Wikipedia

Draft:Tokyo Movie Shinsha

Tokyo Movie Shinsha Co., Ltd.
Native name
株式会社東京ムービー新社
Company type
Industry
PredecessorTokyo Movie Co., Ltd. (1964–1976)
Founded1964; 60 years ago (1964)
FounderYutaka Fujioka
DefunctNovember 1, 1995 (1995-11-01)
FateMerged with Kyokuichi
SuccessorKyokuichi Tokyo Movie Division/TMS-Kyokuichi
Headquarters
Tokyo
,
Japan
ParentSega (1991–1995)
Subsidiaries
  • Tokyo Movie
  • Telecom Animation Film
  • Toon Additional Pictures
  • Toon Harbor Works
  • TMS Entertainment, Inc.

Tokyo Movie Shinsha Co., Ltd.,[a] (also known as TMS and previously known as Tokyo Movie) was a Japanese animation studio based in Tokyo, Japan that was founded in 1964 by former Hitomi-za staffer Yutaka Fujioka. The company is best known for producing and/or animating a number of anime and animated shows.

In 1995, after a brief tenure as a wholly-owned subsidiary of video game and entertainment company Sega, the company merged with manufacturer and amusement center operator Kyokuchi, effectively dissolving the company. To continue doing animation work, Kyokuichi established the Kyokuichi Tokyo Movie (also known as TMS-Kyokuichi outside of Japan) division which lasted until 2000, when Kyokuichi renamed themselves to TMS Entertainment to focus more on animation and amusement centers. TMS would later divest their amusement centers to Sega, solely focusing on animation ever since.

History

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In 1964, Yutaka Fujioka, a former staffer of the puppet theater company Hitomi-za (人形劇団ひとみ座, Ningyō Gekidan Hitomi-za), established the animation studio Tokyo Movie Co., Ltd.[b] with an investment from Tokyo Broadcasting System.[1][2][3] Inspired by the broadcast of the first domestically-produced animated TV series Astro Boy on Fuji Television from the year prior, TBS encouraged Fujioka, who was working at Tokyo Ningyo Cinema (東京人形シネマ, Tōkyō Ningyō Shinema), the film production division of Hitomi-za, which had produced puppet theater programs for the station, to establish a studio. The studio's first production was an animated adaptation of Osamu Tezuka's Big X.[1] However, because all of the studio's staff came from puppet theater backgrounds and were unfamiliar with animation production, the studio suffered a huge loss and fell into a financial crisis.

In order to restore its management, the studio received capital participation from the television production company Kokusai Hōei (formerly Shintoho). Fujioka, the founder of the company, was demoted to director and head of the production department, and Rokuzo Abe of Kokusai Hōei was appointed as the new president.

In 1965, Fujioka established A Production to rebuild the production system, and Tokyo Movie formed a business alliance with A Production as an actual animation production company. Fujioka approached Daikichirō Kusube, who had left Toei Doga and was working as a freelancer at that time, and by making him the representative of A Production, he succeeded in inviting talented Toei creators such as Tsutomu Shibayama, Yoshio Kabashima, and Keisuke Morishita. Fujioka also welcomed Isao Takahata, Hayao Miyazaki, Yasuo Ōtsuka, and Yōichi Kotabe, who had been forced out of Toei for overspending on The Great Adventure of Horus, Prince of the Sun.[4][5][6]

Early directors, such as Tadao Nagahama and Masaaki Ōsumi, were all from puppet theater companies with no experience in animation, but they produced a series of hits for Tokyo Movie, including Obake no Q-Tarō, Star of the Giants, and Attack No. 1. Thanks to them, Tokyo Movie became independent from Kokusai Hōei in 1971, and Fujioka returned as president. The studio continued to produce a string of hits thereafter, including Tensai Bakabon, Lupin the 3rd Part I, Aim for the Ace!, and Gamba no Bouken.[7]

Fujioka invested in Madhouse when it was founded in 1972.[citation needed]

