This video has 3 years, yet everything said in it is still true. Thanks for the great content, I just discovered the channel and it's super interesting!
Every studio says that. I worked for Nick. They say the same thing. They want everyone (not just kids) to feel that their channel is THE channel. Nothing new -- except Netflix to the party.
Of course every studio wants to increase their audience share. It's a business after all, but If you've worked at Nick, then even you can look at a show and say, "That's not a 'Nick' show," or "That's a Fox show." Each network schews to a certain type of audience, locking them into a narrow type of programing. Since Netflix''s audience is global and 'four quadrant", their choice in programing is infinitely broader.
I know this is old- but I would really love to have my own show “aired” on Netflix. Like I don’t want them to _own_ it, like no. I just want it to be “aired” there.
The V hey there sorry I missed this comment! Unfortunately those models were made at a Japanese studio and also I don’t have the rights to give them to people. They’re owned by Hasbro. Sorry!
@@thev6762 The series was planned by Tatsunoko Productions, but they didn't actually provide any animation services other than the director. The entire work was sub-contracted to a smaller CG studio known as Scarab.
Would love to know the answer to that last question you just asked of us. Looking 6years back now … Has Netflix actually taken a chance on someone new to the industry since you posted this video? I did see them represented at Kidscreen a couple years ago. Thanks for your insight!
Unfortunately, to my knowledge, they really haven't. With the millions of dollars it risks to launch new animation plus marketing costs (which they don't do that much of btw), it's just too much to risk on an unproven talent.
That makes total sense!! They want "products" with built in "consumer" base. Another reason why production companies generally want big name voiceover talent behind their production to make their show have an even bigger.
Thanks for the video, Eric! If I were to think about investing...the IP would have to be really compelling (or, hard to come across) and have to be a 15 out of 10 in the way it's packaged. Then the creator has have a reliable track record. I would give them a shot, but with contingencies or connect them to a team that I believe would be a match. If Netflix ever did shorts, it would be a good testing ground for smaller/newer teams.
So. When you’ve decided to pitch something you must gat strong connections with your future audience. I immediately remember a pitching of Adventure Time when at the end of the pitching bible kiddos draws were. A little but fun.
Netflix works with all kinds of talents - writers, directors, animation companies, producers, brands, etc. But they don't do a lot of 'match-making' if your show is not completely developed. I would suggest working with an artist to have character designs for your show prior to speaking to them.
I've been researching different options/platforms as I consider what to do with my curren/planned projects, and you confirm with more direct light, and turned my theory into practical notions. Thanks! Just discovered your channel, I've subscribed. I have experience and thoughts about festivals, so I'm watching that video next!
Very cool video & info. I'm curious what your take is on how CANNON BUSTERS was bought by Netflix since it doesn't seem like that show has/had great notoriety
Well actually I wrote the pilot! Haha. But to be honest, after working on it, I feared that the project didn't have much to say - in that it has fan-boy appeal in that it celebrates a lot in terms of design and direction from what the creator loves about anime. But, it didn't have any real story that I was interested in following. But that's just my opinion!
Can you make a video about how a streaming site might gauge the budget they're willing to invest in a new animated show? I would imagine they have ways of calculating how much subscribers/views the show would probably get them, and make an estimate how much that show is worth to them. Netflix's Castlevania might be a good case study, if there is information on how much they gave to the first season vs second season
That's a good suggestion. I'll think about that! But remember that for animation, it's not simply a cost vs subscriber calculation on streamers. Most animation is part of a total intellectual property business plan of which animation production an distribution is one factor. In the case of Castlevania, that's a property owned by Konami. So, between Konami, Frederator, Adi Shankar, and Netflix, there's lots of money exchanging hands. Anyway, it's still a good idea. So, let me consider it. Thanks for watching and commenting!
@@SurvivingAnimation Thank you for the swift answer! This question primarily interests me because it might set limitations around how spectacular a show you can produce. Anybody would love to pitch the next Akira film and have Netflix pay for the production costs, but they would need to look at it with a risk reward mindset. So, I assume at some point there must be a line where they simply would not benefit from increased quality. Where is that line, and how would they come to decide where the costs get too high to be worth the investment? Thanks again, really love your channel!
