Hideo Nakata

These tropes would define the J-Horror genre, firmly setting it apart from the prior decade's splatter movement while functioning as an evolution of the kaiden gothic ghosts of the late 60s.

It seriously can't be understated how much of a colossal influence the Scary True Stories trilogy had on directors like Hideo Nakata and Takashi Shimizu and the previously mentioned Kiyoshi Kurosawa.

If it wasn't for the Scary True Stories trilogy, there would be no Ring, Duel on the Grudge or Pulse.

After the success of Scary True Stories Trilogy, Jackie J. Kanaka would go on to write for the horror TV series Gakko no Kaiden in 1994.

This show would further employ the tropes that were perfected in the Scary True Stories Trilogy and serve not only as Kiyoshi Kurosawa's foray into the world of J-horror, but would also further inspire the aforementioned directors who would go on to direct segments of the subsequent TV specials.

Hideo Nakata would direct the first segment of Schoolgirl Story F from 1997, and Takashi Shimizu would direct the In a Corner segment and 4-4-4-4-4-4-4-4-4-4-4 segment, also known as Ten Falls, in Schoolgirl Story G from 1998.

These two segments are particularly noteworthy for featuring the first appearance of Kayako and Toshio, who would go on to become Jeihara icons in Takashi Shimizu's 2-1 series.

If you'd like to learn more about the history and development of the importance of J-Horror, then you can check out my commentary track on Scary Two Stories Night 2 that's featured on the upcoming Imprint Asia release of The Origin of J-Horror.

... and s- just as crazy, just as funny.

Um, and obviously it's got those cameos as well, right? So you've got, um, Kiyoshi Kurosawa and Hideo Nakata, uh, in the films.

Just like so fun.

And for someone like me who's just been obsessed with J-horror and, and all of this for a long time, I just had an absolute blast with that, and they, it instantly became some of my favorites.

Hiroyuki Sanada, and Rukiya Okaka.

It was directed by Hideo Nakata and written by Hiroshi Takahashi.

And it was based on a novel who, I'm not sure if that was Hiroki who did the novel.

I thought I had that here.

Um, someone like Roy Lee is like, oh, great.

I can buy the, I can buy the, the U S distribution rights for ring.

Um, you know, the, uh, Nakata, the producers in, in, uh, from, uh, I don't think it's Toho.

I can't remember who produced, um, uh, the ring, uh, ring in Japan.

I read that in a couple of different places, a very damaging, damaging, leak flooding.

Now this disturbed director Hideo Nakata enough that he invited a Shinto priest to perform a purification ceremony at the production office.

Shortly after, a five-gallon water bottle spontaneously exploded, flooding the production office kitchen a second time.

Does not bode well for this movie.

Naomi Watts plays Rachel Keller, a journalist investigating a videotape linked to deaths seven days after viewing.

Gore Verbinski directs the American remake of Hideo Nakata's 1988 Japanese film, itself adapted from Koji Suzuki's novel.

The hook is beautifully cruel.

Watching is how you investigate.

I believe it was many people's first encounter with Japanese horror storytelling, and I think I wasn't the only millennial to spend an evening with the television covered with a towel.

Gore Verbinski's 2002 film was based on Hideo Nakata's 1998 film, usually called Ring in English to distinguish it from the American film, and Nakata's film was based on Koji Suzuki's 1991 novel of the same name.

While I didn't realize that I was being affected by Japanese horror storytelling, I did realize that I was deeply disturbed by the film.

I also realized I was disturbed when I later, for medical reasons, spent a week hallucinating the creepy TV crawling ghost, which was even more disturbing.

Uh, so I'm sure as, you know, as you know, this was a book originally adapted into a film in Japan or- originally in, uh, I believe 1998 it was first released.

Uh, Hideo Nakata, uh, was the filmmaker who released that.

Um, the producers of the American version of The Ring saw this film in LA, uh, and they said before the credits were rolling, they were on the phone, uh, trying to get the rights, optioning the rights, uh, to The Ring, uh, to remake here in America.

The marketing for it was fascinating to me how they decided to market kind of doing, like, a grassroots campaign.