In 1975, Tokyo Movie established Telecom Animation Film to train animators who could draw full animation sequences.[8][9] Feeling the limitations of the Japanese animation business, Fujioka dreamed of expanding to the United States and making full animation films that could compete with Disney. However, since limited animation, which had been adopted and developed by Osamu Tezuka, was the mainstream in Japan, he planned to establish a new animation studio that would handle full animation and use Telecom as a base to produce internationally-co-produced films and television shows.[7][8][9] Fujioka chose the legendary American cartoon Little Nemo as the basis for his animated film, and began acquiring the film rights in 1977.[8][9] Telecom received over 1,000 applications for its employee recruitment, and Fujioka hired 43 people with no animation production experience. Rather than hiring animators with limited animation production experience, Fujioka chose to hire inexperienced amateurs and train them to become first-class animators who could draw full animation sequences. Telecom invited Sadao Tsukioka, who was considered a genius, as a lecturer for the first year, and Yasuo Ōtsuka the following year.[7]

In June 1976, Tokyo Movie spun off its sales division to establish Tokyo Movie Shinsha, and the original Tokyo Movie became its production division.[1] A Production parted ways with Tokyo Movie and changed its name to Shin-Ei Animation, starting its own path.

In the summer of 1978, Fujioka acquired the film rights to Little Nemo.[7][9] However, due to difficulties in raising funds and securing staff, production was slow to start, so Telecom animated television series and movies for TMS under Ōtsuka, including Lupin the 3rd Part II.[9] Ōtsuka approached Hayao Miyazaki and Isao Takahata, with Miyazaki directing the second Lupin the 3rd film, The Castle of Cagliostro, and Takahata directing Jarinko Chie.[7] Fujioka frequently invited Hollywood film professionals to screen The two films to promote the production capabilities of Telecom and Japanese animation industry, which at the time was underrated in the United States. These films attracted attention, especially among young animators, including John Lasseter.[9] The event also drew an unexpected response, with Telecom receiving requests to produce a TV series from countries outside the U.S., including Italy.[10] In the U.S., the studio took on subcontracting work for production companies such as Disney, Warner Bros., and Filmation, and became proficient in the art of full animation.[11]

In the early 1980s, Tokyo Movie Shinsha (TMS) began working on international co-productions by big-name directors with the goal of expanding overseas.[12] TMS partnered with the French (later American) company DiC as an overseas subcontractor to provide animation services for the company's productions in 1980.[c] Two Japanese-French co-productions, Ulysses 31[d] in 1981, directed by Tadao Nagahama, and Lupin VIII[e] in 1982, directed by Rintaro, were produced in cooperation with DiC. TMS began production of the Japanese-Italian co-production TV series Sherlock Hound in 1981 at the request of Italian state broadcaster RAI. The series was directed by Hayao Miyazaki and animated by Telecom Animation Film.[12][13] However, the collaboration was dissolved after six episodes were produced, and the remaining 20 episodes were subsequently financed by Japanese companies. Kyosuke Mikuriya took over as director, and with Telecom leaving to focus on the film Nemo, TMS outsourced the animation to the fledgling studio Gallop.[13] Osamu Dezaki directed Mighty Orbots (with Intermedia Partners and MGM/UA Television),[f] Bionic Six (with MCA-TV), and Sweet Sea.[12]

In the spring of 1981, Fujioka received an investment from Lake, a consumer finance company, and established Kineto TMS, a U.S. incorporated company, to begin full-scale production of the film Little Nemo: Adventures in Slumberland.[7][10] The initial production budget was reported to be about 3.6 billion yen (16 million dollars at the exchange rate in 1981).[14] Under Fujioka's grand order to produce a world-class animation film, creators from Japan and abroad were assembled. Many prominent figures were involved in the production, including Hayao Miyazaki, Isao Takahata, Osamu Dezaki, Yasuo Ōtsuka, Ray Bradbury, Jean Giraud (Mobius), and Chris Columbus.[10][15][16] However, the production ran into difficulties due to various crosscurrents between Japan and the U.S. Miyazaki and Takahata, who were originally slated to direct the film, dropped out of the project, and the staff was replaced one by one in the following years.[8][14]