@@kuprukuula No problem. It's fun for me! Production quality is higher than you think! Actually, Akira was produced for less than $10 million USD. But, it's also Directed by Otomo - so his and his team are once-in-a-lifetime talent. Netflix is currently making its features films (6 per year!) at as high as 25-30 million! But, for TV series, it's a different model - which is closer to 900k-1.2 million per episode at his highest (which also means that a portion of that budget is probably the licensing fee for the intellectual property). Finally, it's of course, not just about the budget. It's about the talent as well as the schedule. As the adage goes, 'cheap, fast, and good - you can only pick two!' Haha.
I really found this video informative as me and my team are working on a pitch bible for an anime we plan to pitch to Netflix. However, I will not let it discourage me from achieving our goal. In terms of pedigree, I suppose we are lacking. But there was some hope with in your suggestions. I have some pretty notable connections to very prominent voice actors and I think attaching them to the show could be something that puts us in the pedigree status. Maybe not, but I'm certainly not going to give up. I have an amazing team with the motivation to make it happen. Thanks for the info though, it really gave me a clear direction of where I need to focus.
I wish you luck, friend! Also, I'm just stating the basics and also specifically for a fully financed original. There are other ways of getting shows on Netflix that are less high profile. But that usually means full financing and distribution elsewhere first with a secondary acquisition window on Netflix afterwards.
Excellent and super informative video as always Eric! Question though, would Raphael Bob-Waksberg really be considered a "veteran" in the industry? From what I was able to find on IMDb and interviews, BoJack seems to be his only first industry recognized credit -- only ask because this new IP looks to lack the "pedigree" (as mentioned) of an existing established franchise or veteran showrunners + producers. But agreed, the "package" is everything -- especially having well-known producers and actors attached. Curious to see a video about what it takes for someone who's semi-involved in the industry without a strong network, seek others to develop a a strong "package" that's suitable for sale. For example, if weak sales for a completed graphic novel is not enough, would the risk of developing 2-5 minute fully realized concept pitch be potentially beneficial? "BoJack" and "Final Space" are examples of recent animated shows green-lit, from creators (and non-animators) relatively "new" to the industry. I'm sure others would be interested to hear your insights about what made these two shows, in particular, stand out as brand new IP's. Once again, thanks and keep up the great videos! :)
Good point! But although Raphael doesn't have the credits, Will Arnett (who is credited as a producer) and Shadowmachine (production company) do. So, although I don't know firsthand, my feeling is that this project came in as a pretty complete package.
Thanks for covering my questions about Netflix. I still think my superhero girl Tercona belongs on Netflix and not Cartoon Network or Disney but I'm not picky and I have a long way to go before it gets animated anyway. Ok...on to something else. I just recently found a popular a cartoon series ONLY on TH-cam - DC Superhero Girls! Do you have any thoughts on this? A cartoon exclusively on TH-cam? How does one get a cartoon on TH-cam? Animat it themselves or pitch it?
Packaging is key! Just remember that! As for DC Superhero girls, remember that this is just a marketing extension of a franchise. So, they're just spending their ample amounts of cash for a brand that they want to keep alive in the marketplace. So, it's more like a commercial spot and not a 'cartoon exclusive for TH-cam.' Having said that, animation with TH-cam as a first window is a whole separate subject that I'll probably cover later! :)
Hey Eric, i’m not necessarily looking for something in animation at the moment,more of a indie comic creator myself,but i always find your videos good to watch anyway. I always dreamed about adapting my comic after it gained some traction ( know it’s gonna take some time )..i figured that’s the way to go and this video solidified that all the more. On a side note, heard you had some talks with NOIRCASEAR ( from Nik ) and I’m really looking forward to what y’all got cooking for us 🥘 😋 ...and next year Cannonbusters is finally coming, y’all kept us waiting man...wait,is the show you mentioned earlier in the video..Cannonbusters?!🤔😅
Thanks for watching, man and I hope to see your comics one day! Actually, the video I mentioned is 'Devilman Crybaby.' But I hope you watch Cannonbusters too when it comes out! I'm not actually involved in the series, but I wrote the pilot episode!
