The latest full-CG feature-length animated film based on the world of the global hit survival horror game series "BIOHAZARD"
BIOHAZARD was born in 1996 as a PlayStation game. It quickly became a worldwide hit, spawning not only sequels but also numerous spin-off series. Including the latest installment, "BIOHAZARD 7 resident evil", the series has sold over 77 million copies worldwide, becoming a global survival horror phenomenon. In 2002, a live-action film series directed by Paul W.S. Anderson and starring Milla Jovovich was launched, brilliantly overturning the conventional wisdom that "movies based on games don't sell."
In 2008, the first installment of a full CG animated series based on the BIOHAZARD universe, "biohazard DEGENERATION" starring Leon S. Kennedy, was released. In 2012, the second installment "biohazard DAMNATION" was released and attracted a lot of attention. Then in 2017, the third CG animated film, "BIOHAZARD: VENDETTA", was finally released. Takashi Shimizu, executive producer of Ju-on, which ranked No.1 at the U.S. box office, participated in the project. The director's Takanori Tsujimoto, highly acclaimed as a "director poised to lead the next generation of action films" for his work directing "THE NEXT GENERATION PATLABOR". The screenplay's by Makoto Fukami, a huge fan of the BIOHAZARD series who recently created the unique world of the anime PSYCHO-PASS. A stellar creative team has assembled. Furthermore, animation production's handled by MARZA ANIMATION PLANET, known for works like "SPACE PIRATE CAPTAIN HARLOCK", resulting in a high-quality CG animation completed using the latest technology.
Chris Redfield and Leon S. Kennedy team up for unpredictable battles. Rebecca Chambers, who had a quiet following among fans, plays a key role in preventing the destruction of a major city during the climax. These scenes, impossible to achieve in either the game or live-action versions, is rendered with full CG animation, packed with emotion and spectacular visuals, making it a highly accomplished action film.
BIOHAZARD was born in 1996 as a PlayStation game. It quickly became a worldwide hit, spawning not only sequels but also numerous spin-off series. Including the latest installment, "BIOHAZARD 7 resident evil", the series has sold over 77 million copies worldwide, becoming a global survival horror phenomenon. In 2002, a live-action film series directed by Paul W.S. Anderson and starring Milla Jovovich was launched, brilliantly overturning the conventional wisdom that "movies based on games don't sell."
In 2008, the first installment of a full CG animated series based on the BIOHAZARD universe, "biohazard DEGENERATION" starring Leon S. Kennedy, was released. In 2012, the second installment "biohazard DAMNATION" was released and attracted a lot of attention. Then in 2017, the third CG animated film, "BIOHAZARD: VENDETTA", was finally released. Takashi Shimizu, executive producer of Ju-on, which ranked No.1 at the U.S. box office, participated in the project. The director's Takanori Tsujimoto, highly acclaimed as a "director poised to lead the next generation of action films" for his work directing "THE NEXT GENERATION PATLABOR". The screenplay's by Makoto Fukami, a huge fan of the BIOHAZARD series who recently created the unique world of the anime PSYCHO-PASS. A stellar creative team has assembled. Furthermore, animation production's handled by MARZA ANIMATION PLANET, known for works like "SPACE PIRATE CAPTAIN HARLOCK", resulting in a high-quality CG animation completed using the latest technology.
Chris Redfield and Leon S. Kennedy team up for unpredictable battles. Rebecca Chambers, who had a quiet following among fans, plays a key role in preventing the destruction of a major city during the climax. These scenes, impossible to achieve in either the game or live-action versions, is rendered with full CG animation, packed with emotion and spectacular visuals, making it a highly accomplished action film.
STORY
Based on certain intel, Chris Redfield, a member of the anti-bioterror organization "BSAA", storms a mysterious mansion that serves as the base of a weapons trafficking organization. During the investigation, Chris confronts and battles the internationally wanted criminal Glenn Arias, but witnesses the threat of his "products" and ultimately missed his chance.
Meanwhile, Rebecca Chambers, formerly a member of the Raccoon Police Department's special unit "S.T.A.R.S.", now works as a university professor in a research lab. She's investigating and researching inexplicable incidents where "the dead are coming back to life and becoming violent." Discovering a "new virus strain" was involved, she succeeded in developing a vaccine as a cure. Immediately afterward, the lab was attacked by unknown assailants, putting Rebecca in mortal danger. She managed to survive by injecting herself with the vaccine. At that moment, the BSAA, who'd been tracking Arias' trail, arrived at the lab, reuniting Rebecca and Chris.