In 1982, Fujioka secured the cooperation of Frank Thomas and Ollie Johnston from Disney's Nine Old Men. In the summer of that year, at their invitation, Miyazaki, Takahata, Ōtsuka, and other Japanese staff members visited the U.S. under the guise of training. While the Japanese staff members were greatly inspired by the two during their training, when the two saw the sketches drawn by Miyazaki, they said there was nothing they could teach them.[7][17] Young American animators who had heard rumors of the Nemo production also came to Kineto TMS to sell themselves, including John Lasseter and Brad Bird, who reportedly met Miyazaki there for the first time. Bird brought in his own film and unofficially drew several image boards.[14][17] Fujioka succeeded in meeting George Lucas and asked him to be the American producer, but he declined, saying he was busy with the new Star Wars and Indiana Jones films, and instead recommended Gary Kurtz, who was also a producer on Star Wars.[7][8] Fujioka from Japan was appointed line producer, and Kurtz from the United States was appointed film producer.[8][10] Kurtz recommended Ray Bradbury as the screenwriter, and the project got underway.[7][10] When the Japanese production team was handed the first draft of Bradbury's screenplay, they wondered if it was too philosophical to be entertaining.[10] Miyazaki presented various ideas for the script to Kurtz, but he never adopted them.[g][7][17] Kurtz was executive producing Return to Oz for Disney at this time and spent most of his time in London and New York, visiting the site of Nemo in Los Angeles only once a month, and then for just a couple of hours in the afternoon.[18] Due to conflicts with Kurtz, Miyazaki resigned from Telecom in November 1982, and Takahata in March 1983.[7][17] Kurtz's dictatorship continued, and the project went astray. The directors changed one after another, and the team went all to bits. The production budget of 4.5 billion yen (19 million dollars at the 1984 rate) ran out before the animation work began, and the project was suspended in August 1984.[7][8][17]

In June 1988, TMS dissolved Tokyo Movie and absorbed it, with all further productions now being solely produced under the TMS name.[1]

Fujioka resumed production of Nemo after securing an additional investment of 1 billion yen (6.9 million dollars at the 1987 rate) from Lake in 1987 and terminated his contract with Kurtz and took full responsibility for the film, becoming executive producer himself.[8][17] The film was completed in 1988 and released in Japan in July 1989, and although it was not poorly received, it ended up grossing around 900 million yen (7 million dollars at the 1988 rate) at the box office.[8] Following that, Fujioka exited the company in 1991 and a year later, TMS was bought out by Sega. It was released in the United States that same year in 2,300 theaters and sold over 4 million videos, but the production costs were not recouped.[14][17] The film took about seven years to complete (10 years for the US release), and production costs eventually rose to 5.5 billion yen (43.3 million dollars at the 1992 rate).[15][16] The main staff changed constantly, and later left behind a vast number of ideas, designs, and sketches submitted by various creators,[h] scenarios by Bradley, Columbus, most of which were never used, and others, and pilots in three versions: Sadao Tsukioka's version, Yoshifumi Kondō and Kazuhide Tomonaga's version, and Osamu Desaki's version.[7][16] It was an unprecedented project in the history of Japanese animation, but it ended in failure, and Fujioka took responsibility for it, relinquished all rights related to TMS, and retired from the industry.[4][8] Although Fujioka's ambitions failed, Nemo left a great legacy, laying the foundation for the subsequent expansion of Japanese animation into the American market and also pioneering exchanges between Japan and the US in animation, such as the relationship between Miyazaki and the Nine Old Men.[17] The composition of members at Telecom Animation Film for animated feature films directed by Hayao Miyazaki and Isao Takahata also served as a stepping stone for the transfer of Toei Animation's feature film production techniques to Studio Ghibli.[4] On November 1, 1995, Sega absorbed Tokyo Movie Shinsha into Kyokuichi, with Kyokuichi as the surviving company.[19][1][1] In conjunction with this merger, Kyokuichi made Telecom Animation Film and TMS Photo, which were subsidiaries of Tokyo Movie Shinsha, its own subsidiaries. Kyokuichi established a Tokyo branch office and launched its animation production division, Tokyo Movie Division. The name of the company was credited as Kyokuichi Tokyo Movie in the anime works produced at that time, however international prints used the TMS-Kyokuichi name.