Thanks for the informative video. I currently have an animated series that I want to get in front of the right people. Would love to get your feedback and any assistance! Thanks.
I disagree? Netflix wants to have properties that marry genres, so they can pull in viewers that are fans of both category. They want autheticity- like a story about a person who is autistic that was written by a person who is autistic. Netflix looks at where other networks are failing, and what they're missing, and fills the empty gap. And Netflix has no issue taking risks on shows, because one hit show is more than enough to fund production of five flops.
Thanks for your comment! Actually, I agree with what you said. I guess the point I'm making here is that the people who are actually doing the making on these diverse series are actually very professional, prestigious, and experienced. So although the subject matter may be fresh and authentic - the talent behind them are extremely experienced!
Thats fair. I think a lot of people maybe don't understand that writing a series/film is wayyy more intricate/complicated than just putting words to paper. Its like, learning to draw, and I dont think you have to be a noted seasoned professional with hits under your belt to get it right (like, you dont have to be Tarantino), but it does take a certain amount of work and experience that most people don't really expect.
I guess the point I'm making, is that its the "experienced" and "professional" part that really matter. You dont necessarily have to be famous already xD
@@Th3Ed That is the point I was making, if it wasn't clear. In terms of 'industry' the names who get big shows are no surprises. But general consumers will likely not know who they are.
Yep it's a high bar to entry there. Having said that, there are other ways your work can 'get on Netflix' but that usually means independent financing and distribution elsewhere first and then it ends up on Netflix.
@@sprint420 Good questions! A distributor is any major company that puts your work on a platform for all to see - like Netflix, Cartoon Network, Nickelodeon, etc. They typically showcase your work and in exchange keep all the advertising revenue for the commercials or monthly revenue for their subscribers. In short, they pay for the animation to be made, so they can distribute on their platforms.
You made this video two years ago, but after Love death + robots they started hiring lots of animators.. > th-cam.com/video/w1IDwyreAxM/w-d-xo.html > James Baxter, Alex Hirsch, Jorge Gutierrez (...) Do you want to say anything about this trend?
The collection of animation clips you showed are mostly not very good. Netflix needs to look for creativity more than connections. Most of those clips look terrible.
Thank you for watching and for your opinions. What kinds of shows do you like? I respect if the shows I mentioned are not your style. But BoJack Horseman won the Critic's choice for best animated series, 3 Annie Awards, 2 WGA awards, and 3 Emmy nominations. Storybots has won 4 Emmys. Devilman Crybaby has won Best anime of 2018, with Yuuasa-san getting best Director of the year as well. So, personal taste aside, it's hard to categorize at least 2 out of 3 of the examples as not being very good!
@@SurvivingAnimation Thanks for your reply. But isn't that part of the problem, that the judges who hand out these awards are probably the same people connected in the industry. I know a lot of animators who love cartoons but I don't know any who run to Nextlix to see the best work out there. I can say Netflix's Love, Death and Robots was great, by my taste. I was outstanding. But the awards mean little to me because, as your video suggests, the top dogs are buying from the top dogs who are well connected. They probably know the judges who are handing out the awards. It's sort of like they all go to the same church. Nexfix executives can justify putting the show on the air because it won x-awards. I'd be more impress by the number of viewers a show gets. Because Storybots got four Emmys, that only guarantees the producers will get their next show on Netflix. So that's important to them, no so much to the rest of the world. Of course this is just my opinion and speculation on my part. Netflix's new Transformer series is also terrible. It's a washed out story with uninspired animation. Transformers Beast Wars was the last great animated series for this franchise and I've been a fan since Transformers Gen 1 was going head to head with the GoBots. Just my opinion but maybe it's time for Netflix to open the door to new ideas, fresh talent and new creators instead of recycling the same old people who win the same old awards from the same old people.
@@jimjohnson1305 Thank you for your passionate response! I totally hear your frustration with the 'insider-ness' of it all. I personally have always tried to bring new voices to the table (when I produced Afro Samurai, that creator had never done anything in animation prior to that). As for your speculation on the judges being pals with the producers and just awarding their buddies - I personally haven't seen much of that. But, I do agree with you that judges in the Hollywood system often have similar tastes to the people in this town that create simply because we're all in the same creative eco-system. But, for example, I was delighted last year when 'I Lost My Body' was so many awards worldwide (including the US), because it really represented something new, personal, and fresh. I actually haven't tried the new Transformers show. But as the former Show Runner of Combiner Wars and Titans Return let me just tell you... I wish I had done better! Haha. But I did give it my best shot. ;)
This video has 3 years, yet everything said in it is still true. Thanks for the great content, I just discovered the channel and it's super interesting!
Thanks for watching!
Every studio says that. I worked for Nick. They say the same thing. They want everyone (not just kids) to feel that their channel is THE channel.
Nothing new -- except Netflix to the party.
Of course every studio wants to increase their audience share. It's a business after all, but If you've worked at Nick, then even you can look at a show and say, "That's not a 'Nick' show," or "That's a Fox show." Each network schews to a certain type of audience, locking them into a narrow type of programing. Since Netflix''s audience is global and 'four quadrant", their choice in programing is infinitely broader.
Whoa! That's so cool! Do you mind telling me how you asked them for a pitch interview? That'd be awesome! Thanks!
@@kidwonder6381 ask who for what? I was the supervisor of pipeline for their 3d division. I pitched my 20 years of engineering. They hired me.
@@Joviex @Alexander ask them for a pitch of course! How do I tell Wb studious that ive got a great idea and want to pitch it?
@@kidwonder6381 Get an agent and get an interview for a pitch session.
I know this is old- but I would really love to have my own show “aired” on Netflix. Like I don’t want them to _own_ it, like no. I just want it to be “aired” there.
Hey there and thanks for watching! I guess that would be pretty cool. But unfortunately, it's kind of impossible. Sorry!
POINTS:
-pedigree (connections and experience)
-guarantee the property will have a pre-packaged audience and results
I love your summaries!
@@SurvivingAnimation Thank you! Your videos inspire me to create more and improve my personal brand!
Awesome video Eric thanks for the insight! Now I know my my animated series will never make it to Netflix... lol. But still great info
MaSTAR Media Not true! You just need to package right!
The V hey there sorry I missed this comment! Unfortunately those models were made at a Japanese studio and also I don’t have the rights to give them to people. They’re owned by Hasbro. Sorry!
@@thev6762 Hey there! Sorry I wish I could! But I'm a good boy. Haha!
@@thev6762 Hey I admire your persistence, but I really don't have it nor do I have access to the people who could sell it to you. Sorry!
@@thev6762 The series was planned by Tatsunoko Productions, but they didn't actually provide any animation services other than the director. The entire work was sub-contracted to a smaller CG studio known as Scarab.
Would love to know the answer to that last question you just asked of us. Looking 6years back now … Has Netflix actually taken a chance on someone new to the industry since you posted this video? I did see them represented at Kidscreen a couple years ago. Thanks for your insight!
Unfortunately, to my knowledge, they really haven't. With the millions of dollars it risks to launch new animation plus marketing costs (which they don't do that much of btw), it's just too much to risk on an unproven talent.
That makes total sense!! They want "products" with built in "consumer" base. Another reason why production companies generally want big name voiceover talent behind their production to make their show have an even bigger.
Thanks for the video, Eric! If I were to think about investing...the IP would have to be really compelling (or, hard to come across) and have to be a 15 out of 10 in the way it's packaged. Then the creator has have a reliable track record. I would give them a shot, but with contingencies or connect them to a team that I believe would be a match.
If Netflix ever did shorts, it would be a good testing ground for smaller/newer teams.
YES!!!
Title: What does Netflix want?
Rick Sanchez: Anything
Haha! Nice.
Bam! Laid out loud and clear on the table. Keep these videos up, man! Amazing insights.
So. When you’ve decided to pitch something you must gat strong connections with your future audience. I immediately remember a pitching of Adventure Time when at the end of the pitching bible kiddos draws were. A little but fun.
