Seventy directors are named across 170 title records and only eleven of them appear on more than one title, a 15.7 percent repeat rate.
Seventy names split 84 directing credits, and only eleven of those names appear twice. The corporate layer of this catalogue is narrower than the human one.
Seventy directors are named across the 170 title records on this site, and eleven of them appear on more than one title. That is a repeat rate of 15.7 percent, the lowest of any crew field that names more than ten people. Producers repeat at 39.1 percent. The composer field is empty on 90 percent of screen records.
Every title record on blglflix.com carries seven person fields that are not cast: director, screenwriter, writer, composer, producer, original author, and artist or illustrator. Each one stores profile IDs, not free text, so a name either matches an existing profile or it is not there at all. Across the 170 records, 172 distinct people occupy those seven fields.
The count below reads each field on each record and counts a person once per record, even where a record lists them twice. A “repeat” name is one that appears on two or more records in that field. Records that leave a field empty are excluded from that field’s rate, because an empty field is a hole in our data and not evidence that nobody held the job. That exclusion is the single biggest thing to know before reading the percentages: the composer rate rests on nine records.
| Role | Records naming it | Distinct names | Names on 2+ records | Repeat rate | Credits per name |
|---|---|---|---|---|---|
| Original author | 67 | 28 | 17 | 60.7% | 2.39 |
| Producer | 24 | 23 | 9 | 39.1% | 1.65 |
| Composer | 9 | 8 | 2 | 25.0% | 1.38 |
| Writer | 10 | 8 | 2 | 25.0% | 1.25 |
| Screenwriter | 42 | 56 | 12 | 21.4% | 1.27 |
| Director | 73 | 70 | 11 | 15.7% | 1.20 |
| Artist or illustrator | 4 | 4 | 0 | 0.0% | 1.00 |
The original author field is the most concentrated by a wide margin, and the reason is visible in the data: 11 of its 67 filled records point at one novelist, Howlvy, whose Fourever You material spans a main series, a second part and the specials that sit beside them. Source material fans out into many records. A director does not.
Director is filled on 73 of 170 records, more than any other crew field, and it still produces the flattest distribution. Seventy names split 84 credits. The directors with three or more records, and the composers with two or more, are listed below with every title we hold for them.
| Name | Role | Records | Titles |
|---|---|---|---|
| Natthanon Kheeddee | Director | 4 | Fourever You Part 2, Beside the Sky, The Sun from Another Star, Lately, It’s Winter Season |
| Siwaj Sawatmaneekul | Director | 3 | When Oranges Fall, Fourever You, We Are |
| Sompob Pokepoon | Composer | 3 | When Oranges Fall, Fourever You, Fourever You Part 2 |
| Jojo Tichakorn Phukhaotong | Director | 2 | The Heart Killers, A Dog and a Plane |
| Kanittha Kwunyoo | Director | 2 | 23.5 the Series, Moonshadow |
| Hiroki Kazama | Director | 2 | Cherry Magic!, Cherry Magic! (Movie) |
| Sumika Horiguchi | Composer | 2 | Cherry Magic!, Cherry Magic! (Movie) |
Five more directors hold two records each: Pepzi Banchorn Vorasataree on Love of Silom and My Stand-In, Natthaphong Wongkaweepairod on Flower Boy and GAP, Wasakorn Khumklaowiriya on Nour and Top Form, Sakon Tiacharoen on Mr.Kill and Match Point, and Nopachai Jayanama on The Crow Club and Pit Babe. Yoshiko Okuda directed the two Cherry Magic anime entries.
We asked whether a returning director brings a returning studio with them, reading the production company field on each of their records. Under a strict rule, one company present on every title a director holds, eight of the eleven repeat directors qualify. Under the loose rule, any company shared by any two of their titles, ten qualify.
The three strict failures are informative. Natthaphong Wongkaweepairod moves from One31 to Idol Factory, and Hiroki Kazama moves from Daiei TV-Film to a different combination on the second Cherry Magic entry. Siwaj Sawatmaneekul fails the strict test on a technicality: two of his three records name Studio Wabi Sabi, two name GMMTV, and no single company covers all three.
Producers are the most company bound role we can measure: eight of nine repeat producers share a company across all their records. Screenwriters are the least, at six of twelve. The clearest case of writers crossing a company line is the trio of Eng Issaraporn Kuntisuk, Yui Kanokphan Ornrattanasakul and Fleur Irene Insot, credited together on three records at three different company groupings: The Heart Killers, Love of Silom and Pit Babe. Two smaller writing pairs behave the same way inside one company each.
Of the 172 people in the crew fields, 25 appear in more than one of them. Twelve are credited as both director and screenwriter, among them Jojo Tichakorn Phukhaotong, Rice Natid Kaveekornwong, Wasakorn Khumklaowiriya, Jang Yeong-seon and Yu Jhi-han. Eight sit in both the original author and writer fields, which mostly reflects how we record a novelist who also wrote the adapted script. Three carry both artist or illustrator and original author, and two are credited as both director and producer.
Three people cross further still, appearing in a cast field on one record and a crew field on another: Jojo Tichakorn Phukhaotong, Rice Natid Kaveekornwong and Tonnam Piamchon Damrongsunthornchai. The company article on the 131 production companies measured the corporate layer. This one says the human layer is wider and flatter than the corporate one.
Sample: all 170 title records, read on 15 September 2026. Fields read: director, screenwriter, writer, composer, producer, original author, artist or illustrator, plus production company, country and release year for the cross checks. Every rate above is computed over records that actually name someone in that field.
The coverage gap is large and it is ours. Treating the 94 records whose type is a screen format as the population that should carry a director, 22 of them name none, 53 name no screenwriter, 70 name no producer and 85 name no composer. Fifteen records name nobody in any of the seven fields. So the composer percentages in the first table describe nine records, not 170, and should not be read as a statement about the catalogue.
Two things we measured did not hold up. First, composer looked like the most concentrated of the three roles in the brief, at 25 percent, above screenwriter and director. It does not survive inspection: the rate comes from eight names, and one of the two repeaters, Sumika Horiguchi, holds two entries of a single Japanese franchise. A 25 percent rate over eight names is not comparable to a 15.7 percent rate over seventy.
Second, we tested whether repeat directors are simply sequel directors. If that were the whole story, every repeat director’s records would sit inside one franchise cluster. Only three of eleven do: Natthanon Kheeddee, Yoshiko Okuda and Hiroki Kazama. Excluding them, eight of the seventy named directors return on unrelated titles, an 11.4 percent rate. The franchise explanation covers part of the pattern and not most of it.
One more caveat on geography. All eleven repeat directors work on Thai or Japanese records: nine and two. None of the ten directors named on South Korean records, seven on Chinese records or six on Taiwanese records appears twice. Thailand holds 72 of the 170 records, so a larger pool has more chances to repeat, and that alone could produce this result. We report it as a count, not as a claim about any country’s industry.
Seventy distinct directors across 73 of the 170 title records, holding 84 credits between them. Eleven of the seventy appear on more than one record.
Natthanon Kheeddee, with four records, all of them Fourever You Part 2 entries at Studio Wabi Sabi. Siwaj Sawatmaneekul has three. This ranks by count in our catalogue and by nothing else.
Original author, where 17 of 28 names appear on two or more records, a 60.7 percent repeat rate. Producer is second at 39.1 percent. Director is the lowest of the well filled fields at 15.7 percent.
Mostly. Eight of the eleven repeat directors have one company named on every one of their records, and ten share a company across at least two. Recurring screenwriters are looser, at six of twelve.
Each of the seven crew fields on each of the 170 records was read directly, with a person counted once per record. A repeat name is one appearing on two or more records in the same field. Rates are computed only over records that name someone in that field.
Because an empty field is a gap in our data, not evidence that nobody held the job. Counting empties as zeroes would understate every rate. The gap is sizeable: of 94 screen format records, 22 name no director and 85 name no composer.
No. Every ranking here is by number of records in this catalogue. Nothing in the piece measures quality, reception or influence.
That is what the count shows, but the catalogue holds 72 Thai records against 14 South Korean and 15 Chinese, so a bigger pool has more chances to repeat. We report it as a count and not as a claim about any industry.
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