Rebecca's analysis of the new virus revealed it was "similar to the parasitic organism of the Los Iluminados cult." Chris and Rebecca headed to a lodge in Colorado where Leon S. Kennedy, an agent belonging to the DSO, an organization directly under the US President and involved in that incident, was spending his "vacation," to seek his cooperation. The reunited trio, aided by information from Leon's former associate Patricio, grasp that Arias' true objective is "bioterrorism." But just then, the lodge is attacked by Arias' men who'd been tracking Chris and Rebecca, and Rebecca's abducted. In reality, Arias had a past where, during his wedding to his beloved Sara, he was attacked by a certain country using a smart bomb targeting him, resulting in Sara's death. Transformed into a demon of vengeance, Arias was plotting terrorism and also sought to make Rebecca, who looked exactly like Sara, his own.
Chris and Leon head to New York where Arias' hideout is located, to stop the bioterror attack and rescue Rebecca...
Based on certain intel, Chris Redfield, a member of the anti-bioterror organization "BSAA", storms a mysterious mansion that serves as the base of a weapons trafficking organization. During the investigation, Chris confronts and battles the internationally wanted criminal Glenn Arias, but witnesses the threat of his "products" and ultimately missed his chance.
Meanwhile, Rebecca Chambers, formerly a member of the Raccoon Police Department's special unit "S.T.A.R.S.", now works as a university professor in a research lab. She's investigating and researching inexplicable incidents where "the dead are coming back to life and becoming violent." Discovering a "new virus strain" was involved, she succeeded in developing a vaccine as a cure. Immediately afterward, the lab was attacked by unknown assailants, putting Rebecca in mortal danger. She managed to survive by injecting herself with the vaccine. At that moment, the BSAA, who'd been tracking Arias' trail, arrived at the lab, reuniting Rebecca and Chris.
Rebecca's analysis of the new virus revealed it was "similar to the parasitic organism of the Los Iluminados cult." Chris and Rebecca headed to a lodge in Colorado where Leon S. Kennedy, an agent belonging to the DSO, an organization directly under the US President and involved in that incident, was spending his "vacation," to seek his cooperation. The reunited trio, aided by information from Leon's former associate Patricio, grasp that Arias' true objective is "bioterrorism." But just then, the lodge is attacked by Arias' men who'd been tracking Chris and Rebecca, and Rebecca's abducted. In reality, Arias had a past where, during his wedding to his beloved Sara, he was attacked by a certain country using a smart bomb targeting him, resulting in Sara's death. Transformed into a demon of vengeance, Arias was plotting terrorism and also sought to make Rebecca, who looked exactly like Sara, his own.
Chris and Leon head to New York where Arias' hideout is located, to stop the bioterror attack and rescue Rebecca...
CHARACTERS
CHRIS REDFIELD
One of the founding members of the BSAA (Bioterrorism Security Assessment Alliance), an anti-bioterror unit. He serves as an ace with exceptional observational skills and keen insight coupled with high combat prowess, he's revered as a living legend within the BSAA, respected for his loyalty and camaraderie. As a former S.T.A.R.S. officer, his past includes surviving the "Mansion Incident." Working to thwart the schemes of the pharmaceutical company Umbrella, he's resolved numerous bioterror incidents. In this film, accepting a request from the Mexican government, he investigates a mansion suspected to be the hideout of arms dealer Arias, but ends up being ambushed. Driven by a thirst for revenge, Chris pursues Arias.
LEON S. KENNEDY
He carries a strong sense of justice, remaining calm and unflappable in most situations while also capable of being bold and fearless. A former Raccoon Police Department officer, he fought valiantly to rescue survivors during the Raccoon City Incident. His skills were recognized by the government, leading him to become a member of the DSO (Division of Security Operations), a U.S. government-controlled agent organization, where he solved numerous difficult cases. His occasional wisecracks and humor, along with his intense anger and sense of justice towards bioterrorism, remain unchanged, however, after an incident where "an insider turned traitor," he grew increasingly disillusioned with the path he chose and began leading a somewhat retired life.
REBECCA CHAMBERS
Formerly an officer in the Raccoon Police Department's special forces unit, S.T.A.R.S. Despite her adorable appearance, she's an expert in chemical synthesis and formulation. At just 18-years-old, she graduated with honors from her university's bachelor's program. During her time in S.T.A.R.S., she worked with Chris on an investigation. Now a university professor in Chicago and advisor to BSAA, she's both intellectual and proactive, possessing a bold personality unshaken by minor setbacks.
D.C
A member of the BSAA elite unit "Silver Dagger." A short-haired African-American man. Formerly in the U.S. Army special forces, he's the leading figure within Silver Dagger. A gaming enthusiast with computer hacking skills, he's a college-educated intellectual and always cool and collected. Yet he also holds a track and field championship title and a military aircraft pilot's license. Divorced with children, he becomes downcast when his ex-wife's brought up.
DAMIAN
A member of the BSAA elite unit Silver Dagger. A muscular Hispanic youth. Knows D.C from their U.S. Army days. A sarcastic, nervous type not matching his impressive physique. A natural-born soldier who "can't imagine himself outside of combat." His hobby's hunting and he owns a cabin deep in the Canadian mountains.
