Ken Ryu, the original author of “Arc”, is impressed by the Japanese movie adaptation! Birth of a completely new science fiction work that transcends time [CINEMORE ACADEMY Vol.18]

If you're a fan of science fiction novels, you've probably heard of Ken Liu, the Chinese-born American author. His 2011 short story " Paper Menagerie" became the first novelist in history to win three of the highest awards for science fiction and fantasy: the Nebula Award, the Hugo Award, and the World Fantasy Award.

Ken Liu has produced many short films with his original ideas. He has many fans among filmmakers, and many of his works have been adapted into films, including "Good Hunting," a segment in the Netflix animated series " Love, Death & Robots " (2019-). Ishikawa Kei, now one of Japan's leading directors with " The Gukoroku Passage " (2019), has taken on the challenge of adapting one of Liu's works into the screen with "Arc."

The protagonist, who works as a plastinator, preserving the deceased in their original form, eventually dedicates himself to a new technology that prevents aging, becoming the first human being to do so, and lives for over 100 years with an appearance that remains unchanged... How has Ken Liu's short story "Arc" been reborn as a Japanese film? In this exclusive interview, we spoke with the world-renowned sci-fi novelist about his thoughts on the film adaptation as both author and executive producer, his surprise at the finished product, and his stance as a writer during the COVID-19 pandemic.

Index

• I was surprised to hear that an American story was being made into a Japanese film.
• The sense that it's not obviously futuristic is also inherited in the film.
• Similarities with his own work, which was also used in Koreeda's films
• The perspective of "Breaking Bad" is instructive

I was surprised to hear that an American story was being made into a Japanese film.

Q: As a novelist, what is your stance on your work being made into a movie?

Liew: Once I've completed the work, that's it. So when I'm approached about adapting it into a film, all I ask is, "Please bring it to life with your vision." My hope is that it will become a work that stands apart from the original.

Q: I heard that Director Kei Ishikawa first sent you a letter expressing his desire to make a film. How did you feel about that?

Liew: I was surprised and delighted at the same time. I wrote "Arc" with the story set in America, and I considered the story itself to be "American." This is because it is based on my experiences in America. Director Ishikawa explained to me what attracted him to "Arc" and how he wanted to portray it in a Japanese setting. He said, "I wanted to make this film not as a story of eternal life, but as a story of eternal youth," and I was impressed by his unique perspective. So I readily accepted the offer, but when I read the first script, it exceeded my expectations even further, and I was convinced that it would become an interesting film.

©2021 "Arc" Film Production Committee

Q: What kind of artistic qualities did you sense from Director Ishikawa's past works?

Ryu: That's right. In terms of painting, I feel an aesthetic similar to that of watercolor painting. I think he has the talent to impress people visually. But this is just my personal impression...

Q: Did you think "Arc" was a work worthy of being made into a film?

Liew: It's not a work that's particularly well-suited for adaptation, which is precisely why it piqued my interest. If it's clearly an interesting work when visualized, it wouldn't be much of a surprise when it's made into a movie. Aren't most film versions of popular novels boring? (laughs) I think the more difficult it is to adapt the original work into a film, the more new spirit is drawn out of the story and a world never before seen is told. I think that's what happened with "Arc."

Q: You were asked for your opinion on the script as the original author. What was the exchange like?

Liu: Of course, I tried to help the production team as much as I could, but I basically kept my advice to a minimum so as not to interfere with their creative process. Some writers try to control their own film adaptations. I'm the type to leave it up to them as much as possible, and I would rather not imprint my own style on them.

The sense that it's not obviously futuristic is also inherited in the film.