Short, but very insightful video. Thanks Eric.
Another great video, Eric! Thank you!
I got a question for Netflix do you also have to draw your characters for the show or someone can do it for you
Netflix works with all kinds of talents - writers, directors, animation companies, producers, brands, etc. But they don't do a lot of 'match-making' if your show is not completely developed. I would suggest working with an artist to have character designs for your show prior to speaking to them.
I've been researching different options/platforms as I consider what to do with my curren/planned projects, and you confirm with more direct light, and turned my theory into practical notions. Thanks! Just discovered your channel, I've subscribed. I have experience and thoughts about festivals, so I'm watching that video next!
Thank you so much for watching!
Thanks Eric :)
Interesting to know. Thank you for breaking it down!
Very cool video & info. I'm curious what your take is on how CANNON BUSTERS was bought by Netflix since it doesn't seem like that show has/had great notoriety
Well actually I wrote the pilot! Haha. But to be honest, after working on it, I feared that the project didn't have much to say - in that it has fan-boy appeal in that it celebrates a lot in terms of design and direction from what the creator loves about anime. But, it didn't have any real story that I was interested in following. But that's just my opinion!
Can you make a video about how a streaming site might gauge the budget they're willing to invest in a new animated show? I would imagine they have ways of calculating how much subscribers/views the show would probably get them, and make an estimate how much that show is worth to them. Netflix's Castlevania might be a good case study, if there is information on how much they gave to the first season vs second season
That's a good suggestion. I'll think about that! But remember that for animation, it's not simply a cost vs subscriber calculation on streamers. Most animation is part of a total intellectual property business plan of which animation production an distribution is one factor. In the case of Castlevania, that's a property owned by Konami. So, between Konami, Frederator, Adi Shankar, and Netflix, there's lots of money exchanging hands. Anyway, it's still a good idea. So, let me consider it. Thanks for watching and commenting!
@@SurvivingAnimation Thank you for the swift answer! This question primarily interests me because it might set limitations around how spectacular a show you can produce.
Anybody would love to pitch the next Akira film and have Netflix pay for the production costs, but they would need to look at it with a risk reward mindset. So, I assume at some point there must be a line where they simply would not benefit from increased quality. Where is that line, and how would they come to decide where the costs get too high to be worth the investment?
Thanks again, really love your channel!
@@kuprukuula No problem. It's fun for me! Production quality is higher than you think! Actually, Akira was produced for less than $10 million USD. But, it's also Directed by Otomo - so his and his team are once-in-a-lifetime talent. Netflix is currently making its features films (6 per year!) at as high as 25-30 million! But, for TV series, it's a different model - which is closer to 900k-1.2 million per episode at his highest (which also means that a portion of that budget is probably the licensing fee for the intellectual property). Finally, it's of course, not just about the budget. It's about the talent as well as the schedule. As the adage goes, 'cheap, fast, and good - you can only pick two!' Haha.
And thanks for watching the channel!
Makes sense. Thanks for sharing.
Thanks for answering this! You’re right - I also had this question.
Thanks for watching!
I really found this video informative as me and my team are working on a pitch bible for an anime we plan to pitch to Netflix. However, I will not let it discourage me from achieving our goal. In terms of pedigree, I suppose we are lacking. But there was some hope with in your suggestions. I have some pretty notable connections to very prominent voice actors and I think attaching them to the show could be something that puts us in the pedigree status. Maybe not, but I'm certainly not going to give up. I have an amazing team with the motivation to make it happen. Thanks for the info though, it really gave me a clear direction of where I need to focus.
I wish you luck, friend! Also, I'm just stating the basics and also specifically for a fully financed original. There are other ways of getting shows on Netflix that are less high profile. But that usually means full financing and distribution elsewhere first with a secondary acquisition window on Netflix afterwards.
@@SurvivingAnimation thanks so much for the words of encouragement! I really enjoy all of your videos. Thanks for keeping us all informed.
