I think we can actually get at least three potentially interesting questions from this, based on different interpretations of what the OP wanted to know. If the OP had edited to clarify which of these interpretations was correct, the original question could have been reopened, but this particular user has been posting potentially interesting but highly unclear questions for at least two months now, and never comes back to improve them once they're closed.
These are the three questions I think we could get:
How have non-Japanese audiences affected the way the anime industry operates?
Recently, the international reception a movie is likely to get has
changed the way Hollywood produces movies, as described in the BBC
article "How the global box office is changing
According to the article, Hollywood has changed what kinds of movie it
produces, which actors it casts, and in a few cases has even modified
scripts, all because of how they think it will play to an
Most anime are produced solely for a Japanese audience. However,
Japanese studios must be aware that their creations are being licensed
and seen outside of Japan. Has there been any change in the way the
industry operates due to international audiences—in general, or
in specific cases?
This question should cover what the OP of the original question apparently wanted to know—a Japanese studio producing an anime targeted primarily at a non-Japanese audience would definitely count as a change in the industry. The original question assumes that this has never happened, but I know of at least a few corner cases which may qualify—Alexander Senki, Blood: The Last Vampire, and The Animatrix (depending on whether you consider that anime).
Answers to this question that talk about a specific work should cite interviews with staff, or at least the opinions of respected critics and scholars, as evidence that a particular change occurred because of non-Japanese audiences. For example, a bad answer would be "Cowboy Bebop and Baccano were only made because the studios knew they would end up in front of American audiences." A better answer would cite interviews where the staff discuss their strategy in targeting American audiences.
Has an anime which was unpopular with a Japanese audience ever been sustained by popularity with non-Japanese audiences?
Some anime aren't very successful among the Japanese audience, but
find a lot of success once they're released internationally. Has there
ever been an anime which was unpopular with Japanese audiences, and
was going to be cancelled or stopped early, but continued or got a
sequel purely because of its popularity abroad?
Again, answers should have statements from the staff saying that the series was unlikely to continue until the studio saw the international numbers, or at least some kind of revenue report which strongly suggests that the series makes most of its money abroad. Sakurai Tomoko's comment on the original question claims this is the case with Naruto—that it continues, despite a lack of popularity in Japan, because of its popularity outside Japan.
A related question would be whether there are any cases like what the BBC article describes with the movie Battleship—the movie only made $65 million in the US, but made $237 million abroad, more than double what it made in America. We could also ask whether there are any anime which generated disappointing revenues in Japan, but significantly more abroad.
Has any anime had a non-Japanese language track created by the original studio?
Has any anime studio ever made an anime, and also made a dub for it in some language other than Japanese? In particular, has a
non-Japanese dub ever been produced at the same time as the Japanese
dub, or even before?
I believe this is true of at least two anime: again, Alexander Senki, and Blood: The Last Vampire. The Animatrix may also once again come into this somewhere.
If someone wants to ask any of these questions, you have my blessing. You're also free to take one of the ideas and shape it into your own question.