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Japanese remake of Vincenzo NataliCult sci-fi classic cubeDirected by Yasuhiko Shimizu (“Pension: Love Is Pink”), now airing on the Bloody Disgusting-powered channel Screambox.

Vincenzo Natali’s classic brutal sci-fi horror was so successful that it came out Cube²: Hypercube (2002) and Zero cube (2004). Natalie (Paste, in the tall grassNBC’s “Hannibal”) as a creative consultant for the Japanese remake, with Koji Toko Write an adapted script.

Bloody Disgusting spoke to Natali to release a remake on SCREAMBOX. The director revealed how he influenced the remake, including its director Yasuhiko Shimizu, and teased the trap he designed in the reimagining. The director in his film reflects on this process.

Natalie tells us how he got involved in the remake and why it appealed to him.

“I personally knew the producers who made it happen, and they’re Japanese, and I love them very, very much, and I wanted to support them,” he said. And then I was really excited about the idea of ​​a Japanese remake, much more of an American remake, which was also, I think, been going around someone’s development list for a while. American, I was always afraid the edges would be rounded to it, and it would be more of the same.

“But I felt with a Japanese person, he’s going to go through this cultural filter, and even if they try to make him the way he is, it won’t be the same. Combined with the fact that I think that cube He has a bit of Japanese in his DNA, even I was aware of that while we were making it. So I also felt that they would understand and appreciate that for all the right reasons.“

When asked about the Japanese DNA of the original film, Natalie said, “When we were filming cubeWe joke that different cubes have different attributes. There was one cube that I named the Ozu Cube because I pictured it like [Yasujirō] Ozu movie with everyone sitting on the floor. I mean, I’ve always been a fan of Akira Kurosawa, of course. There is something again because it is very archetypal. These films, Kurosawa’s films in particular, are completely timeless because they feel like they’re dealing with themes that will never die. They are portrayed in a dynamic yet classic manner; They don’t grow up at all.

“I don’t know how conscious I was about it, but I think I understood when I was doing cube That this is a similar kind of thing. As I say, it exists outside of time. I mean, if I were to go back over again, I’d remove more of the cultural references because I think that’s part of its strength, it’s almost myth, except it’s in the context of science fiction.”

Once a Japanese remake of cube Officially launched, Natalie gave the filmmakers the creative freedom to make it their own.

He explains: “I tried to stay out of the way as much as possible, to be honest. I have to admit I was a big part of choosing who directed it, Yasuhiko Shimozu-san, who I really liked. He made a great movie called Vice Which I recommend to anyone who can get their hands on it. He did exactly what I thought he would do. He is a very talented filmmaker, a very deep thinker, a very aesthetic and poetic filmmaker. I commented on the script a little bit, but I wanted the movie to be its own movie.

“I love remakes that are different from the originals. I don’t want to see the same thing, just with a sheen of whatever the latest digital influences are. I want to see something that’s basically in their DNA morphed into something else that’s more modern and specific to the moment, which is what They did, and it’s very specific to Japan and the generation gap that’s exploding in this country right now. That seems to me what this movie is really about, which has nothing to do with our first movie.”

Did he give any advice to the filmmakers about the remake?

“I think maybe if you gave Shimozu-san any advice it was, ‘Make sure you focus on the humans,’” Natalie replies. “I don’t know, maybe I invented that memory, but I think I said it. I mean, one of the inspirations for me cube He was Alfred Hitchcock film lifeboatBecause you couldn’t be in a tighter place. However, he made it cinematic, and then he made it engaging because the characters, I think they were written by John Steinbeck, and the characters are intensely involved, transforming. They appear to be one thing at the start of the movie, then reveal themselves to be something else entirely different as time goes on. I think that’s what you have to do in a great way when you’re in this confined environment with a limited number of characters. The Japanese remake has taken that lesson to heart and made it a tremendously human story, perhaps a lot more sympathetic than my movie, which is somewhat surprising but beautiful.”

Natalie continues, “I can’t remember if I said that to Shimozu-san, but I think I said, ‘Don’t go in the cube, don’t do that.'” It’s an awful place to shoot a movie. I don’t know if I said it out loud already, but no, I wanted to support them and do it through truancy. The only specific thing I did, which was an interesting and funny thing, was that I designed one of the traps; But I was more than encouraging, really. “

For any trap, Natalie offers a simple tease: “The last one.”

If you’ve watched it, you know it’s a creative showcasing tool. If not? Brand new edition cube NOW AVAILABLE TO STREAM ONLY ON SCREAMBOX.