Final ‘Evangelion’ Film Takes $30.6M In First Week In Japan, Breaking Franchise Record
It still fell far short of the “Demon Slayer” opening last fall.
It still fell far short of the “Demon Slayer” opening last fall.
The award-winning artist talks about his unconventional route into animation, and the pivotal role the software played in his career.
According to Ryoko, her wages are high for a young animator in the country.
The titan of Chinese subculture continues its shift toward mainstream animation production.
The streamer will cover tuition fees and around $1,400/mo in living costs for participants in its new Wit Animator Academy.
Meanwhile, Studio Ghibli’s “Earwig and the Witch” took $132,768 in five days in North America, and “The Croods: A New Age” remains one of the top releases in the U.S.
The film is out now in select theaters and on HBO Max in the United States.
The exhibition will take place at Gallery Nucleus from February 6 to 21.
In a new documentary, animator Shingo Tamagawa explains the unusual back story to his indie short.
This weekend, animated films topped the box office in many major territories with a functioning theatrical sector.
“The more you expand your own emotional journey through life, the more the movie gives back to you,” says Desrumaux.
There’s much, much more to this year’s race than “Soul” and “Wolfwalkers.”
The exhibition will look at Suzuki’s early career as a magazine editor and how it shaped his work as a producer.
Animated features outnumbered live action in Japan’s box-office top ten this weekend.
Pixar’s latest almost tripled its debut in its second weekend, grossing $13.7 million.
In other news: Pixar’s “Soul” has opened in China to a modest $5.5 million.
The film will get a theatrical release in Japan in summer 2021.
The film could overtake “Spirited Away” and top the all-time ranking within the next couple weeks.
The sale, if approved, will represent a major consolidation of global anime streaming and distribution.
We discuss the gentleman thief’s first cg outing with Tomokazu Sakamoto and Tatsuya Akagi, animation and rigging supervisor on the film.