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TMS Entertainment Co., Ltd. (株式会社トムス・エンタテインメント, Kabushiki-gaisha Tomusu Entateinmento), formerly known as the Kyokuichi Tokyo Movie[a] division or TMS-Kyokuichi is a Japanese animation studio.
TMS is one of the oldest and most renowned animation studios in Japan, known for its numerous anime franchises such as Detective Conan, Lupin the Third, and Anpanman.[4]
TMS Entertainment is the animation business company of the Sega Group and a well-established animation studio with its origins in Tokyo Movie. It was formed when Kyokuichi Co., Ltd., which was originally a knitting and textile manufacturing company, merged with animation studio Tokyo Movie Shinsha to start an animation business and changed its name.[b][3][4]
Tokyo Movie Shinsha was one of the five major studios in the early days of Japanese animation, producing and/or animating a string of popular works from the 1960s to the 1970s, including Obake no Q-Tarō, Star of the Giants, Moomin, Attack No. 1, Tensai Bakabon, Lupin the 3rd Part I, Aim for the Ace!, and Gamba no Bouken.[5]
TMS has studios 1 through 7 under its production headquarters, each with a nickname for the work they are involved in, such as V1 Studio, 3xCube, Trois Studios, Rogue Studio, and Double Eagle. Each studio has its own production and management staff, including producers and production assistants. As for animators, each studio contracts them on a work-by-work basis. However, head creators sometimes have exclusive contracts and are given their own desks within the company to work on.[3]
In addition to its own studios, TMS has group production companies such as Telecom Animation Film and TMS Jinni's.[4]
In 1946, Asahi Glove Manufacturing Co., Ltd. (アサヒ手袋製造株式会社, Asahi Tebukuro Seizō Kabushiki-gaisha) was founded in Nagoya, Aichi Prefecture and the trade name was soon changed to Kyokuichi Knitting & Weaving Co., Ltd. (旭一編織株式会社, Kyokuichi Amiori Kabushiki-gaisha).[1]
The company changed its name to Kyokuichi Co., Ltd. (株式会社キョクイチ, Kabushiki-gaisha Kyokuichi) in 1947, and then to Kyokuichi Shine Industries Co., Ltd. (旭一シャイン工業株式会社, Kyokuichi Shain Kōgyō Kabushiki-gaisha) in 1957, and was listed on the Nagoya Stock Exchange.
The company established Shine Mink Co., Ltd. in Sapporo, Hokkaido in 1961, opened a minkbreeding farm and began its fur business in 1962, and merged with Shine Mink in 1974 to form the Mink Division.
In 1989, Kyokuichi Shine Industries was acquired by Watchman Group, a mass retail group of watches and home appliances, and changed its business format to entertainment business.
Prehistory of TMS Entertainment (Tokyo Movie Shinsha)
In 1964, Yutaka Fujioka, a former staff 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.[c] with investment from Tokyo Broadcasting System.[2][8][9]
Inspired by the broadcast of the first domestically produced animated TV series Astro Boy on Fuji Television the previous year, 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'sBig X.[2]
However, because all the staff came from puppet theater backgrounds and were unfamiliar with animation, the studio suffered a huge loss and fell into financial crisis.
In order to restore management, the studio received capital participation from the TV 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, 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.[10][11][12]
In 1975, Tokyo Movie established Telecom Animation Film to train animators who could draw full animations.[13][14]
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 it as a base to produce joint Japanese-US animated films.[5][13][14]
Fujioka chose the legendary American cartoon Little Nemo as the basis for his animated film, and began acquiring the film rights in 1977.[13][14]
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 animations. Telecom invited Sadao Tsukioka, who was considered a genius, as a lecturer for the first year, and Yasuo Ōtsuka the following year.[5]
In June 1976, Tokyo Movie spun off its sales division to establish Tokyo Movie Shinsha Co., Ltd.,[d], and the original Tokyo Movie became its production division.[2] A Production terminated its business alliance with Tokyo Movie, changed its name to Shin-Ei Animation, and began its own path.
In the summer of 1978, Fujioka acquired the film rights to Little Nemo.[5][14]
However, due to difficulties in raising funds and securing staff, production was slow to begin, so Telecom produced TV series and movies under Ōtsuka, including Lupin the 3rd Part II.[14]
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.[5]
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.[14]
The event also drew an unexpected response, with Telecom receiving requests to produce a TV series from countries outside the U.S., including Italy.[15]
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.[16]
In the early 1980s, Tokyo Movie Shinsha (TMS) began working on international co-productions by big-name directors with the goal of expanding overseas.[17]
TMS partnered with the French (later American) company DiC as an overseas subcontractor to produce animation for the company in 1980.[e]
Two Japanese-French co-productions, Ulysses 31[f] in 1981, directed by Tadao Nagahama, and Lupin VIII[g] 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 RAI, the Italian national public broadcasting company.
The series was directed by Hayao Miyazaki and animated by Telecom Animation Film.[17][18]
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.[18]Osamu Dezaki directed the largest number of animated co-productions, including Mighty Orbots,[h]Bionic Six, and Sweet Sea.[i][17]
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.[5][15]
The initial production budget was reported to be about 3.6 billion yen (16 million dollars at the exchange rate in 1981).[19]
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.[15][20][21]
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.[13][19]
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.[5][22]
Young American animators who had heard rumors of the Nemo production also came to Kineto MS 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.[19][22]
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.[5][13]
Fujioka from Japan was appointed line producer, and Kurtz from the United States was appointed film producer.[13][15]
Kurtz recommended Ray Bradbury as the screenwriter, and the project got underway.[5][15]
When the Japanese production team was handed the first draft of Bradbury's screenplay, they wondered if it was too philosophical to be entertaining.[15]
Miyazaki presented various ideas for the script to Kurtz, but he never adopted them.[j][5][22]
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.[23]
Due to conflicts with Kurtz, Miyazaki resigned from Telecom in November 1982, and Takahata in March 1983.[5][22]
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.[5][13][22]
In June 1988, TMS dissolved its own production division, Tokyo Movie and absorbed it.[2]
Fujioka resumed production 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.[13][22]
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.[13]
It was released in the United States in 1992 in 2,300 theaters and sold 4 million videos, but the production costs were not recouped.[19][22]
The film took about seven years to complete (it took 10 years for the U.S. release), and production costs eventually rose to 5.5 billion yen (43.3 million dollars at the 1992 rate).[20][21]
The main staff changed constantly, and later left behind a vast number of ideas, designs, and sketches submitted by various creators,[k] 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.[5][21]
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 Tokyo Movie, and retired from the industry.[10][13]
Although Fujioka's ambitions ended in failure, 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.[22]
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.[10]
History of TMS Entertainment
Kyokuichi Co., Ltd. opened its first amusement arcade in 1991, and joined the Sega Group in 1992 through a business alliance with Sega and Sega Toys.[24]
In the same year, Tokyo Movie Shinsha became a subsidiary of Sega through a stock acquisition.
On November 1, 1995, Sega absorbed Tokyo Movie Shinsha into Kyokuichi, with Kyokuichi as the surviving company.[1][2] 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.
In 1996 the Los Angeles studio was established.[1]
On January 1, 2000, Kyokuichi changed its name to TMS Entertainment Co., Ltd.[b][1][2] The name Tokyo Movie remained as the name of the animation production division and as the brand name for animation production.
In 2003, the company completely withdrew from the textile business.[citation needed] Since then, animation production and amusement arcade operations were the two mainstays of its business.
In 2003, American brokerage group Merrill Lynch became the second-largest shareholder in TMS Entertainment after acquiring a 7.54 percent stake in the studio. Merrill Lynch purchased the stake purely for investment purposes and had no intention of acquiring control of the firm's management.[25]
In 2005, Sega Sammy Holdings acquired a 50.2% stake in TMS Entertainment, making it a subsidiary.[26]
In 2006, the Tokyo branch was reorganized as the Tokyo headquarters and merged with the Head Office in Nagoya, Aichi Prefecture. The headquarters then moved to Shinjuku, Tokyo.[1]
The Los Angeles studio was reorganized as TMS ENTERTAINMENT, USA, INC.[1]
In February 2007, TMS Entertainment announced the completion of its fourth Tokyo studio (Building D) in Nakano, Tokyo. The company stated that Shinjuku would thereafter serve as the base for its corporate division and Nakano as the base for its production division.[27]
In 2008, the company withdrew from the amusement arcade business and concentrated its business on animation production.
In 2010, TMS Entertainment was delisted and became a wholly owned subsidiary of Sega Sammy Holdings through a share exchange.[28]
In 2011, the credits for Detective Conan and Anpanman were changed to TMS Entertainment, and animation production under the Tokyo Movie name ended.
