The scoop of 2009 in the British anime world was a very simple piece of information that has been lurking unnoticed in the public domain for months. It was Andrew Partridge of Beez Entertainment who broke the story, when he began poking around for possible sources of funding for anime. Putting a film on in cinemas costs a lot of money, because the cost of an actual, physical print is much more than you think. But Partridge discovered that the UK Film Council, a National Lottery organisation, would happily help obscure films reach wider audiences by contributing to advertising and/or the cost of making extra copies. House of Flying Daggers, for example, was given a hundred grand. Lust/Caution had a helping hand to the tune of twice as much. And much to everyone’s surprise, anime had got a little financial aid behind the scenes as well.
I realise that many readers probably aren’t yet taxpayers, but if you aren’t already you will be soon enough. You don’t even need a job. You pay tax on beer and fags, you pay arbitrary levies on airline travel, and then you get to gripe about it when the government gives it to the Wrong Sort of People. But Lottery money isn’t like that. It’s a voluntary tariff. It’s a shard of blind hope in an unhappy world, paid for by coughing single mothers on council estates, and grim-faced old men with Zimmer frames. And you, for all I know. But if the money is spent on mad things like inflatable windmills or bungee jumping for the elderly, only a fool would complain, as that’s precisely what Lottery money is for. I, for one, am ecstatic to see it being spent on something I actually like – long may it continue, and hats off to the canny distributors who knew how to fill in the forms and tick the right boxes.
But this has surely become a self-fulfilling prophecy. Howl’s Moving Castle had a Film Council handout of a mind-boggling £150,000. That kind of money would have gone a long way to bringing the overlooked Millennium Actress or Tokyo Godfathers to the masses. And let’s put this in perspective: the £150,000 forked over for Howl’s Moving Castle would have been enough money for me to buy the rights to Momotaro’s Divine Sea Warriors, subtitle it, press and box ten thousand DVDs, wrap each one in a £10 note and then give them away in the street for free!
But how did Spirited Away, for example, gain from its £40,000 Film Council cash injection? The subtitles were American-made. The dub was American-made. The Film Council money was earmarked for extra prints, so you could catch it in Didsbury or Chipping Ongar, and on extra advertising, so that you knew you could catch it at all.
So you buy a lottery ticket. That money goes to the Film Council. The Film Council gives it to Optimum Releasing to subsidise Spirited Away. Optimum gives it to NEO to advertise Spirited Away, and the sales of advertising help subsidise NEO itself.
Your copy of NEO is that little bit cheaper than it would have otherwise been. Maybe you’ve saved a quid. So now you can buy another lottery ticket! It’s a win-win situation for absolutely everybody involved, and isn’t that a nice thing to hear once in a while?
(This article first appeared in NEO #66, 2009)
Poor Satoshi Kon is so often overlooked.
I get depressed about how few “anime fans” have even heard of NEO, really, my mind is quite often sore from the boggling.
Poor anime in general is so often overlooked.
I’ve subscribed to NEO from issue 001. Its had its ups and downs, but I still keep renewing. I can’t help thinking that some of that lottery cash would be better spent on advertising, not just films, but TV series as well in newspapers, TV guide magazines, and the like.
I’ve actually bought the last few issues of Neo since reading Empire was getting stale so I’m familiar with this small column.
I hope other Satoshi fans watched Godfathers over the Christmas period.
JK – bit disappointed by your slightly patronising stereotype of lottery enterers(?), and not just because, yes I also put my £1 a week into the ring. Anyway, will digital distribution (downloading direct to the cinema) reduce costs of film distribution?
Not only will digital distribution reduce the costs of film distribution, but in a sense it already has. The cost of a digital “print”, i.e. a hard drive with your movie on it, is a fraction of the cost of an old-fashioned celluloid stack of reels. They can be duped faster, and are supposedly pin-sharp and note-perfect. Note that here I am talking about physical hard-drives, not the direct download from a central source. The cost of establishing direct download facilities is currently being amortised by football fans and opera-watchers, who are paying £35 a ticket to watch their stuff in cinemas. For my experience of this, see: https://schoolgirlmilkycrisis.com/blog/?p=225
I know for a fact that a lot of the Film Council money for extra prints has actually been spent on digital “prints”. If memory serves me correctly, Manga Entertainment’s recent announcement of a cinema release for Summer Wars owes at least part of its footprint to a Film Council subsidy, which is nice.
I don’t know how this will affect film preservation in 100 years. Maybe a whole generation will be lost because they were on the wrong hard-drives underneath the wrong electromagnetic pulse. Maybe more will survive because there are more copies.
Of course, when Mark inevitably wins the lottery, he can set up his own film archive and produce his own movies, so the anime world will be even richer. He can then point at me and laugh while I am still tapdancing outside the Odeon.
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