Development
Tomoko Ninomiya based the character of Megumi Noda on a real-life counterpart with the same name. Ninomiya first learned about the real Noda when the latter, a music college student at the time, posted a photograph of her messy room on a website Ninomiya managed. This inspired her to start a comedy series about a sloppy music student. Ninomiya consults with Noda about musical details, claiming to receive inspiration from her, and thanks Noda in the acknowledgments of every tankÅbon volume of Nodame Cantabile. Noda, currently a piano teacher in Fukuoka (the home-town of her fictional counterpart), composed the music and co-wrote (with Ninomiya) the lyrics for the "Fart Song" Nodame plays in the first episode of the anime series, and visited Ninomiya upon the birth of her son.
Ninomiya also based the character of James DePreist, the musical director of the fictional Roux-Marlet Orchestra in Paris, on a real-life counterpart with the same name. James DePreist was Permanent Conductor of the Tokyo Metropolitan Symphony Orchestra, and conducted the Nodame Orchestra, which provided the music for both the live-action drama and the anime adaptations.
Read more about this topic: Nodame Cantabile
Famous quotes containing the word development:
“And then ... he flung open the door of my compartment, and ushered in Ma young and lovely lady! I muttered to myself with some bitterness. And this is, of course, the opening scene of Vol. I. She is the Heroine. And I am one of those subordinate characters that only turn up when needed for the development of her destiny, and whose final appearance is outside the church, waiting to greet the Happy Pair!”
—Lewis Carroll [Charles Lutwidge Dodgson] (18321898)
“I can see ... only one safe rule for the historian: that he should recognize in the development of human destinies the play of the contingent and the unforeseen.”
—H.A.L. (Herbert Albert Laurens)
“The work of adult life is not easy. As in childhood, each step presents not only new tasks of development but requires a letting go of the techniques that worked before. With each passage some magic must be given up, some cherished illusion of safety and comfortably familiar sense of self must be cast off, to allow for the greater expansion of our distinctiveness.”
—Gail Sheehy (20th century)