NADIA
The sole female member of the BSAA elite unit Silver Dagger. Black bob-cut hair, German-American. Former Los Angeles Police Department SWAT officer. Witnessing B.O.W.-related incidents worldwide fueled her righteous indignation, leading her to volunteer for the BSAA. A master sniper. Homosexual, she shares a house in San Francisco purchased jointly with her partner.
GLENN ARIAS
Ex-military arms dealer. He was secretly selling weapons to a certain country, but his conduct was so egregious he became a target. His wedding was bombed, and he lost his family. Swearing revenge, he went underground and plotted a bioterror attack using a new virus strain. However, he encountered Chris while executing his plan in Mexico. Formerly a cool-headed theoristic businessman, he's the founder of "A-GUA Co.," which operates not only in producing drinking water but also a wide range of ventures. His traumatic experience of losing his family occasionally reveals glimpses of his twisted behavior. He excels in close-quarters combat.
MARIA GOMEZ
Arias' second-in-command. A slender, blonde beauty. She's Diego's daughter, but both she and her father were victims of the bombing at Arias' wedding. She lost her right eye in the bombing but, like her father, underwent physical enhancement. While her human emotions have faded, she shows feelings only towards Diego.
DIEGO GOMEZ
Arias' bodyguard. An old friend of Arias, he was critically injured in the bombing at Arias' wedding. Arias personally performed his physical enhancements, resurrecting him as a formidable bioweapon. He's also Maria Gomez's biological father. A massive figure, he constantly wears a special mask to hide his hideously deformed face. He cannot speak due to aftereffects of the bombing.
CHRIS REDFIELD
One of the founding members of the BSAA (Bioterrorism Security Assessment Alliance), an anti-bioterror unit. He serves as an ace with exceptional observational skills and keen insight coupled with high combat prowess, he's revered as a living legend within the BSAA, respected for his loyalty and camaraderie. As a former S.T.A.R.S. officer, his past includes surviving the "Mansion Incident." Working to thwart the schemes of the pharmaceutical company Umbrella, he's resolved numerous bioterror incidents. In this film, accepting a request from the Mexican government, he investigates a mansion suspected to be the hideout of arms dealer Arias, but ends up being ambushed. Driven by a thirst for revenge, Chris pursues Arias.
LEON S. KENNEDY
He carries a strong sense of justice, remaining calm and unflappable in most situations while also capable of being bold and fearless. A former Raccoon Police Department officer, he fought valiantly to rescue survivors during the Raccoon City Incident. His skills were recognized by the government, leading him to become a member of the DSO (Division of Security Operations), a U.S. government-controlled agent organization, where he solved numerous difficult cases. His occasional wisecracks and humor, along with his intense anger and sense of justice towards bioterrorism, remain unchanged, however, after an incident where "an insider turned traitor," he grew increasingly disillusioned with the path he chose and began leading a somewhat retired life.
REBECCA CHAMBERS
Formerly an officer in the Raccoon Police Department's special forces unit, S.T.A.R.S. Despite her adorable appearance, she's an expert in chemical synthesis and formulation. At just 18-years-old, she graduated with honors from her university's bachelor's program. During her time in S.T.A.R.S., she worked with Chris on an investigation. Now a university professor in Chicago and advisor to BSAA, she's both intellectual and proactive, possessing a bold personality unshaken by minor setbacks.
D.C
A member of the BSAA elite unit "Silver Dagger." A short-haired African-American man. Formerly in the U.S. Army special forces, he's the leading figure within Silver Dagger. A gaming enthusiast with computer hacking skills, he's a college-educated intellectual and always cool and collected. Yet he also holds a track and field championship title and a military aircraft pilot's license. Divorced with children, he becomes downcast when his ex-wife's brought up.
DAMIAN
A member of the BSAA elite unit Silver Dagger. A muscular Hispanic youth. Knows D.C from their U.S. Army days. A sarcastic, nervous type not matching his impressive physique. A natural-born soldier who "can't imagine himself outside of combat." His hobby's hunting and he owns a cabin deep in the Canadian mountains.
NADIA
The sole female member of the BSAA elite unit Silver Dagger. Black bob-cut hair, German-American. Former Los Angeles Police Department SWAT officer. Witnessing B.O.W.-related incidents worldwide fueled her righteous indignation, leading her to volunteer for the BSAA. A master sniper. Homosexual, she shares a house in San Francisco purchased jointly with her partner.
GLENN ARIAS
Ex-military arms dealer. He was secretly selling weapons to a certain country, but his conduct was so egregious he became a target. His wedding was bombed, and he lost his family. Swearing revenge, he went underground and plotted a bioterror attack using a new virus strain. However, he encountered Chris while executing his plan in Mexico. Formerly a cool-headed theoristic businessman, he's the founder of "A-GUA Co.," which operates not only in producing drinking water but also a wide range of ventures. His traumatic experience of losing his family occasionally reveals glimpses of his twisted behavior. He excels in close-quarters combat.
