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alisa perren

LEVITZ's Milestones as DC COMICS' President, Publisher, Writer - 0 views

www.newsarama.com/esident-publisher-writert.html

Paul Levitz and comics DC Comics

shared by alisa perren on 31 Jul 19 - No Cached
  • The changes in how comics were perceived, how comic book people were able to work in the movie industry while they were still comic book people became a wonderful shift in that period. There were people in television too. Suddenly, a comic book credit was a good thing to have on your resume, as opposed to a lead weight, for a creative person.
  • And they came back with, really, a very different approach to how to make it work - a team writing approach from Dan's experience in television, which was not at all a way that comics were being produced in those years, and a set of creative ideas on how they would execute. All of that was theirs.
  • The things that I would put on my corporate tombstone, if you will, would be devising the credit and business terms we used for the direct market, which significantly invested in the growth of the comic shops and the direct distribution system; my role in helping devise the first standard royalty plan for the business; my role in developing the graphic novel format in this country - those are some of the things that are more singly mine.
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  • proud of Milestone.
  • 'm proud of my role in launching and developing Vertigo
  • By the time I was president, we had a staff of about 300 people, and you're not going to have 300 people without having some personality issues and some imperfections.
  • took the company that was the oldest company in the business (and in those days the most corporately owned company in the business) and for much of a 25-year-or-so period, it was inarguably the most creative company in the business and the industry leader in moving the field forward.
  • The success of the movies affected some of the material that was in the comics, certainly, just as the movies were affected by the material that was in the comics.
  • mean, my role is not even homeopathic, it's so small, but it was great fun. Movies are a director's form, not a licensed source form.
alisa perren

As Comic Book Industry Grows, Smaller Publishers Learn to Adapt - The New York Times - 0 views

www.nytimes.com/...lion-forge-oni-merger.html

Lions Forge Oni Press merger comics

shared by alisa perren on 22 May 19 - No Cached
  • The move, the companies say, will strengthen their library of original comics and graphic novels and help them to leverage their characters on other media platforms, including animation and film.Other publishers are introducing direct-to-consumer sales, binge-able stories and magazine-style formats. Some are also offering greater financial stakes for creators.
  • These adaptations have fueled growth in the comic book industry: Sales in 2018 rose $80 million from the previous year.
  • The consolidated publishing effort will be run out of Portland, Ore., where Oni is based. James Lucas Jones, publisher of Oni, will be president and publisher of the new enterprise. The merger was negotiated by Edward Hamati, the president of Polarity, a media company Mr. Steward founded last year to help develop Lion Forge characters outside comics.
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  • Polarity is moving quickly to establish new distribution channels. On Monday, the company announced the formation of an animation studio to produce content for movies and TV.
  • Lion Forge’s slogan, “Comics for Everyone,” is apparent across its line of publications, which includes superhero comic books with an emphasis on diversity, an imprint for younger and middle school readers, and memoirs that delve into eating disorders and gender identity.
  • The merger will combine assets from both companies and require an examination of staff levels — just over 20 at Lion Forge and just under 20 at Oni. “We’re going to take a look at efficiencies and identify a number of areas of growth as well,” Mr. Steward said.
  • And December brought the arrival of TKO Studios, which introduced a direct-to-consumer approach by simultaneously offering single issues and collected editions for binge readers.
  • In September, Ahoy Comics introduced a magazine-style format, publishing comics that included extras like prose stories.
alisa perren

Deep Inside The Comics Business Of 1980s & 1990s With PAUL LEVITZ - 0 views

www.newsarama.com/0s-1990s-with-paul-levitz.html

Paul Levitz comics

shared by alisa perren on 31 Jul 19 - No Cached
  • When Jenette Kahn came in as DC's Publisher in 1976, remember the company was very small. There were probably only 30 of us when she got there. I ended up being one of the core group of people with her and Joe Orlando who were trying to figure out how to move the company forward.
  • So I got to be the primary draftsman on the first standard written contract that DC ever used for freelancers when the copyright laws changed in the mid-'70s.
  • One of the more important things that I did, around the tail end of 1980 to the beginning of 1981, I moved from the editorial department, as Jenette becomes the president of the company and I moved to being what in modern terms you would define as a chief operating officer of the company, the head business guy.
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  • nd how to build a real marketing team at DC, how to create an internal licensing division…
  • the heart of the job was being the inside guy who made the place run for the next several decades.
  • If there had not been a direct market, my guess is that the industry as we then knew it would have disappeared by 1984 or 1985.
  • They will probably buy based on that, in part. So credits on the covers, marketing things based on the name of the talent, will matter. Printing it better so people can actually see the artwork - you have to remember how dreadful the printing on most comics was in the early 1980s.
  • DC and Warner Bros. were sister companies when I came on board, but the turning point administratively was in 1989, when Time and Warner merged. Prior to that, DC was part of Warner Publishing, which was a unit of Warner Communications that had a book company, MAD Magazine, DC, a newsstand distribution company, and some other minor interests.
  • As they were juggling out and putting together Time Warner, we were moved over to being part of Warner Bros., the movie company. We were a functional unit of that and our bosses were suddenly in Burbank, and we had to adapt to their systems in some ways.
  • There was very little impact in the early years of Warner Bros. Warner Publishing had been a very benevolent corporate overlord toward us; Warner Bros. equally so when we moved over there.
  • There were more resources available in theory and sometimes in practice. We were able to invest more in building some parts of our business, able to pay some people better, which was nice.
  • But generally speaking, the movie companies didn't view comics as a particularly relevant part of their world. They wanted us as part of them because we have Superman and Batman - particularly in 1989, Batman was going to be a key asset of Warner Bros. for quite a number of years (in their perception - rightfully so).
  • We had good bosses over there, had good relationships with them, and it meant I was on planes to Burbank more often in my life. But there weren't dramatic day-to-day changes because of it.
  • ou mentioned that because of you were marketing to an older customer, you had to build up the names of the talent to sell to them. That had ramifications in the early '90s with the formation of Image and other studios.
  • We had been expecting something on the model of Image for seven or eight years, maybe more, before it happened. It was United Artists. The model had existed historically in the movie business. It was very clear that that could happen in the comic book business.
  • ome of it clearly was not going to be sustainable because so many of the copies weren't being sold for anybody to read, but they were being sold in carton loads for "investment." That was clearly not going to be sustainable.
  • Well, we were in a v
  • ery lucky position because we had the most stable parents in town. We could always go live with mommy and daddy. There was no situation where we were in danger unless the whole business evaporated
  • Most of it was what was going on because of Marvel's owners.
  • t was the same thing that pushed Marvel into bankruptcy. The operating business of Marvel was a very healthy business. But financier Ronald O. Perelman's manipulation of the financing at Marvel pushed them into bankruptcy. And that made it an enormously challenging time for the people who were running the company, and an enormously challenging time for the industry as a whole.
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