casa de papel saison 5 a girl and her guard dog 01 vostfr
[20][22][23] He hadn't read the original novel and only read the script for the film, which was said to be close to the original, and the script was never used in the actual film. [22][24] There is no play-within-a-play in the original story, nor is there a motif of blurring the boundary between dream and reality. [24] The first plot was a simple splatter/psycho-horror story about an idol girl that is attacked by a perverted fan who cannot tolerate her image change, and there were also many depictions of bleeding, so it was not suitable for Kon who does not like horror or idols. [18][19][24] Kon said that if he were free to make a plan, he would never have thought of such a setting. [24] This genre was overused, having already been dealt with in various works such as Se7en, Basic Instinct and The Silence of the Lambs and was also something that anime was not good at. [16][18][22] Since most of the works in that genre pursue how perverted or crazy the perpetrators, the murderers, are, Kon focused on "how the inner world of the protagonist, the victim, is broken by being targeted by the stalker" in order to outsmart the audience. [22] On the other hand, the play within a play, Double Bind, is more like a parody than a straight psycho-horror, and he made it with the intention of criticizing Japanese TV dramas that are easily made by imitating Hollywood fads immediately. [22] Kon decided to take on the role of director because he couldn't resist the allure of directing for the first time, and because the original author allowed him to change the story as he liked as long as he kept three things in mind to make the film work: the main character is a B-grade idol, she has a rabid fan (stalker), and it is a horror film. [18][19][24] So he took some elements from the original work, such as the uniquely Japanese existence of idols, the "otaku" fans that surround them, and the stalkers that have become more radical, and came up with as many ideas as possible with the scriptwriter, Sadayuki Murai, with the intention of using them to create a completely new story. [16][18][19] And the film needed a core motif, which had to be found not by the screenwriter or anyone else, but by the director, Kon himself. [16][18][19] So he came up with the motif of two things that should have a "borderline," such as "dream and reality," "memory and fact," and "oneself and others," becoming borderless and blending together, based on the short film Magnetic Rose (from Memories), for which he had written a script, and the suspended manga Opus.
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