@@auroninja can I ask what happened to your pitch? Was it approved? (Ya don't have to say name of Anime if ya don't want to)
thanks for the information
Excellent and super informative video as always Eric! Question though, would Raphael Bob-Waksberg really be considered a "veteran" in the industry?
From what I was able to find on IMDb and interviews, BoJack seems to be his only first industry recognized credit -- only ask because this new IP looks to lack the "pedigree" (as mentioned) of an existing established franchise or veteran showrunners + producers. But agreed, the "package" is everything -- especially having well-known producers and actors attached.
Curious to see a video about what it takes for someone who's semi-involved in the industry without a strong network, seek others to develop a a strong "package" that's suitable for sale. For example, if weak sales for a completed graphic novel is not enough, would the risk of developing 2-5 minute fully realized concept pitch be potentially beneficial?
"BoJack" and "Final Space" are examples of recent animated shows green-lit, from creators (and non-animators) relatively "new" to the industry. I'm sure others would be interested to hear your insights about what made these two shows, in particular, stand out as brand new IP's. Once again, thanks and keep up the great videos! :)
Good point! But although Raphael doesn't have the credits, Will Arnett (who is credited as a producer) and Shadowmachine (production company) do. So, although I don't know firsthand, my feeling is that this project came in as a pretty complete package.
@@SurvivingAnimation Thanks for your reply!
Thanks for covering my questions about Netflix. I still think my superhero girl Tercona belongs on Netflix and not Cartoon Network or Disney but I'm not picky and I have a long way to go before it gets animated anyway. Ok...on to something else. I just recently found a popular a cartoon series ONLY on TH-cam - DC Superhero Girls! Do you have any thoughts on this? A cartoon exclusively on TH-cam? How does one get a cartoon on TH-cam? Animat it themselves or pitch it?
Packaging is key! Just remember that! As for DC Superhero girls, remember that this is just a marketing extension of a franchise. So, they're just spending their ample amounts of cash for a brand that they want to keep alive in the marketplace. So, it's more like a commercial spot and not a 'cartoon exclusive for TH-cam.' Having said that, animation with TH-cam as a first window is a whole separate subject that I'll probably cover later! :)
Hey Eric, i’m not necessarily looking for something in animation at the moment,more of a indie comic creator myself,but i always find your videos good to watch anyway. I always dreamed about adapting my comic after it gained some traction ( know it’s gonna take some time )..i figured that’s the way to go and this video solidified that all the more.
On a side note, heard you had some talks with NOIRCASEAR ( from Nik ) and I’m really looking forward to what y’all got cooking for us 🥘 😋 ...and next year Cannonbusters is finally coming, y’all kept us waiting man...wait,is the show you mentioned earlier in the video..Cannonbusters?!🤔😅
Thanks for watching, man and I hope to see your comics one day! Actually, the video I mentioned is 'Devilman Crybaby.' But I hope you watch Cannonbusters too when it comes out! I'm not actually involved in the series, but I wrote the pilot episode!
Thanks for the informative video. I currently have an animated series that I want to get in front of the right people. Would love to get your feedback and any assistance! Thanks.
Thank you for watching! I can be hired to do consulting work on your proposal. Just contact me on LinkedIN to discuss!
I disagree? Netflix wants to have properties that marry genres, so they can pull in viewers that are fans of both category. They want autheticity- like a story about a person who is autistic that was written by a person who is autistic. Netflix looks at where other networks are failing, and what they're missing, and fills the empty gap. And Netflix has no issue taking risks on shows, because one hit show is more than enough to fund production of five flops.
Thanks for your comment! Actually, I agree with what you said. I guess the point I'm making here is that the people who are actually doing the making on these diverse series are actually very professional, prestigious, and experienced. So although the subject matter may be fresh and authentic - the talent behind them are extremely experienced!
Thats fair. I think a lot of people maybe don't understand that writing a series/film is wayyy more intricate/complicated than just putting words to paper. Its like, learning to draw, and I dont think you have to be a noted seasoned professional with hits under your belt to get it right (like, you dont have to be Tarantino), but it does take a certain amount of work and experience that most people don't really expect.
