Hollywood horror films at least have some sort of moral theme or storyline, but this is just meaningless violence.” As if I wasn’t aware of that! How dare they suggest that my film is inferior to a Hollywood horror flick? That’s the whole point of my work. At the time, the journalist Taro Kimura asked film critic Haruo Mizuno on a television news program “Is this sort of video really necessary in this world?” to which Haruo Mizuno replied "No, absolutely not. But that proved to be problematic because without a visible ‘story’, it ended up being too close to a genuine snuff film. Well for this particular film, there was significance in removing the story. What was it like to move away from narrative in your film?
In your manga, story is always an important element. Anyway, I wanted to completely omit any kind of moral theme or anything else that would reveal the main character’s feelings. Since it’s impossible for me to release snuff as-is to the public, I must remake it into a “movie,” which is what the audience sees.
It would be boring if I depicted it in a straightforward manner, so I created a premise for the film, that one day a crazed fan sends me a roll of 8mm that turns out to be a snuff. At the time, there was huge hype about urban legend snuff films in Japan, so I decided to make that the theme of the work. I really wondered whether I could even make an interesting film under those restrictions. Instead, they said, I should limit the shooting to one location and shoot long takes with minimal cutting. As a manga author, I felt I should create a story-driven film, but the producer said they didn’t have the budget for that. I seem to have had some fans among the production team of Guinea Pig 1 during the wrap-up party for Guinea Pig 1, my name was apparently mentioned so the film’s producer paid me a visit. Vice: What was the impetus for making an ultra-violent movie like Guinea Pig? Vice Japan’s Tomo sat down with Hino for this chat. Today Hideshi Hino teaches at the Osaka University of the Arts in, as described hilariously by Japanese Wikipedia, the “Department of molding character.” If that translation even approaches reality, we should expect police to find an enormous cache of bodies in the Yodo River any day now. It’s a 45 minute gore-fest non-pareil that looks as genuine and terrifying today as it did in 1985. The movie famously scared the shit out of Charlie Sheen whose exposure to the movie moved him to report it to the MIAA (and they to the FBI). The plot, loose as it is, consists of a florist killing ladies to use their dismembered body parts for floral arrangements.
And you can hardly blame them: the movie itself purports to be an actual snuff film sent to Hino by a crazed fan. When American and Japanese investigators watched his seminal psuedo-snuff masterpiece Guinea Pig 2: Flowers of Flesh and Blood they were convinced the on-screen violence was real.
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