Leviathan producer Justin Lich discusses anime Steaampunk Show and Qubic Pictures “Fascinating Slate”

Based on the American author Scott Westerfeld “Book Trilogy Leviathan It offers an alternative history of the First World War, where the world is divided into central powers (“clans”) that use mechanized walkers and a triple Entente (“Darwinists”) that genetically produce living things for use in combat. The 10-part animation series that made its debut on Netflix this summer was created Justin Lich (Star Wars: Vision) and Thai sakurai (Cyberpunk: Edgerunners) and director Christoph Ferreira. Production for 12 parts was a joint venture between Qubic Pictures and the Japan Orange Studio (Beastars, Trigun Stampede.). Series Producer and Animation Veteran Justin Lich, who last week announced that anime Andrew Lloyd Webber’s anime adaptation Phantom of the operaanswered several of our questions about this very original Steampunk show:

Congratulations on success Leviathan on Netflix last month. You said that you have been drawn to the project, because it is a history of understanding and description in the historical drama related to the World War. Can you tell us a little more about how you entered it?

Justin Lich: Yes, yes, we first started discussing Netflix in 2019 to adapt this series of books written by Scott Westerfeld and illustrated by Thompson’s ket. Then we had to figure out who we will work with, etc., but in general we took us about five years to complete the project. Of course, while we were working on this, we also lined up the following projects. We work closely with Lucasfilm Star Wars: Vision (Vol. 3), which is published on October 29. After that it will be Star Wars: Vision Spinoff series called Ninth JedaiWhat takes one of the shorts from the first volume and spreads it to a series. Many years ago, I worked in Lucasfilm animation: in fact, I was one of the first workers to start there. I worked on Clone warsAnd he helped to create a pipeline there, as well as to work on the first two seasons in different roles.

Could you give us some experience for your Qubic Pictures and such projects in which you specialize in?

So, Qubic Pictures was officially founded in 2019. The company existed before what was called Android Pictures and we created a short film KilometerWhich was the first anime project that is not spent on crowd, was managed by Masaki Yuas. Then I had the opportunity to place a four -episodic series Eden to Netflix. It was a project that officially launched Qubic for Netflix: our specialty is trying to overcome anime business with the Western animation business, so we always strive to have really interesting cooperation that you usually do not see in Japan. We are very fond of anime and creative community in Japan, so our mission is to find ways to expand the anime audience, to find projects that will like audiences that usually do not watch anime, as well as ordinary fans. As you can see, demand is really high for anime. Another interesting thing in Japan is that they successfully create 2d -animation when we do not see traditional animation in the United States so much, especially on the side of the function. So our goal is to overcome two cultures and expand the attractiveness of anime.

Where are you based?

Qubic is based in New -York and Tokyo. The main part of the studio is in Japan, and I’m based on New York. I fly to Tokyo every three or four months for the various projects we work on. We want to cooperate with the creators directly in Japan to build relationships with studios, so we think it is important to have a strong presence in both places. I feel that in New York there was a long story with Japanese animation, with companies such as Media Central Park and GCDS Eric Beckman, perhaps in the DNA of oriental bases that corresponds to anime sensitivity. This is a small community, and we all know each other well enough.

What you loved Leviathan And your experience of creating a show?

I think so interesting Leviathan It is that it really represents how we try to find the right balance between East and West. We want innovations and try new things and combinations. In this project we had a French director, American producers, a Japanese animation studio and a Japanese writer. We all worked side by side -o -pillars. One of the things we decided from the outset was that we wanted to treat Orange and all our creative partners in Japan as an equal partners. It was not your traditional service studio model, where we developed a story and tell them, “Please make our story in your style.” Instead, we gathered a very talented international team, and we all worked on one story, and the whole thing was quite unique and special.

And what were the biggest challenges for this international team?

The deadline! I mean, I think there are always problems in terms of different languages. It requires a lot of patience and understanding on both sides. What is interesting about Leviathan, which concerns two cultures that gather together, we also did it from the production side. Of course, there are many challenges, but I feel that we have been able to focus on all these challenges and come up with something that eventually is very proud. Orange is a studio that really cares about the quality of animation, and it is always a task when you have a certain schedule and you want to make everything better, so we just have to handle it.

How many projects are Qubic work at the same time?

Usually we work on three or four projects. There can be three projects in production at different stages of production. Then we have three to four more in early development or preduction. We are very scaled because we are mostly a production company, but I would say that we usually carry out three or four production at the same time.

Can you spend us through some projects on the tap for Qubic soon?

It was great to cooperate with the team in Lucasfilm. They were truly big partners, and I feel extremely grateful for their partnership. I always dreamed of creating “Star Wars” in anime, and when they came to me with the opportunity, I jumped on him. It did not require any thought, and I immediately said, “Yes, I would like to help!” So we have been working together for many years. I’m just so lucky to visit and work with all these different studio partners and see what they come up with their interpretation Star wars. Just so exciting to see people with admiration Star wars Make your own stories and present them in a way that is truly unique and attractive.

In particular, there is one short that we showed in Annek this year. This is called Black (Part Star Wars: Vision, Volume 3) Sinia Oir, What is just such a wonderful creative expression. When you see these people gather together and create something like that, you just feel gratitude that they could be part of it.

When did you find that you are attracted to the animation world?

My father was a cinema. He also had a whole bunch of Disney Sels in the house, as well as these 16 mm Disney clips, which he shared with me. So, I was very inspired by the animation of Disney from an early age. One day I even wanted to be an animator Disney. I went to school and studied at the School of Arts and Design by Ringling (Florida). At first I studied the illustration, but when I got there, I saw that they had this truly amazing computer animation program, so I seemed to be attracted to computer animation. It was in the early 1990s, and they were really pioneer things. They showed us Toys history before he actually came out. I just remember that it was so inspired by all the work that was done in CG. Besides, when I was at school I remember they showed us Miyazaki Castle in the sky In the room for relaxation, and I just got an animation and what was possible in that world. I thought it was a type of action -adventure things I wanted to do. I was actually inspired here. I used to watch some anime – movies like Akira and Ghost in the projectile They were also great influences. I later got the opportunity to work on Ghost in the projectile Continuation when I went to Japan and then I worked in Blue Sky for several years.

This is the part where we ask you about your opinion about the cheak state of the animated business in 2025!

Hollywood, of course, is now experiencing many challenges. I know that many of my friends are looking for a job now. It was very anxious to see it. But at the same time, I just feel that we are experiencing a transitional stage. I think we are trying to deal with the economies of the creators against the Hollywood system. We see more indie -creators who find ways to tell their stories, and now there are many tools such as a blender that facilitate production. A lot of people in Japan use free programs such as Blender. Communities are growing around this software, of course, in Japan there is Indie -anime -movement. Many independent creators are trying to develop their own ideas. There are many people who try to understand how we can create more original content in a way that works on a financial and business path. It is easy to make such short films, but as soon as you start getting to a feature movie, it’s harder. But people have shown that it can be done. Of course, Flow is a great example of this. I feel like people try to figure out how we came something that works in a streaming world

With an ancient theatrical model, it was easy for manufacturers to get things such as balances and profit distribution, it is very difficult to get in the new streaming business, so it is difficult for manufacturers to create a stable business. That is why we see that studios simply focus on large IPs. Most companies are scaled in Hollywood, but I think it is still a great time for independent creators to find the opportunity to share them. Through the economy of creators, anyone can publish their work anywhere. Things are no longer controlled by distributors, so if you have a great idea and a great story and you can find a way to do it and make people see it.

You can learn more about Justin Lich and his company in Qubicpictures.com.

See Leviathan’s trailer below: