25 years after a group of strangers found themselves stuck in an endless maze of deadly traps in Cube, Japan produced a remake of the 1997 Canadian cult classic.

Director Yasuhiko Shimizu discusses the SCREAMBOX Original film, including putting a fresh spin on the clever sci-fi horror concept and working with Cube creator Vincenzo Natali.

Bloody Disgusting: Can you begin by telling us how you got involved with Cube and what attracted you to the project?

Yasuhiko Shimizu: Cube had developed a cult following at that time. As a 16-year-old living in the countryside, it was a legendary work that even I, who had no interest in movies at that time, knew of its existence. It was a movie that truly transcended movies, having an impact not only on movie fans but also on the culture of various genres. I was thrilled to be involved and given the opportunity to remake such a masterpiece.

The rules of Cube have remained almost unchanged, and since I want to open it up to more people to see it, I have tried to strip away the mathematical structure and simplify it. By strengthening the rules within Cube in this way, I was able to take the time to expose the humanity of the targets who entered. The person who enters and becomes the target has become a completely different person from the original. I believe this is a major change from the original. All the characters in the Japanese version are Japanese. By doing so, the aim was to create a different story for the Japanese remake. It also functions as a fresh introduction to a modern Japanese audience.

BD: Hollywood often remakes foreign films, but it’s rare for an English-language movie to be remade in Japan. What made Cube a good candidate for a remake?

YS: One huge point is that the hardware – the concept – of the original Cube is strong enough to maintain a very stable quality even if the software changes in a remake.

BD: What was it like working with Cube creator Vincenzo Natali as a creative consultant?

YS: In our first meeting, we talked about our thoughts on the film and how we could create a Japanese version. We did not want to change the format of Cube, but rather strengthen it. We talked about how Japanese characters might exist in the Cube and how that would differ from the original.

BD: Were you apprehensive about directing a remake of a cult classic?

YS: I think I was prepared rather than anxious. Remaking a cult classic, you know you’re going to disappoint some fans, so I thought a lot about that before accepting. Of course, I’m glad I said yes!

BD: In the original Cube, only one cube set was made, which was relit and reused for every room. Did you take the same approach?

YS: In terms of lighting, we took almost the same approach, but shot with LED which was not available at the time of the original. I think the lighting was able to enhance the drama, as the intensity and a wide range of colors played off the performances and were aided by effects like flickering.

BD: Tell me about the new design of the cube.

YS: I tried to imagine and bring in technology that may exist beyond AI or IoT, something more organic. This leads to the idea that a part of the cube exists in the form of a human being inside the cube.

BD: Do you have a favorite trap in the film?

YS: It’s hard to choose, but I would say that my favorite would be the cookie cutter trap at the beginning of the film, that shoots out the wall and punches through the character.

BD: The original Cube spawned a trilogy. Would you return for a sequel to your movie if the opportunity presents itself? If so, where would you like to see it go?

YS: Of course, I would want to direct it again. Personally, I think it would be interesting to make a phantasmagoric human drama where the direction and characteristics of the work change greatly depending on the people who enter it, without limiting it to horror or suspense. So, I would like to do about five television seasons, not just one more film.

BD: Lastly, why would you recommend that someone should watch Cube?

YS: Cube transcends beyond movies in a sense, so I think that even people who don’t usually watch movies will find it interesting.

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