Blurring the Lines Between Mediums: Exclusive Interview with Exit 8 Director Genki Kawamura

      Robert Kojder speaks with Exit 8 director Genki Kawamura…

      Genki Kawamura, a prolific producer associated with notable Japanese filmmakers like Hirokazu Koreeda and Makoto Shinkai, is now stepping into writing and directing. His latest project, Exit 8, which has garnered significant attention at Cannes, is based on a video game from Kotake Create. This adaptation not only received well-deserved praise but also suggests that adapting video games may not be as challenging as previously thought, provided the filmmaker approaches it from a strong perspective.

      Kawamura undertook the challenge of adapting the 2023 walking simulator, which lacks a narrative and primarily acts as a looping puzzle that compels players to identify physical or auditory anomalies in a subway station corridor. While a storyline has been added (co-written with Kentaro Hirase), it was done effectively without compromising the gameplay, which has been cleverly translated onto the screen, working in harmony with his psychological horror narrative that seems to punish characters with guilt. Declaring something as one of the finest video game adaptations isn't necessarily demanding, but it demonstrates that gameplay can successfully transition to another medium without losing its essence.

      It was a pleasure to discuss with Genki Kawamura how he achieved this and what inspired him. Reflecting the ever-evolving entertainment landscape, the film blends both mediums and holds psychological intrigue on its own. We talk about the immersive experience (similar to simultaneously playing a game and watching a film), the challenges faced during the shooting of scenes involving endlessly looping hallways (with clever nicknames assigned to each hallway to aid the actors), a conversation with Nintendo’s Shigeru Miyamoto, casting choices, and the creative thinking behind some of the visually striking imagery. Enjoy the interview below:

      This is fantastic psychological horror! From my experience, most video game adaptations tend to eliminate or simplify gameplay. In your film, you maintained the gameplay and transformed it into a cinematic experience that fits within the story. I never knew this could be done effectively until I watched your adaptation of Exit 8. What made you believe it was possible?

      As you pointed out, it’s a significant challenge, which is why I initially abandoned the concept of a video game adapted into a film. Instead, I concentrated on blurring the lines between the gaming medium and cinema to create a unique movie-going experience. I gained valuable insights during a discussion with Nintendo’s Shigeru Miyamoto; he mentioned that great games must entertain players while also being engaging for those watching others play. In the film, I aimed to place the audience in the player’s position, occasionally making it feel as if they were watching a live stream of someone else playing the game. I wanted to reflect the phenomenon happening in the gaming industry with players, streamers, and viewers, and translate that into film.

      I appreciate how you articulated that because while watching the film, I felt like I was participating in a Twitch stream, searching for anomalies alongside the characters.

      That was entirely deliberate. I wanted the audience to search for anomalies alongside the characters. I achieved this by using various camera angles during the actors’ performances. There were moments when the audience might spot certain anomalies before our protagonists, and vice versa. This was done very intentionally.

      The story you've created suggests that some characters are being punished for their moral failings in the real world, reminiscent of themes in the Silent Hill games. Was that an inspiration for your narrative, and did you draw from any other games?

      I love the Silent Hill games, too, but my primary inspiration came from Dante’s Divine Comedy and the notion of purgatory, where individuals are judged for their sins in a similar manner. I think the corridor judges the players who enter it based on the guilt they carry daily, reflecting that back at them.

      You took the bold step of shifting perspectives to two other characters throughout the film. What gave you the confidence that this would work structurally and allow the audience to connect with The Walking Man and The Boy?

      While writing the screenplay, I extensively watched various Twitch streams featuring different people playing Exit 8. I realized that there are countless stories as diverse as the players themselves and the dramatic moments they create. The game’s simple design allows for various reactions and interactions. This led me to see the game as a lens into human nature. I wanted the corridor to emerge as almost a main character in the film, with the yellow Exit 8 sign acting as a god overseeing this corridor’s realm as different players entered that space.

      Regarding the corridor serving as a character, I understand this is inspired by an actual Japanese subway station. I assume you didn't film on-site; can you elaborate on the production design and the challenges involved in recreating these looping hallways?

      That’s correct. Much of this hinged on our set design. We created two identical corridors, effectively a mirror of itself, which allowed us to execute those lengthy takes and physically create the looping effect. The Walking Man, portrayed