Japan's new screenwriter queen, Akiko Nogi, is a once-unsatisfactory person who has been in class. When she was in junior high school, she had a dream of becoming a cartoonist, but later found that there were friends in the club who had achieved drawing skills and could not surpass them, so she read a lot of comics and transferred to the drama club. In the drama club, he found a partner who had good acting skills and could not be surpassed, so he went to high school and joined the tennis club as a deserter. I watched a lot of comics during the tennis club. After graduating from high school, he entered the film professional school to study directing, and then entered the TV station as a documentary director, and after finding that he did not like this job, he resigned to work as a staff member of a general company, and submitted a screenwriting work to Fuji TV while working.
In an interview with Taiwan's CCC Creative Collection magazine, Akiko Nogi said that she inevitably added her own experience to the screenwriting process, and the role usually contains the author's concept. She added that without going to work for a general company and having no experience in making documentaries, she would not be able to write about those bridges by now, "although some people will be dissatisfied with their work and feel that what they are doing is meaningless." But it will come in handy one day. ”
Look at Akiko Nogi's original script "We Can't Be Beasts" to understand the above. She really went to work, she really hated going to work. The experience of going to work has become a hedgehog for Nogi, she holds the hedgehog in her hand, finds the opportunity to throw it out with the blood from the palm of her hand, and the animals in the theater club fall to the ground in response, vomiting three liters of blood, and dying in the feeling of heartache.
Although Nemoto Stellar, played by Ryuhei Matsuda, arranged by Nogi, complained that the smile that Shingaki Yui hung on his face all the time was "fake like a doll" and made people look "disgusting", But Nogi was truly in love with Niigaki Yui.
"We Can't Be Beasts" is the fourth collaboration between Akiko Nogi and Yui Niigaki, the previous three times being "Flying Intelligence Room" in 2013, "Memorandum on Tomo on Todayko" in 2015, and "Escape shameful but useful" in 2016. Among them, "Memorandum of The Story of The Today" is based on a series of light novels, "Escape shameful but useful" is based on manga, and "Flying Intelligence Room", which is relatively popular and word-of-mouth, is an original script.
Akiko Nogi was able to be crowned the title of "New Screenwriter Queen" by Taiwan's two-dimensional cultural magazine, in part because she grasped the technique of the author of the manga adaptation to reproduce the characters philosophically, and the manga adaptations from Nogi are more structured and dramatic, and the collection has a climax, even if it does not reach the level of ups and downs. The original script is another style, the story is slow and hot, and the heroine has a cold feeling of being tortured by life, such as "Flying Intelligence Room", "Unnatural Death" that helped Rimi Ishihara complete the transformation, and "We Who Can't Be Beasts".
Niigaki knots are decorated with deep sea crystals
If "Flying Intelligence Room" comes in part from Nogi's experience working at a TV station, then "We Can't Be Beasts" is the epitome of the screenwriter's own experience in the average enterprise after leaving the TV station: colleagues have no brains, bosses are unhappy, customers are sexually harassed, and everything is troubled.
The entire first episode of the series creates a suffocating environment. Being assigned tasks that are not part of the work content, having to wipe the butts of colleagues, but also being urged and scolded by the boss for this reason; the path to escape from the workplace to the family is also blocked, the mother falls into a pyramid scheme organization after the death of the violent father in a car accident, in order to live a normal life, the mother and daughter break off the relationship; the boyfriend who has been in a relationship for four years has neither the intention of further marriage, and lives under the same roof with his ex-girlfriend for a long time; occasionally feel that love may make people breathe, and the midnight ghost hovers in the bar. Meet the poisonous tongue tax accountant who will issue a "come and go" invitation to all possible women after getting drunk – or the routine will not update the kind of ...
Matsuda Ryuhei as Gengen Star
Suffocated for too long, always need to breathe to live. The answer Given by Nogi in the first episode is to create a new overall look through consumption, change the style, and then challenge the boss with a domineering motorcycle feeling... However, the so-called adult story is to have a good idea of the basic truth of "hard work is not necessarily successful", not to mention that the heroine who returned home late at night will be renewed the next day, whether it is a long-planned or temporary uprising, the price paid by trying to change life through consumption, it is the heroine's torture of gathering sand into a tower day after day, wanting to retain the ability to consume, the heroine may not be able to defeat the source of pressure at one time.
"We Can't Be Beasts" has successfully created a depressing atmosphere for professionals, and both the audience and the characters are waiting for an opportunity to change. For the actress, Yui Niigaki, whether she can use the hand of NogiYakiko, who has worked in the workplace, to complete the image transformation by shaping the image of a mature woman in the workplace, like Rimi Ishihara.
Yui Niigaki spends most of her time on the camera, and it would be a terrible thing for an actress not to show more possibilities after entering the 30th generation mark. Judging from the performance of We Can't Be Beasts, Nogi Yakiko has worked the heroine, and the seemingly bland opening can quickly grasp the hearts of the target audience. Since you want to tell the story of adults, only experienced adults can understand the bitter taste, the tragic life setting with a strong sense of drama, selling misery but not matching the sadness of selling, doing the beast fight in life day after day, but in the end can not become a beast to give up thinking and making choices based on feelings... However, the drama is different from the real life, and life may be difficult to usher in a turning point, but the drama can be, how the deep sea crystals dragged into the water by the sea monster of life surface and sparkle, and how the wild wood who has been on the work is still worth looking forward to.