\n\t\t\t\t\t‘One Piece’ producer Tetsu Fujimura breaks down how Japanese IP from manga, anime, and games is fueling Hollywood adaptations and reshaping global entertainment\t\t\t\t<\/p>\n
Tetsu Fujimura, CEO of Filosophia Inc. and a producer on Netflix\u2019s<\/a>\u00a0One Piece, used his Cannes Film Market keynote to map how Japanese IP \u2014 from manga and anime to games \u2014 has become a primary source for Hollywood adaptations and global entertainment franchises. The session, titled \u201cThe Future of Japanese IP in Global Adaptations,\u201d was presented<\/a> as part of Japan\u2019s Country of Honor program supported by Japan\u2019s Ministry of Economy, Trade and Industry and JETRO.<\/p>\n Fujimura opened with long-term box office trends showing the rise of IP-based films, noting that franchise and IP-driven titles now make up more than 80% of top global releases compared with roughly 10%\u201320% in the 1970s and 1980s. Recent global leaders include\u00a0Godzilla x Kong: The New Empire\u00a0and\u00a0Sonic the Hedgehog 3, while anime-origin films such as\u00a0Demon Slayer: Kimetsu no Yaiba Infinity Castle\u00a0are increasingly placing in worldwide top lists.<\/p>\n To illustrate Japan\u2019s IP scale, Fujimura cited Titlemax numbers showing 10 Japanese franchises in the global top 25 by lifetime revenue, led by Pok\u00e9mon at $92.1 billion and followed by Hello Kitty, Anpanman, Super Mario and Shonen Jump. Fan polls place\u00a0One Piece<\/a>\u00a0among the most popular global fandoms, underscoring the cross-border appeal of manga-derived properties.<\/p>\n He flagged a structural market shift, referencing reporting that the combined market cap of Japan\u2019s top entertainment companies briefly exceeded that of the country\u2019s leading automakers, and pointed to industry forecasts projecting dramatic growth for anime and manga markets over the next decade. Gaming is also forecast to remain a massive global market, further strengthening the pipeline from Japanese interactive IP to film and TV adaptations.<\/p>\n Filosophia\u2019s research traced adaptation volume by decade \u2014 25 Japanese IP adaptations in the 1990s, 52 in the 2000s, 101 in the 2010s, and 88 so far this decade \u2014 showing accelerating demand. Regionally, Asia (led by South Korea) drives the highest volume and skews toward TV, where novels and manga are the dominant source formats; the U.S. and Europe favor film, with games accounting for a large share of Western projects.<\/p>\n Read more: How Asian Influence Is Reshaping Sports and Pop Culture: New Nielsen Data<\/a><\/p>\n Hollywood\u2019s development slate is broad: J.J. Abrams\u2019 adaptation of\u00a0Your Name\u00a0at Paramount,\u00a0Mobile Suit Gundam\u00a0at Legendary,\u00a0One Punch Man\u00a0and\u00a0Astro Boy\u00a0at Sony Pictures,\u00a0Naruto<\/a>\u00a0at Lionsgate,\u00a0Attack on Titan\u00a0at Warner Bros.,\u00a0My Hero Academia\u00a0at Netflix and\u00a0Elden Ring\u00a0at A24, among others. Game-to-screen projects like\u00a0Metal Gear Solid<\/a>,\u00a0Ghost of Tsushima<\/a>\u00a0and\u00a0Death Stranding<\/a>\u00a0highlight how gaming IP is now a major source for Western studios, while TV adaptations including\u00a0Claymore,\u00a0Rashomon,\u00a0Speed Racer,\u00a0Samurai Champloo,\u00a0Steins;Gate,\u00a0Pokemon\u00a0and\u00a0God of War\u00a0are in active development across platforms.<\/p>\n Fujimura drew on his own career to show how long, collaborative development paths often are: he and Avi Arad spent 10 years developing\u00a0Ghost in the Shell<\/a>\u00a0before its 2017 release, and he later partnered with Tomorrow Studios on Netflix\u2019s\u00a0One Piece. The series debuted in 2023, ranked No. 1 in 86 countries and logged 54 million views and 410 million hours watched in its first 25 days; Season 2 earned a 100% critics score on Rotten Tomatoes and Season 3 is in production for 2027.<\/p>\n Beyond screen adaptations, Fujimura highlighted stage and music as meaningful growth areas: a Japanese-language West End production of\u00a0Spirited Away\u00a0drew some 300,000 attendees in 2024 and later toured Shanghai and Seoul, while anime-related streaming on platforms like Spotify surged and YOASOBI\u2019s \u201cIdol\u201d from\u00a0Oshi no Ko\u00a0became the first Japanese-language song to top the Billboard Global Excl. U.S. chart.<\/p>\n