MARIA GOMEZ
Arias' second-in-command. A slender, blonde beauty. She's Diego's daughter, but both she and her father were victims of the bombing at Arias' wedding. She lost her right eye in the bombing but, like her father, underwent physical enhancement. While her human emotions have faded, she shows feelings only towards Diego.
DIEGO GOMEZ
Arias' bodyguard. An old friend of Arias, he was critically injured in the bombing at Arias' wedding. Arias personally performed his physical enhancements, resurrecting him as a formidable bioweapon. He's also Maria Gomez's biological father. A massive figure, he constantly wears a special mask to hide his hideously deformed face. He cannot speak due to aftereffects of the bombing.
INTERVIEW - TAKANORI TSUJIMOTO, TAKASHI SHIMIZU
——First off, what were your impressions of the BIOHAZARD series?
TSUJIMOTO: It felt like a Japanese-originated Hollywood blockbuster. When I first got the offer for this movie, I couldn't believe it. I thought, "There's no way they'd come to me" (laughs).
SHIMIZU: I never imagined I'd be involved either. Horror series often get churned out after one hit, losing their quality. But BIOHAZARD maintains a consistent worldview despite numerous games and movies. Plus, Japanese zombies are actually influencing Western zombies.
TSUJIMOTO: That's definitely true.
SHIMIZU: In Japan, the horror often focuses on the "soul" rather than the physical "vessel" like Zombies. But basing it on zombie horror, a foreign cultural element, then weaving in terrorism and action—that's clever. You can see why Hollywood jumped on the films.
——I imagine the constraints are different for CG work versus live-action.
TSUJIMOTO: At first, I thought CG could do anything. Even for a single explosion, I assumed they had stock footage. But it turns out they create every single one from scratch. Early on, the CG producer, Marza-san, asked me, "How many explosions do you need?" (laughs). That's when I quickly realized it's just like live-action. However, camera angles are possible from impossible perspectives in live-action, so figuring out how to fully utilize that was both a challenge and a fun part.
——What was your role this time, Shimizu-san?
SHIMIZU: Originally, it was about returning to the roots and strengthening the horror elements. But when I joined, the director hadn't even been decided yet. Once Tsujimoto-san was chosen as director, it became clear we absolutely had to lean into the action. At that point, I thought, "I'm probably not needed then" (laughs).
TSUJIMOTO: Nobody said that! (laughs)
SHIMIZU: But, well, it couldn't just be all action. So when I thought about how to make it scary, the absolute minimum requirement was that Chris, Leon, and Rebecca absolutely had to be killed off in the movie, right?
TSUJIMOTO: That's the minimum. I don't have that kind of authority (laughs).
SHIMIZU: That meant the supporting characters and the antagonists became incredibly important. I needed to find a way to effectively tie them into the protagonists' story, so I did have quite a bit to say about the dramatic elements and the points where I wanted to scare people.
TSUJIMOTO: You really put in the work during the groundwork phase. We had several early drafts of the plot, and they came back covered in red ink from Shimizu-san's revisions.
SHIMIZU: I spent a lot of time exploring how to deepen Chris and Leon's characters, and I added elements I felt were missing to make it more of a horror film.
TSUJIMOTO: For the antagonist Arias, he couldn't just be a simple villain—we needed to show he had a life and family, otherwise it'd feel too simplistic. To further strengthen Chris and Leon's dramatic arc, we introduced the informant Patricio. People become victims because of their involvement with these characters, and bearing that responsibility drives them to act. The idea of a child being on the phone with Patricio's family was Shimizu-san's, wasn't it?
——Regarding the characterization of the protagonists in this film?
SHIMIZU: Chris has shown vulnerability in previous works, and I think he's cool as a man. But I couldn't feel that way about Leon. I believe you only start to care about a character once you see their weak points or their human side. So my challenge was how to inject humanity into Leon without breaking his established persona. That's when I thought, maybe Leon could drown his sorrows in alcohol and vent his frustrations. It's also great to see two battle-hardened men get scolded by Rebecca.
——Given Rebecca's experience, wouldn't shooting a gun have been an option?
TSUJIMOTO: Her decision not to be shooting was pretty much set by the time I joined the project. She's a university professor, retired from the frontlines.
SHIMIZU: Initially, the scene where they're attacked by Zombies in the first half was supposed to involve fighting back with guns. But that would've made her character inconsistent between the first and second halves, so we scrapped it.
TSUJIMOTO: Still, we wanted a fight scene, so she ended up using whatever was around as weapons. Also, there's a part where Rebecca gets splattered with Zombie blood, but the amount of blood was too low. Shimizu-san and I were like, "We want more!" but Kobayashi-san from CAPCOM replied, "She's our actress, so no way", so we backed off (laughs).
SHIMIZU: She's a CAPCOM contracted actress, after all (laughs).