In November 2012, TMS relocated its headquarters to Nakano, Tokyo.[1][2]
TMS Entertainment took a stake in Jinni's Animation Studio, a VFX and CG production company, in 2013 and made it a group company in 2015. With that, the company name was changed to TMS Jinni's.
In November 2013, a new studio was completed in Nakano, Tokyo.
In April 2015, the Sega Sammy Holdings was reorganized to form the new Sega Group. TMS Entertainment became a wholly owned subsidiary of the newly established Sega Holdings.[24][29]
Marza Animation Planet moved from being part of Sega Holdings to being part of TMS Entertainment in April 2017. TMS Entertainment transferred all of the digital content planning, development, and production business owned by its subsidiary TOCSIS to Marza Animation Planet in April 2019.[30]
In July 2021, TMS Entertainment announced the launch of the Unlimited Produce Project. The project is characterized by its focus on collaboration with outside studios to strengthen production operations such as planning, production, business, and promotion of works. The first project is Resident Evil: Infinite Darkness, which was distributed worldwide on Netflix from July 8, 2012, and was produced in collaboration with CG studio Quebico.[4]
In April 2023, Marza Animation Planet moved from under TMS Entertainment to under its parent company, Sega.[30]
In 2024, TMS Entertainment transferred the 3DCG video production business of its subsidiary TMS Jinni's to its subsidiary Toms Photo through a company split.
Subsidiaries
The company has numerous animation subsidiaries collaborating in conjunction with the company. Those include:
TMS Entertainment USA, Inc.: Established in 1996 as the Los Angeles studio division. In 2006, it was renamed to TMS Entertainment USA, Inc.
TMS Entertainment Europe SAS: Established in 2001 as the Paris studio division.[1] In 2022, it was renamed to TMS Entertainment Europe SAS.
TMSLab(トムスラボ): In 2022-04-26, TMS Entertainment Co., Ltd. announced the establishment of TMS-Lab (原作工房TMS-Lab), where 'TMS' stands for 'Theme, Message, Story'. The associate web site went operational in 2022-04-21.[31] In 2022-12-22, it was renamed to TMSLab(トムスラボ), and the web site was relocated.[32]
Tokyo Movie Online (東京ムービーONLINE): In 2005-10-19, TMS Entertainment Co., Ltd. announced the establishment of Tokyo Movie Online video subscription platform.[33]
Tokyo Movie (東京ムービー(トウキョウムービー)): In 2005-12-22, TMS Entertainment Co., Ltd. announced the beginning of the Tokyo Movie service for EZweb users, effective on the same day.[34]
TMS MUSIC HK LTD.: In 2007-02-14, TMS Entertainment Co., Ltd. announced the establishment of TMS MUSIC HK LTD., to be established in March 2007.[35]
AG Bowl(エージーボウル): In 2008-04-21, TMS Entertainment Co., Ltd. announced the establishment of AG Bowl bowing facility in Ishioka, Ibaraki, to be opened 5 days later.[36]
Studio Sakimakura (Japanese: スタジオさきまくら, Hepburn: Sutajio Sakimakura), a studio founded in March 2011, and known for producing the second half of the first season of Cardfight!! Vanguard and Brave 10.
Trois Studio (Japanese: トロワスタジオ, Hepburn: Torowa Sutajio), a studio that produced Lupin III: Goodbye Partner, the 27th film special for the Lupin the Third franchise.[50]
Seoul Movie, a South Korean animation studio based in Seoul, established in 1990 and closed sometime in the late 2000s.[citation needed]
Adapted from Shunji Sonoyama's manga which was serialized from 1965 to 1975 in Jitsugyo no Nihon Sha's Weekly Manga Sunday, in 1966 alone in Gakken's Gakushuu Magazine, and Shogakukan's Gakunen Magazine in 1974.
Continuation of the second half of the events of Tetsuya Chiba's original manga, which was serialized in Kodansha's Weekly Shonen Magazine from 1968 to 1973.
Adapted from the manga of the same name by Kyoichi Nanatsuki and Ryōji Minagawa, which was serialized in Shogakukan's Weekly Shonen Sunday from 1997 to 2002.
Adapted from Sega's Sonic the Hedgehog video game franchise, particularly, the events of Sonic Adventure 1 and 2, with additional characters not seen in the games.
