‘Akira’ Rights Up for Grabs as Japanese Sci-Fi Leaves Warner Bros. (Exclusive)

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Riding into Neo-Tokyo is going to take a little bit longer.

For over two decades, Warner Bros. had been working on a live-action adaptation of the renowned Japanese sci-fi novel “Akira“. However, they have recently relinquished the film rights.

The copyright for the post-apocalyptic cyberpunk manga initially published by Kodansha in 1982, created by Katsuhiro Otomo, has been regained by Kodansha. Now, it appears that producers and talent are eager to associate with this property, aiming to attract studios and streamers for potential projects.

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Kodansha, the original publisher of the 1982 post-apocalyptic cyberpunk manga by Katsuhiro Otomo, has regained the rights to it. Producers and talent are reportedly eager to connect with this property, hoping to catch the attention of studios and streamers for future projects.

Initially introduced as a groundbreaking manga during the 1980s, Akira gained significant recognition as the influential 1988 anime that left an indelible mark on adult animation and Japanese culture by captivating a global audience.

In 2002, Warner Bros acquired the movie rights, appointing Stephen Norrington as the director for an adaptation of Blade. Jon Peters was assigned to produce this film.

Subsequent events marked one of the longest ordeals in Hollywood’s development limbo, with the studio shelling out vast sums, amounting to tens of millions, over a period of two decades. The Norrington version eventually faltered (the underperformance at the box office of his League of Extraordinary Gentlemen played a role), and later, Legendary joined forces to co-finance. Leonardo DiCaprio and Jennifer Davisson became involved in production, demonstrating unwavering commitment to the project until its completion.

Various writers and directors who worked on the project at different times were Garry Whitta, Mark Fergus, Hawk Otsby, Steve Kloves, the Hughes brothers (Allen and Albert), and Jaume Collet-Sera. Artwork for storyboards and concepts was created by Tommy Lee Edwards, Chris Weston, Ray Lai, and numerous others, only to be stored away in drawers after completion.

The project underwent financial disputes, cultural conflicts (at one stage Neo Tokyo was renamed New Manhattan), and allegations of whitewashing during various pre-production phases. Warner Bros. halted production offices in Vancouver in 2012 to reconsider the project’s direction. Initially budgeted at $90 million and starring Garrett Hedlund from Tron: Legacy, negotiations were underway with Kirsten Stewart, Helena Bonham-Carter, and Ken Watanabe. It took the studio a few years to regroup and proceed.

2017 marked an exciting milestone for me as a fan, when Taika Waititi joined the team to pen and direct the “Akira” adaptation. The concept was shaping up remarkably well, securing California film tax credits and eyeing a May 21, 2021 release date (competing with “John Wick: Chapter 4”). The vision was for an all-Japanese cast, with casting representatives already on the ground in Japan. However, Waititi’s busy schedule took him in multiple directions – he was wrapping up post-production for “Jojo Rabbit,” directing an episode of “The Mandalorian,” and writing “Thor: Love and Thunder.” As a result, the project’s timeline kept changing, with Garrett Basch and Jeremy Kleiner joining as additional producers. Unfortunately, Waititi never fully returned to “Akira” and the project has been inactive since then.

After a global catastrophe in Tokyo, the film Akira follows Tetsuo, a member of a motorcycle gang, as he uncovers extraordinary telekinetic abilities that pose a threat to humanity. The only individual who appears capable of containing the destructive power of this powerful and dangerous teenager is his old friend Kaneda, the leader of their gang.

The rights to the movie “Akira” are now among a small number of well-known productions whose film rights have been made available this year. In March, both the rights to the iconic horror film “Texas Chainsaw Massacre” and the screen rights for the Jason Bourne spy stories were put up for sale; the latter had been with Universal for more than two decades.

In considering a fresh venue for Akira’s cinematic aspirations, a fitting phrase from the anime might be: “The path ahead isn’t always linear; it’s dotted with numerous intersections. It’s up to us to pick the future we want for ourselves.

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2025-06-28 00:54