TSUJIMOTO: Also, speaking of Rebecca, there's the water-drinking scene. Fukami-san, the scriptwriter, was really particular about her drinking water. Actually, there was a scene where she talks to Chris while eating a hamburger, but it got cut due to budget constraints. The staff understood that and worked hard to at least keep the water-drinking scene... and it ended up being strangely sexy footage. They even depicted her cheeks puffing out when she drinks (laughs).
SHIMIZU: They really put in the effort, didn't they? She even drinks twice on purpose (laughs). Also, personally, I think Leon could get a haircut. I mean, the CG must be tough, right? They have to make his hair go "whoosh."
TSUJIMOTO: Exactly (laughs). Chris has short hair, so it's fine without much movement, but Leon's a nightmare. That's why Arias wound up with short hair too.
——This film blends Director Tsujimoto's signature action with the BIOHAZARD universe. Leon and the motorcycle really shine, don't they?
TSUJIMOTO: There was initially the theme of returning to our roots, so a familiar mansion appears. That naturally led to wanting Zombie Dogs too. Plus, I wanted Leon to do something he hadn't done in the previous two films. Something that lets him move across vast areas at breakneck speed. He has this Tom Cruise-esque vibe... so a motorcycle was the only choice (laugh). With CG films, you can block off highways for filming, and the camera work's completely free. That's the real advantage of CG movies.
SHIMIZU: What made me happy was Director Tsujimoto joining. He incorporated realistic, powerful camera work while also pulling off crazy camera angles when he wanted to, and it all came together perfectly as highlights. Then there's using the Ducati bike from the tie-in as a weapon (laughs).
TSUJIMOTO: We abused the bike with crazy logic like, "They're cheerful Italians, so they won't get mad if we wreck 'em" (laughs). Thank goodness for those generous manufacturers.
SHIMIZU: Also, the bit about whether Chris or Leon would ride the bike was great. Leon's expression says it all. Like, "Of course I'm riding the bike" (laughs).
——The action scene in the elevator hall was superb too.
TSUJIMOTO: Someone overseas who saw the trailer commented, "Leon must've watched John Wick before the fight" (laughs). It's a popular action style now, and since the past two films didn't have many solid Zombie combat scenes, I really wanted to go all out here. The horror of a Zombie-infested area comes from the fear of what's within reach, so incorporating close combat felt like it'd match well. Leon arriving on a motorcycle there is absurd, but I think it effectively conveyed that sense of frantically rushing in.
SHIMIZU: Director Tsujimoto's flair for completely ignoring the context or build-up of previous scenes is just brilliant, right? (laughs) It's like, "Who cares about the details?" (laughs).
TSUJIMOTO: I don't feel like I'm being complimented here (laughs). But that part, like in John Woo's films, needed something that makes the audience laugh and clap with delight. The bayonet combat requested by Fukami-san was also key. I'd done something similar before in another project, attaching a knife to the end of a gun for combat. For this film, I proposed switching between using the knife for close enemies and gunfire for distant ones. The action director thought Zombie vs. bayonet combat sounded interesting since he'd never seen it before, so it got adopted.
——I doubt the director played the mini-game "Mercenaries Reunion" in 5, where you just slaughter Zombies, but the elevator hall fight was exactly that.
TSUJIMOTO: Glad to hear it (laughs). We were actually worried this scene may be too long, so we inserted a rooftop scene with Arias--originally placed before the elevator hall scene--into its current spot. That balanced the length nicely. Plus, since they're fighting a huge horde of Zombies, we needed to increase the blood volume on walls and floors at some point. That scene made that possible too (laughs). It was a two-birds-with-one-stone scene.
----What about the railgun?
TSUJIMOTO: Personally, I wanted to do a laser gun scene where it cleanly slices through buildings and takes them down one after another. According to Fukami-san though, while both lasers and railguns are impossible technologies, the railgun's slightly more plausible. We achieved the splendid feat of missing at point-blank range and destroying several multi-storey buildings, so let's deem that acceptable (laughs). It's court-martial material, though.
——Finally, if there are any points to watch for on subsequent viewings, please tell us.
SHIMIZU: Chris and Leon engage in a gunfight with Arias, and both feel a connection to him. Ultimately, he becomes a monster, but Leon's opening lines of sorrow resonate with Arias' situation. Why'd his life turn out this way? I think that's reflected in Chris and Leon's expressions during the gunfight, so please pay attention to that.
TSUJIMOTO: I believe it's a richly immersive film that lets fans experience the world of the games they've been eagerly awaiting. Regarding the sound, this time it's compatible with Dolby Atmos. Kenji Shibasaki's sound effects are incredibly meticulous, and the way they mesh with Kenji Kawai's music is absolutely perfect. You can enjoy an unprecedented sense of realism, so if you can watch it in Atmos, please do.
Photography = Hiro Kawaguchi
Interview & Text = Minoru Ino (CRUISE)
——First off, what were your impressions of the BIOHAZARD series?