I guess the point I'm making, is that its the "experienced" and "professional" part that really matter. You dont necessarily have to be famous already xD
@@Th3Ed Absolutely! Screenwriting is an entire profession that people spend their lifetime's honing!
@@Th3Ed That is the point I was making, if it wasn't clear. In terms of 'industry' the names who get big shows are no surprises. But general consumers will likely not know who they are.
Helpful vid tho 👍🏾
Well that was pretty depressing. I hope this changes...
Yep it's a high bar to entry there. Having said that, there are other ways your work can 'get on Netflix' but that usually means independent financing and distribution elsewhere first and then it ends up on Netflix.
Thanks Eric. Could you do a video on demystifying Distribution .
@@sprint420 And thanks for watching! But that's a pretty big topic! So, I don't think I could summarize in a single video. Can you be more specific?
What is a distributor? Why would I need one? How can they help finance a project? Types of distribution deals. It’s all bit confusing.
@@sprint420 Good questions! A distributor is any major company that puts your work on a platform for all to see - like Netflix, Cartoon Network, Nickelodeon, etc. They typically showcase your work and in exchange keep all the advertising revenue for the commercials or monthly revenue for their subscribers. In short, they pay for the animation to be made, so they can distribute on their platforms.
Welp! Im screwed 🤣🤣🤣
You made this video two years ago, but after Love death + robots they started hiring lots of animators..
> th-cam.com/video/w1IDwyreAxM/w-d-xo.html
> James Baxter, Alex Hirsch, Jorge Gutierrez (...)
Do you want to say anything about this trend?
Welp my dreams are gone
The collection of animation clips you showed are mostly not very good. Netflix needs to look for creativity more than connections. Most of those clips look terrible.
Thank you for watching and for your opinions. What kinds of shows do you like? I respect if the shows I mentioned are not your style. But BoJack Horseman won the Critic's choice for best animated series, 3 Annie Awards, 2 WGA awards, and 3 Emmy nominations. Storybots has won 4 Emmys. Devilman Crybaby has won Best anime of 2018, with Yuuasa-san getting best Director of the year as well. So, personal taste aside, it's hard to categorize at least 2 out of 3 of the examples as not being very good!
@@SurvivingAnimation Thanks for your reply. But isn't that part of the problem, that the judges who hand out these awards are probably the same people connected in the industry. I know a lot of animators who love cartoons but I don't know any who run to Nextlix to see the best work out there. I can say Netflix's Love, Death and Robots was great, by my taste. I was outstanding.
But the awards mean little to me because, as your video suggests, the top dogs are buying from the top dogs who are well connected. They probably know the judges who are handing out the awards. It's sort of like they all go to the same church. Nexfix executives can justify putting the show on the air because it won x-awards. I'd be more impress by the number of viewers a show gets. Because Storybots got four Emmys, that only guarantees the producers will get their next show on Netflix. So that's important to them, no so much to the rest of the world.
Of course this is just my opinion and speculation on my part.
Netflix's new Transformer series is also terrible. It's a washed out story with uninspired animation. Transformers Beast Wars was the last great animated series for this franchise and I've been a fan since Transformers Gen 1 was going head to head with the GoBots.
Just my opinion but maybe it's time for Netflix to open the door to new ideas, fresh talent and new creators instead of recycling the same old people who win the same old awards from the same old people.
@@jimjohnson1305 Thank you for your passionate response! I totally hear your frustration with the 'insider-ness' of it all. I personally have always tried to bring new voices to the table (when I produced Afro Samurai, that creator had never done anything in animation prior to that). As for your speculation on the judges being pals with the producers and just awarding their buddies - I personally haven't seen much of that. But, I do agree with you that judges in the Hollywood system often have similar tastes to the people in this town that create simply because we're all in the same creative eco-system. But, for example, I was delighted last year when 'I Lost My Body' was so many awards worldwide (including the US), because it really represented something new, personal, and fresh. I actually haven't tried the new Transformers show. But as the former Show Runner of Combiner Wars and Titans Return let me just tell you... I wish I had done better! Haha. But I did give it my best shot. ;)
@@SurvivingAnimation Afro Samurai was a good show. Thanks for that.