The Eva Monkey wrote:Remind me what this is based on. It's very standard in that industry for translations, scripts, and dub work to go through some sort of approval. Not to mention communications between the two, because the ADR team is always certain to have questions.
I'm basing this observation on amount of revisions taken after the initial US release of the media. ADV had to redub stuff once after getting it wrong in their initial release ("brain damage" was changed to "brain contamination" in Episode 2, for example), Funimation had to redub once as well for Eva Q, as well as reformat 1.11 discs to expunge unlicensed special features from future disc printings. Two of the largest and most popular anime dubbing companies of their respective times had to redo it and reissue the property at least once.
How many times did Manga Entertainment have to reissue their release to resolve all of the complaints we have about it?
Zero times. One and done, baby. They released it once, then Gainax never told them they had to fix anything ever again.
The Eva Monkey wrote:That seems like conjecture. Sure, he had creative differences with the mangaka of Kare Kano, but the timing of his production of Love & Pop doesn't support the idea that he quit, left, or didn't care about the anime industry.
On the current GKids US Blu-ray/DVD release of
Nausicaa of the Valley of the Wind, there's a recorded discussion between Hideaki Anno and Toshio Suzuki. During that discussion, Suzuki reflects that Anno seemed to have "taken a break" from animation after Evangelion. (Neither Suzuki nor Anno seem to even recall Kare Kano in this conversation.) Anno replied something to the effect of "I was disappointed with the animation industry as a whole," so he "pursued live-action filmmaking." It's a fascinating listen. The fact that neither the lead producer at Ghibli nor a member of the board of directors of Gainax even acknowledge the existence of the Kare Kano anime is telling to me about how little Anno seemed to actually be involved with it at some point during its production. They both just seem to skip that show and go "Yeah, that whole live-action thing happened shortly after Eva, didn't it?"
To me, this might also explain the sheer amount of repurposed animations in Kare Kano. The characters moving like Evangelion characters (or even like the Eva Units themselves, occasionally) seems to be less of an homage to Anno's other work in this context, and more of a shortcut to a finished product. Sure, Anno was still on the board of directors until be built his own studio in 2006, but Gainax was never a finely-tuned and efficient business to begin with anyway. God only knows what being on the board of directors actually meant for that company.
Gendo'sPapa wrote:Honestly, I'm just curious and wondering if I'll have to calm my frustration when/if they brand the series A NETFLIX ORIGINAL.
Over half of the "Netflix Originals" on their service were financed, shot and originally released without their involvement. But, normally when they buy up exclusive rights to a series if they can get away with it they just brand it a Netflix Original.
IIRC, the contract Netflix has with Khara is in no way legally exclusive. (Funimation can still buy the release rights for NGE in the US specifically, for example, and not step on anyone's toes.) So this might eliminate a "Netflix Original" treatment of the property. (I hope.)