TSUJIMOTO: It felt like a Japanese-originated Hollywood blockbuster. When I first got the offer for this movie, I couldn't believe it. I thought, "There's no way they'd come to me" (laughs).
SHIMIZU: I never imagined I'd be involved either. Horror series often get churned out after one hit, losing their quality. But BIOHAZARD maintains a consistent worldview despite numerous games and movies. Plus, Japanese zombies are actually influencing Western zombies.
TSUJIMOTO: That's definitely true.
SHIMIZU: In Japan, the horror often focuses on the "soul" rather than the physical "vessel" like Zombies. But basing it on zombie horror, a foreign cultural element, then weaving in terrorism and action—that's clever. You can see why Hollywood jumped on the films.
——I imagine the constraints are different for CG work versus live-action.
TSUJIMOTO: At first, I thought CG could do anything. Even for a single explosion, I assumed they had stock footage. But it turns out they create every single one from scratch. Early on, the CG producer, Marza-san, asked me, "How many explosions do you need?" (laughs). That's when I quickly realized it's just like live-action. However, camera angles are possible from impossible perspectives in live-action, so figuring out how to fully utilize that was both a challenge and a fun part.
——What was your role this time, Shimizu-san?
SHIMIZU: Originally, it was about returning to the roots and strengthening the horror elements. But when I joined, the director hadn't even been decided yet. Once Tsujimoto-san was chosen as director, it became clear we absolutely had to lean into the action. At that point, I thought, "I'm probably not needed then" (laughs).
TSUJIMOTO: Nobody said that! (laughs)
SHIMIZU: But, well, it couldn't just be all action. So when I thought about how to make it scary, the absolute minimum requirement was that Chris, Leon, and Rebecca absolutely had to be killed off in the movie, right?
TSUJIMOTO: That's the minimum. I don't have that kind of authority (laughs).
SHIMIZU: That meant the supporting characters and the antagonists became incredibly important. I needed to find a way to effectively tie them into the protagonists' story, so I did have quite a bit to say about the dramatic elements and the points where I wanted to scare people.
TSUJIMOTO: You really put in the work during the groundwork phase. We had several early drafts of the plot, and they came back covered in red ink from Shimizu-san's revisions.
SHIMIZU: I spent a lot of time exploring how to deepen Chris and Leon's characters, and I added elements I felt were missing to make it more of a horror film.
TSUJIMOTO: For the antagonist Arias, he couldn't just be a simple villain—we needed to show he had a life and family, otherwise it'd feel too simplistic. To further strengthen Chris and Leon's dramatic arc, we introduced the informant Patricio. People become victims because of their involvement with these characters, and bearing that responsibility drives them to act. The idea of a child being on the phone with Patricio's family was Shimizu-san's, wasn't it?
——Regarding the characterization of the protagonists in this film?
SHIMIZU: Chris has shown vulnerability in previous works, and I think he's cool as a man. But I couldn't feel that way about Leon. I believe you only start to care about a character once you see their weak points or their human side. So my challenge was how to inject humanity into Leon without breaking his established persona. That's when I thought, maybe Leon could drown his sorrows in alcohol and vent his frustrations. It's also great to see two battle-hardened men get scolded by Rebecca.
——Given Rebecca's experience, wouldn't shooting a gun have been an option?
TSUJIMOTO: Her decision not to be shooting was pretty much set by the time I joined the project. She's a university professor, retired from the frontlines.
SHIMIZU: Initially, the scene where they're attacked by Zombies in the first half was supposed to involve fighting back with guns. But that would've made her character inconsistent between the first and second halves, so we scrapped it.
TSUJIMOTO: Still, we wanted a fight scene, so she ended up using whatever was around as weapons. Also, there's a part where Rebecca gets splattered with Zombie blood, but the amount of blood was too low. Shimizu-san and I were like, "We want more!" but Kobayashi-san from CAPCOM replied, "She's our actress, so no way", so we backed off (laughs).
SHIMIZU: She's a CAPCOM contracted actress, after all (laughs).
TSUJIMOTO: Also, speaking of Rebecca, there's the water-drinking scene. Fukami-san, the scriptwriter, was really particular about her drinking water. Actually, there was a scene where she talks to Chris while eating a hamburger, but it got cut due to budget constraints. The staff understood that and worked hard to at least keep the water-drinking scene... and it ended up being strangely sexy footage. They even depicted her cheeks puffing out when she drinks (laughs).
SHIMIZU: They really put in the effort, didn't they? She even drinks twice on purpose (laughs). Also, personally, I think Leon could get a haircut. I mean, the CG must be tough, right? They have to make his hair go "whoosh."
TSUJIMOTO: Exactly (laughs). Chris has short hair, so it's fine without much movement, but Leon's a nightmare. That's why Arias wound up with short hair too.
——This film blends Director Tsujimoto's signature action with the BIOHAZARD universe. Leon and the motorcycle really shine, don't they?