Adapted from Rumiko Takahashi's manga of the same name, which was serialized in Shogakukan's Shōnen Sunday Zōkan and Weekly Shōnen Sunday from 1984 to 1994.
Adapted from Yohsuke Tamori's manga of the same name, which was serialized in The Asahi Shimbun Company's The Asahi Shimbun Student Newspaper from 1984.
Adapted from Katsura Hoshino's manga of the same name, which has been serialized across Shueisha's Jump line of manga magazines for young boys, beginning with Weekly Shonen Jump from 2004 to 2009, and Jump SQ as of 2019.
Adapted from Monkey Punch's original manga, which was serialized in Futabasha's Weekly Manga Action manga magazine for adult male readers from 1967 to 1969. Co-production with Po10tial.
Third feature film compilation of two episodes from Star of the Giants, respectively episode 70 "Hidari Mon no Yokoku Houmuran", and episode 77 "Hanagata Sutemi no Chousen".
Fourth feature film compilation of two episodes from Star of the Giants, respectively episode 79 "Ourusutaa no Deki Goto", and episode 83 "Kizu Darake no Houmuin".
Adapted from the manga of the same series by Hisaichi Ishii, which was featured Futabasha's Weekly Manga Action magazine from 1978 to 1979; followed by two more films based on the same manga.
Adapted from the manga of the same name by Takao Saito, which, since 1968, has been serialized in Shogakukan's Big Comic manga magazine for adult male readers.
First feature film compilation of two episodes from Sherlock Hound, respectively episode 5 "The Adventure of the Blue Carbuncle", and episode 9 "Treasure Under the Sea". Released in Japanese cinemas alongside Topcraft's Nausicaä of the Valley of the Wind, a film also directed by Miyazaki.[citation needed]
Second feature film compilation of two episodes from Sherlock Hound, respectively episode 4 "Mrs. Hudson is Taken Hostage", and episode 10 "The White Cliffs of Dover". Released in Japanese cinemas alongside Studio Ghibli's Castle in the Sky, a film also directed by Miyazaki.[citation needed]
Adapted from the manga of the same name by Katsuhiro Otomo, who also serves as the film's director, which was serialized in Kodansha's Weekly Young Magazine from 1982 to 1990.
^株式会社東京ムービー新社, Kabushiki gaisha Tōkyō Mūbī Shinsha, lit.'Tokyo Movie New-company'
^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]
^Nagahama died during production, making this his last work.
^The story depicts the future of the world of Lupin III, and features the descendants of the Lupin family.
^Mighty Orbots was the first time a Japanese animation studio had received an order directly from an American TV station without going through an American production company.
^Initially, Space Cobra was reported in Japanese anime magazines as a Japanese-Italian co-production, but when production actually began, that story was dropped.
^ abcdefgh"会社概要" [COMPANY OVERVIEW]. Toyo Keizai Online (in Japanese). TMS ENTERTAINMENT CO., LTD. Retrieved June 9, 2024.
^ abc"トムス・エンタテインメント 鈴木義治社長"新たな事業領域に対応"" [TMS Entertainment President Yoshiharu Suzuki: "Adapting to new business areas"] (in Japanese). bunkatsushin.com. October 16, 2018. Retrieved June 9, 2024.
^ abcdefghijklmn"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.
^Odell, Collin; le Blanc, Michelle (June 26, 2015). "Background". Studio Ghibli: The Films of Hayao Miyazaki and Isao Takahata (Second ed.). Kamera Books. ISBN978-1843444893. Retrieved March 15, 2019.
^ abcdefghijNishikawa, 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.
^ abcdef"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.
^ abcdef"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.
^"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.
^ abc"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.
^ ab"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.
^ ab"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.
^ abcOguro, 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.
^ abcdefgh"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.
^"沿革" [History]. Sega Sammy Holdings Official Website (in Japanese). Retrieved June 5, 2024.
^"セガ、「セガゲームス」に社名変更 構造改革でグループ再編" [Sega changes its name to "Sega Games" as part of a restructuring and group reorganization]. ITmedia News (in Japanese). ITmedia. February 12, 2015. Retrieved May 30, 2024.
^ ab"MARZAについて" [About MARZA]. Marza Animation Planet Official Website (in Japanese). Retrieved June 9, 2024.
^Lupin III: Goodbye Partner (in Japanese). Event occurs at ending credits. アニメーション制作 - TMS / トロワスタジオ [Animation Production - TMS Entertainment / Trois Studio]