Productions

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Further information: TMS Entertainment § Productions

Notes

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  1. ^ 株式会社東京ムービー新社, Kabushiki gaisha Tōkyō Mūbī Shinsha, lit. 'Tokyo Movie New-company'
  2. ^ 株式会社東京ムービー, Tōkyō Mūbī
  3. ^ This partnership would last until 1986, when DiC opened its own Japan-based animation facility known as K.K. DIC Asia (later Creativity & Development Asia) in 1983, for animation production on its shows in order to bypass overseas animation subcontractors.[citation needed]
  4. ^ Nagahama died during production, making this his last work.
  5. ^ The story depicts the future of the world of Lupin III, and features the descendants of the Lupin family.
  6. ^ Mighty Orbots was the first time a Japanese animation studio had received an order directly from an American television network without going through an American production company.
  7. ^ Miyazaki later reused them for Nausicaä of the Valley of the Wind and Princess Mononoke.
  8. ^ There is an anecdote about an American staff member who later saw Miyazaki's sketch and sternly asked those involved why they did not adopt it.

References

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  1. ^ a b c d e f "会社概要" [COMPANY OVERVIEW]. Toyo Keizai Online (in Japanese). TMS ENTERTAINMENT CO., LTD. Retrieved June 9, 2024.
  2. ^ "思い出のキャラ図鑑". Ningyonoie.com. Retrieved 4 December 2015.
  3. ^ "COMPANY INFORMATION". TMS ENTERTAINMENT CO., LTD. Retrieved 3 January 2021.
  4. ^ a b c "日本のアニメ100周年記念 「これからのアニメとこれまでのアニメ」" [Commemorating the 100th anniversary of Japanese anime: "Anime of the future and anime of the past"]. Anime NEXT_100 (in Japanese). The Association of Japanese Animations. March 12, 2020. Archived from the original on August 15, 2020. Retrieved June 9, 2024.
  5. ^ "Hayao Miyazaki //". Nausicaa.net. 1941-01-05. Retrieved 8 January 2017.
  6. ^ Odell, Collin; le Blanc, Michelle (June 26, 2015). "Background". Studio Ghibli: The Films of Hayao Miyazaki and Isao Takahata (Second ed.). Kamera Books. ISBN 978-1843444893. Retrieved March 15, 2019.
  7. ^ a b c d e f g h i j k l m "宮崎駿も降板、壮大すぎたアニメ「NEMO/ニモ」映画より面白い制作過程!" [Director Hayao Miyazaki also quit the project. The production process of the overly grandiose animation "Nemo", more interesting than the film itself!]. Re:minder (in Japanese). November 22, 2019. Retrieved June 9, 2024.
  8. ^ a b c d e f g h i j Nishikawa, Akiyuki (September 22, 2019). "日本アニメ海外進出の先鞭をつけた野心作 NEMO ニモ（東宝東和）" [Nemo (Toho Towa), an ambitious work that pioneered the overseas expansion of Japanese animation.]. Magmix (in Japanese). Media Vague. Archived from the original on November 26, 2020. Retrieved June 9, 2024.
