You know it just dawned on me, how much control does Tomino have over his works?
I asked because I was listening to the commentary for Return of the Jedi, and Lucas was talking about how at that point the creative process of the seires was becoming like tv shows instead of movies. In tv the creative input is mostly in the hands of the executive producer. They come up with the ideas behind the show, the writer makes it into a script, and the director's job is basically just to bring the executive producer's vision to life. Contrast that from film where the director holds a lot of the creative control over the work.
I know obviously the west and east don't do everything exactly the same, but at the same time they use all the same names of production roles for a reason. He's a tv director, and that makes me wonder how much control he has over a work. Especially since Sunrise, considering the shows have to sell toys/models.
>>13569115
Tomino does not have complete control as Four died without is control so he created Rosemarie.
He still has to gain the approval of his sponsors, and that means that the show has to sell toys. Look at the RX-78-1 for example, that's what the Gundam was originally meant to look like but the executives wanted parade colors so that kids would want to buy it. In general, the show also has to pass muster in front of a national television audience, otherwise there's no reason to air it, and thus no reason to create it in the first place.
You can pinpoint the exact point in his career that he got tired of this bullshit, because that's when Victory happened.
>>13569149
Killing off everybody in Dunbine was another sign.
>>13569160
Actually the opposite. Between 1980 and 1985, you had far greater creative control. It was in '84/'85 when you started going back to the more executive driven creation process because of the failures of several series as autuer driven projects to move product. That's why Zeta was created; because it was a sequel to a property that was still very popular and selling toys.
>>13569131
>Four died without is control so he created Rosemarie.
Rosamia was introduced 2 episodes before Four.
>>13569149
>>13569160
In relation to that, was it true Sunrise wouldn't animate Tomino's original novel set in Byston Well unkless it had mecha in it, which led to Dunbine and its ending?
>>13569725
>It was in '84/'85 when you started going back to the more executive driven creation process because of the failures of several series as autuer driven projects to move product.
What about L-Gaim?
>>13570430
54 episodes and had a shit ton of model kits made for it so I presume it was a success. But maybe not as big a success as was hoped.
>In tv the creative input is mostly in the hands of the executive producer. They come up with the ideas behind the show, the writer makes it into a script, and the director's job is basically just to bring the executive producer's vision to life. Contrast that from film where the director holds a lot of the creative control over the work.
That explains Cross Ange, but who were the executive producers of SEED?
>Fumikuni Furasawa
>executive producer of Garasaki, Infinite Ryvius
Huh
>>13570439
And that's the thing, is being free from Executive Meddling all it would take for Tomino to be satisfied?
I'm sure Tomino's bosses wouldn't care much as long as his shows were selling toys and model kits. That's the only way to explain how the hell Ideon happened.
