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NEWS: Yuri!!! on Ice: Ice Adolescence Film Canceled

MF65 wrote:

For future reference, here's Yuri!!! on ICE's production committee, in order: Avex Pictures TV Asahi Dentsu Inc. CIC cygames TV Asahi Music Movic MAPPA But, by all means, do keep blaming the guys at the end of the food chain for the cancellation. Avex and the others appreciate your support

Where did you get this information? Neither the opening nor the ending credits show the members of the production committee. I’m not trying to doubt you, but asking out of interest.

Producer:
Jun Togawa
Shinsaku Hatta
Takashi Watanabe

Production:
Nippon Animation
Pony Canyon
TV Tokyo

Shinsaku HATTA is a Producer for TV Tokyo, and Jun Togawa is a producer for Nippon Animation.

DanMatcha wrote:

MF65 wrote: For future reference, here's Yuri!!! on ICE's production committee, in order: Avex Pictures TV Asahi Dentsu Inc. CIC cygames TV Asahi Music Movic MAPPA But, by all means, do keep blaming the guys at the end of the food chain for the cancellation. Avex and the others appreciate your support Where did you get this information? Neither the opening nor the ending credits show the members of the production committee. I’m not trying to doubt you, but asking out of interest.

They most likely got it by looking up the producers. When the production committee is hidden by a name, you have to look up each individual producer to see what company they're representing, and the order they're credited shows who put the most money in and who put the least.

To give an example of this kind of detective work, look at the encyclopedia page for The Wallflower, and you'll see...

Quote:

Producer: Jun Togawa Shinsaku Hatta Takashi Watanabe Production: Nippon Animation Pony Canyon TV Tokyo

In the source field for the companies, a user added:

Quote:

Shinsaku HATTA is a Producer for TV Tokyo, and Jun Togawa is a producer for Nippon Animation.

For Pony Canyon, the source is just "producer credits.".

Note: ANN displays credits in alphabetical order, so this does not show the order in the credits.

To give another example, this Japanese blog post tries to figure out the production committee for Rising of the Shield Hero.
https://web.archive.org/web/20230602084723/https://www.aobayuki.com/entry/anime/shieldhero-iinkai

They did a bunch of these.
https://web.archive.org/web/20230602085803/https://www.aobayuki.com/archive/category/オタクコンテンツ

I knew it, 7 years is too big a gap. The delays on stuff like Gundam SEED Freedom make perfect sense but no easy explanation exists here. This IP clearly doesn´t fit into MAPPA´s catalogue anymore due to a full-scale studio transformation and they can go for easy (male audience) IP money elsewhere.
The IP has to belong to them so the projects can´t be pitched to another studio and they aren´t willing to sell it either. It would make them look like fools if the film prints money elsewhere. See Coyote vs. Acme. The other explanation is that key personnel consists of unemployable psychos but that is far less likely. Will we even find out? Maybe but not anytime soon.

Where is Uru in Blue? Is Uru in Blue Safe?

Dang, now I will need to find a new Joke about a Promised Film that keeps getting delayed forever

I’ve heard several second-hand & unconfirmed rumblings about the project for years from the sakuga community, but no real receipts exist, so maybe take what I’m saying as a hypothetical situation, rather as anything concrete.

First up, there has been low-level buzz for years now that Sayo Yamamoto isn’t perhaps the easiest person to work under. She’s clearly driven and ambitious, certainly overly so given the limitations of the projects she’s worked on, and it’s led to the occasional off-hand comment to slip out going all the way back to Mitchiko & Hatchin.

It’s also true that Yuri on Ice tv struggled to maintain a consistent quality throughout its run, particularly in the performances. So when the movie was announced there were all sorts of talk about rotoscoping real routines and using bold new techniques that looked intent to eclipse even her work on the Japan Animator Expo prototype short, ENDLESS NIGHT. In some way she reminds me of a Tetsuya Nomura type figure; someone clearly talented, but with the tendency to constantly expand parameters & shift goalposts to the point it risks stalling or even stopping a project dead in its tracks.

And then there’s MAPPA under CEO Manabu Otsuka. I think most people are already fully aware of what the company has become under this tenure, from appallingly short timescales (eg the Jujutsu Kaisen movie four month production window), to staff vocally protesting working conditions (the Ema Yasuhara hanging incident).

It’s important to remember that MAPPA was originally formed because Masao Maruyama believed in director Sunao Katabuchi’s passion project to make his adaptation of In This Corner of the World a reality, despite neither having the funds to get the project off the ground. It took years of generating publicity, both domestic & internationally, finding sponsors and resorting to several crowd-funding initiatives to slowly finish the film, in which time Katabuchi often lived in such poverty that he couldn’t afford to eat.

Fortunately when it was released, it was a huge commercial & critical success, truly putting the studio on the map.

13 years later, Otsuka’s chief view of the film is that it didn’t make them enough money.

The man’s a true corporate ghoul in every sense of the world, & the embodiment of how all the worst traits of the anime industry have only gotten worse with its meteoric rise on the international stage. He wants the studio to be as well regarded as Kyoto Animation, seeming unaware or uncaring that it was that studio careful cultivation of life-work balance that generated such good will around the world.

So ultimately what appears to have happened was an on-going clash, leading to a stalemate, between a director constantly demanding more resources, & a boardroom only interested in giving out the minimum allowances for the maximum yield, with the staff suffering from both sides. Perhaps Yamamoto figured the endearing popularity of YoI would lead them to acquiescing to her demands in the end, but MAPPA are now clearly only interested in getting the hottest new properties to build their even impressive portfolio (at the expense of promising new talent), and eight years was long enough to bicker over before finally pulling the plug.

I was always generally indifferent to Yuri on Ice, appreciating what it represented, but thinking it was also too compromised of a story to properly work as a one-cour show, so I’m honestly torn between being frustrated that all this came to nothing, and having relief that it allows Yamamoto to finally work on some exciting new properties. In the meantime, I’d strongly recommend going back & checking out her earlier works if you haven’t done so already, with The Woman Called Fujiko Mine & particularly Mitchiko & Hatchin being stellar shows.

fathomlessblue wrote:

I’ve heard several second-hand & unconfirmed rumblings about the project for years from the sakuga community, but no real receipts exist, so maybe take what I’m saying as a hypothetical situation, rather as anything concrete. First up, there has been low-level buzz for years now that Sayo Yamamoto isn’t perhaps the easiest person to work under. She’s clearly driven and ambitious, certainly overly so given the limitations of the projects she’s worked on, and it’s led to the occasional off-hand comment to slip out going all the way back to Mitchiko & Hatchin. It’s also true that Yuri on Ice tv struggled to maintain a consistent quality throughout its run, particularly in the performances. So when the movie was announced there were all sorts of talk about rotoscoping real routines and using bold new techniques that looked intent to eclipse even her work on the Japan Animator Expo prototype short, ENDLESS NIGHT. In some way she reminds me of a Tetsuya Nomura type figure; someone clearly talented, but with the tendency to constantly expand parameters & shift goalposts to the point it risks stalling or even stopping a project dead in its tracks. And then there’s MAPPA under CEO Manabu Otsuka. I think most people are already fully aware of what the company has become under this tenure, from appallingly short timescales (eg the Jujutsu Kaisen movie four month production window), to staff vocally protesting working conditions (the Ema Yasuhara hanging incident). It’s important to remember that MAPPA was originally formed because Masao Maruyama believed in director Sunao Katabuchi’s passion project to make his adaptation of In This Corner of the World a reality, despite neither having the funds to get the project off the ground. It took years of generating publicity, both domestic & internationally, finding sponsors and resorting to several crowd-funding initiatives to slowly finish the film, in which time Katabuchi often lived in such poverty that he couldn’t afford to eat. Fortunately when it was released, it was a huge commercial & critical success, truly putting the studio on the map. 13 years later, Otsuka’s chief view of the film is that it didn’t make them enough money. The man’s a true corporate ghoul in every sense of the world, & the embodiment of how all the worst traits of the anime industry have only gotten worse with its meteoric rise on the international stage. He wants the studio to be as well regarded as Kyoto Animation, seeming unaware or uncaring that it was that studio careful cultivation of life-work balance that generated such good will around the world. So ultimately what appears to have happened was an on-going clash, leading to a stalemate, between a director constantly demanding more resources, & a boardroom only interested in giving out the minimum allowances for the maximum yield, with the staff suffering from both sides. Perhaps Yamamoto figured the endearing popularity of YoI would lead them to acquiescing to her demands in the end, but MAPPA are now clearly only interested in getting the hottest new properties to build their even impressive portfolio (at the expense of promising new talent), and eight years was long enough to bicker over before finally pulling the plug. I was always generally indifferent to Yuri on Ice, appreciating what it represented, but thinking it was also too compromised of a story to properly work as a one-cour show, so I’m honestly torn between being frustrated that all this came to nothing, and having relief that it allows Yamamoto to finally work on some exciting new properties. In the meantime, I’d strongly recommend going back & checking out her earlier works if you haven’t done so already, with The Woman Called Fujiko Mine & particularly Mitchiko & Hatchin being stellar shows.

>He wants the studio to be as well regarded as Kyoto Animation

it's very funny because he won't be even as Kyoto was and it's very far from a dream his studio will be like that lmao.

So, the order the producers are credited in lines up with the order of the companies in the production committee? Thank you very much for the helpful response. Thanks to the helpful information and links you posted, I was able to learn more about how anime production committees work. Also, what’s the reason why some anime hide the members of the production committee, but others don’t?

The IP has to belong to them so the projects can´t be pitched to another studio and they aren´t willing to sell it either. It would make them look like fools if the film prints money elsewhere.