  9. ^ a b c d e f "宮崎駿監督幻の米デビュー作『リトル・ニモ』 企画途中で離脱も、数々の出会いと「名作」が生まれ...(1)" [Director Hayao Miyazaki's elusive US debut film "Little Nemo": Despite his departure midway through the project, many encounters and a "masterpiece" were born... (1)]. Magmix (in Japanese). Media Vague. December 2, 2021. p. 1. Retrieved June 9, 2024.
  10. ^ a b c d e f "宮崎駿監督幻の米デビュー作『リトル・ニモ』 企画途中で離脱も、数々の出会いと「名作」が生まれ...(2)" [Director Hayao Miyazaki's elusive US debut film "Little Nemo": Despite his departure midway through the project, many encounters and a "masterpiece" were born... (2)]. Magmix (in Japanese). Media Vague. December 2, 2021. p. 2. Retrieved June 9, 2024.
  11. ^ "練馬にいた! アニメの巨人たち 第16回 高畑 勲さん（アニメーション映画監督）その2" [They were in Nerima! Giants of Anime Vol. 16: Isao Takahata (animation film director) Part 2] (in Japanese). Nerima Animation Site. October 2018. Retrieved June 9, 2024.
  12. ^ a b c "アニメ様の七転八倒 第160回 大物監督達の海外合作作品" [Anime-sama's Seven Ups and Eight Downs No. 160: International co-productions by big-name directors]. WEB Anime Style (in Japanese). Style. July 3, 2009. Retrieved June 9, 2024.
  13. ^ a b "アニメ様の七転八倒 第159回 無音で上映された『名探偵ホームズ』" [Anime-sama's Seven Ups and Eight Downs No. 159: "Sherlock Hound" shown without sound]. WEB Anime Style (in Japanese). Style. July 2, 2009. Retrieved June 9, 2024.
  14. ^ a b c d "【1980年代 (3)】宮崎駿作品でもヒットしなかった時代" [[1980s (3)] The era when even Hayao Miyazaki's works were not hits]. Kakuyomu (in Japanese). Kadokawa Shoten. December 2, 2021. Retrieved June 9, 2024.
  15. ^ a b "日本最小のフィルム映画館で傑作アニメ『リトル・ニモ』が現代に蘇る! 《『リトル・ニモ』と80年代テレコム・アニメーションの世界》開催" ["Little Nemo" comes back to life in Japan's smallest film cinema! "Little Nemo and the World of Telecom Animation in the 80s" will be held]. valuepress (in Japanese). Cinema Novecento. April 5, 2019. Retrieved June 9, 2024.
  16. ^ a b c Oguro, Yuichiro (November 21, 2005). "アニメ様の七転八倒 第22回 日本アニメ史 空前の大プロジェクト" [Anime-sama's Seven Ups and Eight Downs No. 22: The Unprecedented Project in Japanese Anime History]. Web Anime Style (in Japanese). Style Inc. Retrieved June 9, 2024.
  17. ^ a b c d e f g h "宮崎駿監督幻の米デビュー作『リトル・ニモ』 企画途中で離脱も、数々の出会いと「名作」が生まれ...(3)" [Director Hayao Miyazaki's elusive US debut film "Little Nemo": Despite his departure midway through the project, many encounters and a "masterpiece" were born... (3)]. Magmix (in Japanese). Media Vague. December 2, 2021. p. 3. Retrieved June 9, 2024.
  18. ^ Shimizu, Koji (January 14, 2004). "「ロサンゼルスの思い出2 ゲーリー・カーツ（Gary Kurtz）さん、フランクトーマスさんとオーリー・ジョンストンさん、池内辰夫さん（池ちゃん）と大塚康生さん」" [Memories of Los Angeles 2 Gary Kurtz, Frank Thomas, Ollie Johnston, Tatsuo Ikeuchi (Ikechan) and Yasuo Otsuka] (in Japanese). NINGYONOIE ARCHIVES. Retrieved June 9, 2024.
  19. ^ "COMPANY OVERVIEW". TMS ENTERTAINMENT CO., LTD. Retrieved June 9, 2024.

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