TSUJIMOTO: There was initially the theme of returning to our roots, so a familiar mansion appears. That naturally led to wanting Zombie Dogs too. Plus, I wanted Leon to do something he hadn't done in the previous two films. Something that lets him move across vast areas at breakneck speed. He has this Tom Cruise-esque vibe... so a motorcycle was the only choice (laugh). With CG films, you can block off highways for filming, and the camera work's completely free. That's the real advantage of CG movies.
SHIMIZU: What made me happy was Director Tsujimoto joining. He incorporated realistic, powerful camera work while also pulling off crazy camera angles when he wanted to, and it all came together perfectly as highlights. Then there's using the Ducati bike from the tie-in as a weapon (laughs).
TSUJIMOTO: We abused the bike with crazy logic like, "They're cheerful Italians, so they won't get mad if we wreck 'em" (laughs). Thank goodness for those generous manufacturers.
SHIMIZU: Also, the bit about whether Chris or Leon would ride the bike was great. Leon's expression says it all. Like, "Of course I'm riding the bike" (laughs).
——The action scene in the elevator hall was superb too.
TSUJIMOTO: Someone overseas who saw the trailer commented, "Leon must've watched John Wick before the fight" (laughs). It's a popular action style now, and since the past two films didn't have many solid Zombie combat scenes, I really wanted to go all out here. The horror of a Zombie-infested area comes from the fear of what's within reach, so incorporating close combat felt like it'd match well. Leon arriving on a motorcycle there is absurd, but I think it effectively conveyed that sense of frantically rushing in.
SHIMIZU: Director Tsujimoto's flair for completely ignoring the context or build-up of previous scenes is just brilliant, right? (laughs) It's like, "Who cares about the details?" (laughs).
TSUJIMOTO: I don't feel like I'm being complimented here (laughs). But that part, like in John Woo's films, needed something that makes the audience laugh and clap with delight. The bayonet combat requested by Fukami-san was also key. I'd done something similar before in another project, attaching a knife to the end of a gun for combat. For this film, I proposed switching between using the knife for close enemies and gunfire for distant ones. The action director thought Zombie vs. bayonet combat sounded interesting since he'd never seen it before, so it got adopted.
——I doubt the director played the mini-game "Mercenaries Reunion" in 5, where you just slaughter Zombies, but the elevator hall fight was exactly that.
TSUJIMOTO: Glad to hear it (laughs). We were actually worried this scene may be too long, so we inserted a rooftop scene with Arias--originally placed before the elevator hall scene--into its current spot. That balanced the length nicely. Plus, since they're fighting a huge horde of Zombies, we needed to increase the blood volume on walls and floors at some point. That scene made that possible too (laughs). It was a two-birds-with-one-stone scene.
----What about the railgun?
TSUJIMOTO: Personally, I wanted to do a laser gun scene where it cleanly slices through buildings and takes them down one after another. According to Fukami-san though, while both lasers and railguns are impossible technologies, the railgun's slightly more plausible. We achieved the splendid feat of missing at point-blank range and destroying several multi-storey buildings, so let's deem that acceptable (laughs). It's court-martial material, though.
——Finally, if there are any points to watch for on subsequent viewings, please tell us.
SHIMIZU: Chris and Leon engage in a gunfight with Arias, and both feel a connection to him. Ultimately, he becomes a monster, but Leon's opening lines of sorrow resonate with Arias' situation. Why'd his life turn out this way? I think that's reflected in Chris and Leon's expressions during the gunfight, so please pay attention to that.
TSUJIMOTO: I believe it's a richly immersive film that lets fans experience the world of the games they've been eagerly awaiting. Regarding the sound, this time it's compatible with Dolby Atmos. Kenji Shibasaki's sound effects are incredibly meticulous, and the way they mesh with Kenji Kawai's music is absolutely perfect. You can enjoy an unprecedented sense of realism, so if you can watch it in Atmos, please do.
Photography = Hiro Kawaguchi
Interview & Text = Minoru Ino (CRUISE)
KEYWORDS
B.O.W. (Bio Organic Weapon)
Various types exist, based on biological organisms utilizing viruses such as the t-Virus. Umbrella aimed to create intelligent, humanoid combat B.O.W.'s.
BSAA (Bioterrorism Security Assessment Alliance)
Fearing responsibility for the leaks of B.O.W.'s after Umbrella's collapse, the Pharmaceutical Industry Association established this anti-bioterrorism unit. Initially operating as civilian observers, it was reorganized into a UN-controlled active special forces unit as the bioterror threat intensified daily.
DSO (Division of Security Operations)
The agent organization Leon belongs to. Established in 2011 under the leadership of then-President Adam Benford to defend America from bioterror threats. Founded based on Leon's proposal, the DSO's defining feature is its "direct presidential command." The actions of its agents are considered absolute justice based on the President's will. Due to its origin and achievements, it became known as the "Sword of the President" within just two years of its formation.
