crisis to lift peoples spirits or something.

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Re: Release Date: June 27, 2020 (Delayed)

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Postby FreakyFilmFan4ever » Fri May 01, 2020 5:34 am

I don’t mean to get everyone’s hopes up or stoke the fires or anything like that, but Universal made a smooth $100 million by bypassing the theater and releasing the film on digital platforms. Once they expressed interest in perhaps exploring both theatrical and streaming methods of distribution in the future, AMC banned all Universal movies from being screened in that theaters. (No more Jurassic World movies in AMC theaters, I guess.)

All that to say a very non-traditional method was used to premiere a movie and profited big time. Now, that might only work that well for children’s movies, or maybe Americans specifically are becoming too dependent on streaming services, I dunno. There’s no guarantee that it’ll work in Japan for an Eva title, and Toho probably won’t give up the opportunity of screening this film in one of their theaters in a way that excludes digital platforms. (Not to mention international releases and things like that potentially complicating matters even more.)

States side, AMC blacklisting Universal’s movies it a strong flex, but I don’t know how effective it’ll really be. Time will tell, I guess.
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Re: Release Date: June 27, 2020 (Delayed)

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Postby Gendo'sPapa » Fri May 01, 2020 11:37 am

Really don't know what all this stupid flexing between Universal and AMC is about. If AMC really wants to miss out on Fast & Furious 9, Minions 2 & Jurassic World 3 next year (maybe, unless it's already finished like Fast 9 I don't think many of the big blockbusters will be ready come 2021, smaller productions will be okay to start up quicker since they can keep to a contained crew but blockbusters have hundreds of people on set coming & going, much harder to contain) that's their (poor) business decision.

Anywho, it's up to the filmmakers if Thrice Upon A Time will go streaming. I don't see it. Though if it does the movie will have an unfinished score hobbled together from completed pieces, old pieces of music and whatever else they can find. It'll be a challenge but I trust the filmmakers can pull it off.

I still don't see it happening. Pre-Covd, tracking for Trolls 2 was pretty bad - the first film made bank but it wasn't universally loved and audiences were more interested in the films coming out around it - and Disney's Artemis Fowl has been a guaranteed flop for over a year now - it's another overly priced attempt at creating a young adult Harry Potter like franchise - so those two going streaming make sense. If Universal felt Premium VOD was as profitable as their marketing team is hyping it up to be then Fast 9, which IS finished and IS guaranteed to be a huge success, would be going online.
Last edited by Gendo'sPapa on Fri May 01, 2020 11:47 am, edited 1 time in total.

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Re: Release Date: June 27, 2020 (Delayed)

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Postby hui43210 » Fri May 01, 2020 11:47 am

I don't see it happening simply because Japan is pretty stubborn in it's ways when it comes to media distribution. I don't think Toho or Toei are going to buck any trends especially since they almost certainly would make more money if they wait to release it in Japanese theatres.

They aren't distributing this as a favor to fans or anything, this is to maximize profits.

Edit: On the other hand, Toho are the distributors for the Okada film that is going to Netflix instead, so they actually have set a precedent already. Still, doubt that film was projected to make anywhere near as much revenue as Evangelion.
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