Teruyo nogami biography

Teruyo Nogami is a Japanese film script supervisor and author.
Teruyo Nogami was born on in Tokyo, Japan.
Born in Tokyo in 1927.

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The Tokyo International Film Festival (TIFF) is pleased to announce that NOGAMI Teruyo will be honored with the Lifetime Achievement Award at the 35th TIFF, in recognition of her extraordinary career and contributions to Japanese film.

Nogami first worked with KUROSAWA Akira on his film Rashomon as a script supervisor in 1950, and went on to participate in all his films after Ikiru in a variety of roles. This year, as TIFF revives the Kurosawa Akira Award, we are thrilled to honor Nogami Teruyo with a Lifetime Achievement Award.

The Lifetime Achievement Award will be given at the Closing ceremony, along with other award winners, on November 2.

Nogami Teruyo (Production Manager)
Born in 1927, Nogami worked for a publishing company before joining Daiei Kyoto Studio as an apprentice script supervisor in 1949. She started her career as a script supervisor for NOBUCHI Akira’s Resurrection (1950). Beginning with Rashomon (1950), she participated in all of Kurosawa Akira’s films, including Seven Samurai (1954), Dersu Uzala (1975), a

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Before she entered the film world, she worked as an editorial assistant at a publishing company, where she oversaw the works of Masuji Ibuse and Hyakken Uchida. After the war, in a burnt-out Tokyo, she felt enlivened and energized by the lack of censorship and freedom of expression that was prevalent.

Through an acquaintance, she got a job as a script supervisor at Daiei’s Kyoto film studio. In her second year, she was blessed with the good fortune of being involved with Kurosawa’s masterpiece. Like Ibuse and Uchida, Kurosawa was fired up with creative energy and a refusal to compromise, so that the set was highly charged with tension. Film was very precious at that time, so with a stopwatch in one hand, she carefully and precisely kept a record of the state of the filming for each cut. She kept a careful eye on continuity, so that there were no differences in the actors’ belongings and clothing in the movies’ scenes, and above all else she would instantly hand over the required film when the director was immersed in editing, and devoted all her attention to the process

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Waiting on the Weather: Making Movies with Akira Kurosawa by Teruyo Nogami

May 30, 2016

I was recently screening Akira Kurosawa's Rashomon for my Japanese Cinema class, so I decided to read Teruyo Nogami's memoir Waiting On The Weather: Making Movies with Akira Kurosawa (2006). I knew that Nogami had worked on many Kurosawa films from Rashomon up until his last film, Madadayo. However, I was unaware of her connection with Mansaku Itami (father of one my favorite contemporary filmmakers Juzo Itami). Itami was Kogami's first mentor and she helped raise Juzo. In fact I was interested to learn that noted chambara and jidaigeki director Daisuke Ito was his best friend and both were from Matsuyama-a formidable cultural friendship much like that of his son Juzo and his best friend the Nobel Prize winning author Kenzubaro Oe. The first chapter focuses on this connection, "Mansaku Itami, My First Mentor." There is a lot of interesting information about how films were made in the postwar era in the second chapter, "Life in Miniature: At the Daiei Kyoto Studios." The third chapter proved to