[From Guinea Pig: The Devil's Experiment]
[From Guinea Pig 2: Flower of Flesh and Blood]
[From Guinea Pig 3: Shocking Immortal Man]
Meet the new Hideshi who will not die.
I will show you many painful things.
The Making of Guinea Pig
[Guinea Pig 2: Flower of Flesh and Blood]
In five, four, three, two, one, action!
Is this all right? OK, I got it.
We may stop in the middle, depending on how it comes out.
OK, please get ready.
OK, this is a take. In five, four, three, two, one, action!
[Guinea Pig 2: Flower of Flesh and Blood]
[The bone is made of polyester resin and the flesh is urethane sponge]
[The tendons are made of latex.]
[The movement of the fingers is done by using wire work]
OK, cut!
We use wires for the special effects. There are five cables.
[SFX Artist Nobuaki Koga] It is a very simple structure, just pulling the cable moves the finger.
[A tube is placed inside to squirt the blood.]
In five, four, three, two, one, action!
They showed me the video, Guinea Pig: Devil's Experiment
and proposed to me, to make a second version.
I watched the video, and then we decided to use my work called
[Hideshi Hino] "Flower of Flesh and Blood" as the basic script for the second one.
When illustrating a scene, I try to focus on just one thing,
highlight it, and describe it thoroughly.
From the thorough illustration, I believe the audience will use their
own imagination to expand the scene.
This is what I am aiming for and that's why a man simply dismembering
a woman without a trace of meaning or reason makes sense.
I think it should be meaningful if the audience not only watches
the scene as it is but also goes into another imaginary realm.
That's the aim of Flower of Flesh and Blood.
OK, that was good.
Is this the right amount of blood?
[From Guinea Pig 2: Flower of Flesh and Blood]
[Molding at SPFX Studio for Flower of Flesh and Blood]
It is impossible to mould a whole body at once, so we made a head...
[First apply a coating of alginic acid impression material inside]
...both hands, and wrists first, then arms, legs, and torso.
[Reinforce with soft plaster as a backup]
We moulded them separately, taking into account each special effect
such as the "chopping off" and the later details.
For these effects, we also had to place an oil jelly material inside the mould.
It took a very long time to remove the plaster from the moulds
since the pieces must fit together to make a whole body.
Then we created a silicon mould and filled it with oil jelly,
and injected soft urethane foam to create the completed piece.
[Apply a hard plaster coating inside and create a plaster male counterpart]
[Then create a female coupler with silicon gum and pour it with oil jelly]
Oil jelly is a material which has a very strong transparent feel.
Human skin, we perceive, is not only the reflection of the surface color.
We also perceive the flesh, vessels, and fat under the skin.
All those colors catch our eye through the skin.
[Over 50 body parts were made for the video, including prototypes]
We couldn't obtain the quality if we dealt with just the skin surface.
We had previously used foam rubber, the effect we could get was limited
limited to just coloring of the surface because of its substantial limitations.
Regarding the transparent feel, it was very unsatisfactory.
[Oil jelly was developed as a tunic material for submarine cables] Then we found a material called oil jelly and decided to use it.
It was better than foam rubber and now here we are.
Artificial food red is used for blood.
We used red from the artificial food red and yellow and blended them together.
In Guinea Pig 2, for the glutinousness of blood, we mixed in gelatin.
Summer of 198X
[From Guinea Pig: The Devil's Experiment]
The human body does not bleed immediately after a cut unless the cut is really severe.
We wanted to get the same effect, so we placed an injection needle
in a hand made of oil jelly which already had a cut in it.
After the surgical knife passes the cut, we put pressure on the
blood pipe and push out the blood from the injection needle.
By doing this, we got the effect of the blood coming out a beat after the cut.
We asked the actress to hold her eye open while we created a...
[From Guinea Pig: The Devil's Experiment] We asked the actress to hold her eye open while we created a...
[From Guinea Pig: The Devil's Experiment] ...moulded piece, then we replaced it with a fake eye.
We used that for the scene where the needle is stuck into the eye.
For the scene where the needle comes out of the eye,
we switched the fake eye to an eyeball that was made of oil jelly.
Guinea Pig 3
Guinea Pig 3: He Never Dies
[From The Shocking Immortal Man AKA: He Never Dies]
Oh, ouch, ouch.
