Diving into the Surreal: An Interview with Shozin Fukui, Master of Japanese Cyberpunk!

Shozin Fukui is a one-of-a-kind director who dives into eroticism and body horror in a surreal, kinetic, and unique way. Most of all, his punk D.I.Y. aesthetic fills your TV screen with consistent noise, screaming, and anxiety. His films are almost impossible to describe. They’re an experience like no other, and that’s putting it lightly.

It was an absolute honor to get to talk to the master of Japanese Cyberpunk. A genre that he had his hand in creating. His artistic achievements aside Shozin is just a wonderful down to earth human being, and I hope you enjoy this interview with him.

Thank you for taking the time to talk to me. How have you been doing?

I’ve been reminiscing about the past and conducting research, which took up a lot of time, hence the delay in my response.

Before making films, I heard you were in a band. What was the band called and is your music available to listen to anywhere?

I was in a post-punk indie band called “Hone” (known as “Positive Punk” in Japan). Since we mainly focused on live performances, we didn’t release any records or CDs.

What was your inspiration behind starting to make films?

During my university days, there was a movement of indie movies in Japan, and as I watched numerous self-produced films, the desire to make my own films solidified. While assisting senior filmmakers, I learned the craft and started making my own works.

How do you find your actors? With the acting style in your films being so unique, how do you direct them to get the right performance for the film?

Rather than limiting the search to actors, I sought out individuals involved in expressive acts like bands or dance. To make use of their unique acting styles, I sometimes modified the script to suit the actors. I value the individuality of the actors.

What is your favorite film that you have made, and what was your favorite experience of the process?

I particularly like my 8mm film called Caterpillar. I filmed it with a conscious focus on performance, similar to performing at a band’s live show. I created all the sound myself, so it felt like making a record. The experience was beneficial when working on subsequent projects. My most enjoyable experience was when I brought the sound system (PA, effects, etcetera) and used them to turn the film screening into a live performance.

Which film of yours was the most challenging to make and why?

Making Rubber’s Lover was the most difficult. Initially, we planned to complete the shooting in one month, but due to staff illnesses, budget issues, and preparations such as art and special effects taking longer than expected, it ended up taking six months. The sound studio work also consumed a significant amount of time, exceeding the original plan.

What are your thoughts on the cult status that your movies have achieved over the years?

I’m delighted that people from various countries still watch my films. I’m also excited about the release of the restored Blu-ray version of Pinocchio √964.

Rubber’s Lover is one of my personal favorite films. What was the inspiration behind making it?

I’m glad you like it. Initially, I rented a warehouse at a large gallery called Rentogen Art Laboratory for another project. However, when that project was canceled, I decided to create the set for Rubber’s Lover there. Many people gathered and supported me, which led to the start of shooting the film.

Most of your films revolve around the transformation and evolution of the human body. What aspect of the human body interests you?

My belief and main theme are when the mind surpasses the physical capacity, an exceptional spirit unfolds. Therefore, I am interested in the muscle fibers that make up the human body, the consciousness that is aware of those fibers, and the still unknown aspects of the brain.

Your last film S-94 had to deal with a virus that wiped out most of humanity. Looking back, do you see any similarities between your film and the Covid 19 virus that we just dealt with?

Looking back, there are many similarities. That said, I was already interested in viruses and had been researching them. During the production of S-94, I explored what would happen to people if the situations related to the viruses, I had researched became prevalent in the near future.

Which of your films do you consider the most successful?

I don’t consider any of them successful, but I think Pinocchio √964 is the one that reached the most people. However, I hope people will continue to watch my films, including the future developments of Rubber’s Lover.

Your films have a unique visual style that sets them apart from other films in the genre. What or who has influenced the unique aesthetics of your films?

When I create my works, I first undertake the task of eliminating the influences I received from films, music, art, novels, manga, etcetera. In a sense, I negate and reject the things that influenced me, and I try to discard everything from within myself to reach zero. This process is very challenging, and it is impossible to completely eliminate the influences, but I strive to do it to the extreme. From a state close to zero, creative passion emerges without hesitation, and I believe that this is what leads to the aesthetics of my films. I am honored that you mentioned the unique visual style and expression that my films possess.

Will your early works like Metal Days and Caterpillar ever be re-released on DVD? A collection of early short films would be wonderful.

I have received inquiries about Metal Days from various sources, so I am currently considering it. I hope to release it on DVD if possible. We are also considering releasing Caterpillar on DVD.

Your last film was made 14 years ago in 2009. Do you have any plans to make another film in the future?

Currently, I work as a VJ (video jockey) collaborating with various bands during their live performances. I have also formed a band called “sight296,” where I serve as the VJ and another member handles the sound, and we engage in live performances. Based on the influences I have gathered from live performances, I have a desire to create new works (films). I also have several original screenplays that I would like to turn into film. So, I have many projects that are currently under consideration.

Thank you for taking the time to do this with me. Do you have any final words to say to your fans?

I am extremely happy that my films are being watched by people across different eras and I deeply appreciate your support and interest in my work.

Special thanks goes out to Severed Cinema for giving me a home for this interview with Shozin Fukui. Also, if you haven’t yet, make sure to pick up the newest remastered release of Pinocchio √964 from the Media Blasters website.