Anime Adapters

I found it amusing that Disney was having “special problems” in adapting the English-language version of “Miyazaki’s Spirited Away” (“Entering Strange Realms,” by Charles Solomon, Sept. 8).

I have been a voice-over actress and anime adaptation writer for the last 20 years. There is a small contingent of people who have been writing and directing anime projects that have come to the West Coast since they became popular.

These projects include “Robotech” (a turning point in animation series for television), “Digimon: Digital Monsters” and the recently released “Osamu Tezuka’s Metropolis,” as well as many others. Many of us can write dialogue by “seeing” the sync, rather than cutting, stretching and condensing dialogue unnaturally using digital means.

There is very little rewriting in the studio with a good “sync” writer because we are so adept at getting it right the first time. Perhaps Disney would be smart to take a look at some of us when it produces its next anime extravaganza.

There are also many actors and actresses who specialize in dubbing and are capable of giving a natural performance in a medium that requires this special skill.

REBECCA FORSTADT OLKOWSKI

Granada Hills

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Charles Solomon is certainly entitled to opine on anime’s lack of mainstream success in the U.S., but he at least ought to be up to date. “Osamu Tezuka’s Metropolis” has grossed well over $700,000 in theaters since January, and continues to play strongly on the repertory and midnight circuits.

And it did so with only 20 prints, not 2,000--”limited release” means just that.

As I write this, “Metropolis” is the third-highest grossing anime in U.S. history, although we’re fully prepared to slip back to fourth once “Spirited Away” opens.

MICHAEL SCHLESINGER

Sony Pictures Repertory

Culver City