Ask John: Are Anime Films Preferable to TV Shows?

Question:
Do you think that anime movies have a greater chance of success here in the U.S. than anime shows? Ponyo was a pretty successful movie, granted it was from Miyazaki and had a few famous American actors to do the voices, but I wonder if it was strictly Miyazaki or Tina Fey’s names that led to the success of the movie. These things probably made it more of a safe bet for marketing and budgeting, but my thought is just that anime on television is such a rare thing, and the lack of advertising these things get, that maybe just putting movies in a limited release for theaters is a better way to promote anime.

Answer:
The difficultly in addressing this particular quandary lies in defining the “success” that comes from relative exposure. Anime feature films do have some potential for exposure and success that television anime do not have. But television anime likewise has potential that feature films do not have. Anime feature films that reach American theaters are typically high profile titles and works with impressive, lavish animation quality. Simply by nature of being theatrical releases, these pictures need and get mainstream advertising and press coverage. Mainstream film critics review anime films, which puts the films into the awareness of the mainstream public. Mainstream critics typically don’t review television anime. Feature films are often backed by major distributors including Disney, Warner Bros., and Sony while most television anime that reaches American broadcast is relegated to niche networks. Even with limited domestic ttheatrical distribution, feature anime do seem to have a greater potential for mainstream recognition than TV broadcast anime. However, mainstream recognition doesn’t necessarily generate significant revenue.

Unlike feature films that get limited nationwide distribution for a relatively short time, television anime are accessible to millions of viewers every week. The only people likely to make an effort to go to a theater and pay to see an anime feature are hardcore otaku and independent film fans. Anime on television has a much greater potential of capturing casual viewers because the anime is freely and easily accessible. Viewers can even find television anime by accident while channel surfing. The same is not possible with theatrical screenings.

A theatrical screening, mainstream advertising and reviews, and distribution backing from a well-known studio all help give theatrical anime mainstream credibility. However, only a handful of annual anime films have the potential to support or justify an American theatrical release. Film franchises like Detective Conan or One Piece, children’s anime movies like Anpanman and Penguin no Mondai, and anime features with limited international appeal, like Mai Mai Miracle and Colorful, can’t sustain American theatrical distribution. While American theatrical release does trigger a lot of attention of anime, Japan simply doesn’t produce very many anime feature films viable for American theatrical release. The argument may be made that Japan’s animation industry should create more anime viable for American theatrical release, but there’s little motivation in Japan to do so. Japan is the primary audience for anime feature films, and Japanese audiences are the biggest paying audience for anime feature films. So there’s little reason to make anime films specifically for American theatrical release.

Indeed, at least in terms of generating exposure and recognition, domestic theatrical screenings do contribute more to anime than television broadcasts. Note that multiple anime films have been nominated for Academy Awards, yet no television anime has ever been nominated for an Emmy. But the practical limitations and necessities of theatrical distribution limit how many anime films can reach American theaters. Domestic distributors want anime to get as much exposure as it can get. When theatrical distribution is viable and possible, anime films to reach American theaters. But in terms of generating revenue, television broadcast serves as an equal if not greater catalyst, and any public distribution is better than none.