When you touch the wrist like this...
We should shoot the same position so everything connects and flows...
That's just right.
Mr. Sato, put the knife in as far as possible.
About right here.
OK, I am going to let it drip now.
You did it. Wow, it's so real.
Ahhhh. Ouch, ouch.
You don't have to press it that hard.
[It is important to check on the monitor during SFX shooting.]
[3 types of arms were made for the first knife scene for the 3 different angles]
All right. Let's start on the spot. OK, roll.
Ahhhh. Ouch.
OK, please move it.
Whoops, sorry. I'm sorry. The amount of blood is different from the last time.
I should put it in a eye dropper or some kind of container...
Is this all right?
[From Guinea Pig 3: He Never Dies]
I cut it.
In this version, we also have a scene where the hand has some movements.
We improved on it a bit.
The hand moves more smoothly even though we are using the cables.
What kind of movement is it?
This is where a ballpoint pen is being stabbed into the hand.
Do you have a pen?
For example, there is an aluminum sash right here, it works as a bone.
You stab it like this. Of course, the pen will get some pieces of flesh.
The finger moves like this.
[From Guinea Pig 3: He Never Dies]
[The five fingers move independently of each other]
[The wire work takes four people to operate]
OK, this is a take. Ready, action!
OK, cut!
Let's try it one more time.
[From Guinea Pig 3: He Never Dies]
Oops, I dropped it!
What am I doing...
Nonsense means a true void of meaning. It is very difficult to deny
something which does not have any meaning.
I don't know how to put it, but nonsense is like,
you know it is interesting but you don't know what is so interesting.
The idea of the man who can never die is interesting enough in itself
so I wanted to do so many things.
Like dismembering and so on. I thought a man who can commit suicide.
[Writer/Director Masayuki Hisamot] As many times as he wants was pretty ridiculous in terms of the degree of nonsense.
But, you know, suicide is in fashion now.
Directing is really hard work. Like conducting so many people, for instance.
I mean it is a difficult task, or a difficult role, I think.
OK, action!
You know? Let me see, how can I say this, you know
it will not be of interest to a person without talent.
I am, you know, I am rather, a person with great sensibility, no?
There are no attractive men in this company.
No men good for anything.
[From Guinea Pig 3: He Never Dies] No men good for anything.
[From Guinea Pig 3: He Never Dies]
I will never marry a man who works for this company!
[From Guinea Pig 3: He Never Dies]
But I don't feel good in Japan, do you? It's, how should I say...
How was it?
Perfect!
Great! But a bit too cheerful. You'd better not smile...
[About Kyoko's role] She is rather a modern girl, cheerful and not too impressed by the world.
[EVE who played Kyoko] He is a very funny person. I wonder why he didn't become an actor.
[About Kuzumi Director] If he does the directing and acting at the same time,
I think we would come up with something really good.
[The best part of this video] The video came out really well. I cannot explain why in a word.
I won't tell you the story because I want you to go and buy the video.
Please, buy the video and watch it!
Just a little more. Walk toward the black paper over there.
In this direction... And walk like this...
Yeah, you're right.
OK, let's rehearse it.
OK, this is a rehearsal. Ready, action!
[From Guinea Pig 3: Shocking Immortal Man] Welcome to my cursed house, Mr. Elvis Nakamura!
What happened with you, Hideshi?
Welcome! Cu-cukk, cu-cukk, my pale face!
I am not the Hideshi of before.
No longer the old Hideshi who is always apologizing...
"No, I am sorry. Not really, but..."
Meet the new Hideshi who will not die.
I will show you many painful things.
OK. Cut. It was good.
Please pardon me!
[From Guinea Pig 3: Shocking Immortal Man] Hideshi! Please stop it now!
[From Guinea Pig 3: Shocking Immortal Man]
Oh, you apologize.
What kind of pleasure are you getting from this?
One more! Nothing more!
[Camera crews were forced to shield themselves from the guts being thrown]
[Shinsuke Araki, "Masatoshi Nakamura"] He is interesting because he is a little off from normal people's idea of common sense.
The gap makes this man really something unusual.
[About Masatoshi Nakamura's role] The gap makes this man really something unusual.
[About Masatoshi Nakamura's role] He is not a handsome man, rather deviated from others.
This was the first bed scene for me, so I was so nervous
especially because it was with EVE.
She was so confident and led me well. It was very helpful.
[About Kuzumi Director] He is a much better actor than I am. I thought he should be in it.
It would be great if he joins us in Guinea Pig 4 as an actor.
As a director, he is primarily concerned with the characters
so it was less difficult for us to play the role.
First, lift the pajama with your left hand, then quickly strip it with the right hand.
The camera, please move to the center.
Let's do it one more time.
Well... First you are in pajamas and then go...
"And today's show and entrails are over!"
Did you lose consciousness? It has such a strong impact.
The horror, it petrifies them. I would be petrified if I had to look at it, too.
So, well, what shall I do for an encore?
[Previously omitted scene] Right! Why don't I try a stapler and pinch the eyelids shut with it.
[Previously omitted scene] Then, jerk the eye open. It must be painful.
Or try a push-pin and stick it into a mole. It must tingle and feel good.
Am I a sadist or masochist? Anyway, let's try that.
What is the video called? Guinea Pig! Let's try that. No, no, that's no good.
No, no no, that's no good.
The needle went in and squirted out this way. I'd rather die than I try that.
Oh! I wonder if Nakamura brought what I asked for.
Mr. Eiji Tsuburaya hasn't shown up yet. Since Mr. Tsuburaya passed away,
Japanese SFX has kept declining.
I've heard there are some people holding out by making independent videos.
But as a commercial base there is no bright hope ahead.
It is a very tough time for us now.
To study SFX, there are no set instructions you must follow.
All you need is a strong passion.
However, for SFX make-up, you definitely need some medical knowledge
since it directly deals with human flesh.
Knowledge of physics is also necessary.
From the basic principle of the lever to more complex ones.
It is important that are able to construct the whole picture in your head.
Since you must also utilize electrical technology and radio control mechanisms,
I believe general and varied knowledge is required.
[Toward the end of the video, the crew became tense]
[For this scene we used a blue screen & the body part was erased by optical wipes]
There isn't anybody who wouldn't feel awful now.
Put your hand like this and go "There is nobody!"
If you do that, he will react like
"What, what, aren't you scared?", since he is so weak.
[From Guinea Pig 3: Shocking Immortal Man] Come in! I am the man who cannot die.
Dirty! What did you do? Wao!
No! You made such a mess.
-Nakamura! Get up! Get up! -What are you doing here?
Oh no! Why do you do these things? Sorry Hideshi has cut his wrist
stomach and entrails, and made the room bloody.
Say Hideshi! What are you doing? You've made such a mess.
Yeah, the last scene is great. Really. Cheerful and cute.
[Masahiro Sato, "Yoshio"] I really wanted to do it, too. The gross part was when I cut with the cutter knife.
That was the worst because in a real life you have that kind of temptation.
It's not a matter of dying, but you really feel the flesh when you cut it
with the knife so the sound got under my skin and it was really gross.
But the last scene was fun. I am sure you want to try that too.
You know the part where there is a decapitated head.
Mr. Kuzumi loves comics. So I like his taste for the details.
He is very particular about the little things
Those kinds of things are everywhere in the video and I think it's great.
The best part of this movie? It's up to you and your own taste.
You can enjoy finding the details if you're a fan of Mr. Kuzumi's comics.
The little things like the books, videos or records in the background.
Or enjoy how the man tries to wear the hat. Or watch it as a splatter video.
Or you can watch it as a comedy.
There are many ways to enjoy it, so please watch it as you like.
You can watch this video in the middle of the night.
You can watch it alone too, you know.
[Producer: Satoru Ogura] This video is intended to simply get rid of stress.
We thought it would be really interesting if the audiences
[About Guinea Pig Plans] could ease their stress by just watching the video.
And this kind of video was unheard of.
As a result, it kind of turned out to be splatter or horror like.
Even though Guinea Pig is a series that focuses on cruelty.
[About Future Plans] We won't hold on to just that topic in the future.
But if we want to make something flashy and have scenes on
this video which cannot be shown in movies or on TV,
we feel we must keep making them on video and we are willing to do that.
Names of all the staff who participated in
the Guinea Pig series with respect for all their contributions
The Making of Guinea Pig: Director: Jyunko Okamoto
Photographer: Jyunko Okamoto, Naoki Hayashi
Interview: Miwa Iwanami
Producer: Satoru Ogura