S.T.A.R.S. (Special Tactics and Rescue Service)
A special forces unit under the jurisdiction of the Raccoon Police Department, dedicated to special tactics and rescue ops. Established within the Raccoon Police in 1996 as part of the "Bright Raccoon 21 Project" launched with Umbrella's assistance. Its members are exclusively specialists recruited from both military and civilian backgrounds. They form an elite group capable of immediately responding to increasing urban terrorism, diversifying organized crime, and numerous emergencies. During the period when Chris and Rebecca were members, they became embroiled in the "Mansion Incident."
Umbrella
A massive multinational corporation boasting the industry's top market share as a pharmaceutical company. Headquartered in Europe, it maintains branches worldwide. Its name and symbol, representing an "umbrella," express the corporate motto of "protecting people's health." In reality, it was an illegal organization focused on virus research and B.O.W. development, established as a pharmaceutical company in 1968 to monopolize the military market. By 2004, it received a full operational shutdown order from the U.S. government, causing its stock price to plummet. It effectively collapsed.
Cerberus
A type of B.O.W. created by injecting the t-Virus into Doberman pinschers, a large breed suited for military use.
Zombie
Humans infected with the t-Virus who mutate under its influence. They lose their intelligence and suffer progressive skin decay. Due to their hideous appearance, they're called Zombies, meaning "living dead."
Raccoon City
An industrial city located in the midwestern United States. Beyond the vast Raccoon Forest stretching to its north lie the Arklay Mountains. Named after the raccoon, this mid-sized city with a population of about 100,000 was once a small provincial town, however it experienced rapid development following Umbrella's establishment of a related factory there. At its peak, roughly 30% of citizens worked for Umbrella or its affiliates and the corporation wielded enough influence to sway city policy, becoming indispensable to Raccoon City.
R.P.D. (Raccoon Police Department)
Located in the city center, the police force was responsible for maintaining order in Raccoon City, prioritizing citizen safety. However, the former chief was secretly involved in corruption with Umbrella, accepting bribes.
Los Iluminados Cult
Led by the cult leader Osmund Saddler, this unique religious group has long existed in a remote village. They sought to dominate the world through their "innovative proselytizing method," aiming to rule the world by using the parasitic entity "Plaga", which could control hosts at will. However, their plans were thwarted by Leon, who was investigating the abduction of the US President's daughter.
Arklay Laboratory
The Umbrella Corporation research facility, "Arklay Laboratory," built deep within Raccoon Forest in the Arklay Mountains. The tragedy that engulfed the S.T.A.R.S. members occurred at the mansion serving as its temporary cover. While the facility's objective was to collect combat data between S.T.A.R.S. members and B.O.W.'s, Umbrella's research facility was ultimately destroyed by an explosion.
Team: Silver Dagger
An elite unit within the BSAA, Silver Dagger. Unlike standard bioterror response teams, Silver Dagger was formed to carry out longer-term, intel-oriented missions. Its primary tasks include long-term tracking and surveillance of individuals responsible for bioterrorism, as well as gathering intel beyond legal means. Furthermore, in the event of the gathered evidence suggesting plans for mass destruction or mass murder, it also functions as an emergency rapid response unit.
B.O.W. (Bio Organic Weapon)
Various types exist, based on biological organisms utilizing viruses such as the t-Virus. Umbrella aimed to create intelligent, humanoid combat B.O.W.'s.
BSAA (Bioterrorism Security Assessment Alliance)
Fearing responsibility for the leaks of B.O.W.'s after Umbrella's collapse, the Pharmaceutical Industry Association established this anti-bioterrorism unit. Initially operating as civilian observers, it was reorganized into a UN-controlled active special forces unit as the bioterror threat intensified daily.
DSO (Division of Security Operations)
The agent organization Leon belongs to. Established in 2011 under the leadership of then-President Adam Benford to defend America from bioterror threats. Founded based on Leon's proposal, the DSO's defining feature is its "direct presidential command." The actions of its agents are considered absolute justice based on the President's will. Due to its origin and achievements, it became known as the "Sword of the President" within just two years of its formation.
S.T.A.R.S. (Special Tactics and Rescue Service)
A special forces unit under the jurisdiction of the Raccoon Police Department, dedicated to special tactics and rescue ops. Established within the Raccoon Police in 1996 as part of the "Bright Raccoon 21 Project" launched with Umbrella's assistance. Its members are exclusively specialists recruited from both military and civilian backgrounds. They form an elite group capable of immediately responding to increasing urban terrorism, diversifying organized crime, and numerous emergencies. During the period when Chris and Rebecca were members, they became embroiled in the "Mansion Incident."
Umbrella
A massive multinational corporation boasting the industry's top market share as a pharmaceutical company. Headquartered in Europe, it maintains branches worldwide. Its name and symbol, representing an "umbrella," express the corporate motto of "protecting people's health." In reality, it was an illegal organization focused on virus research and B.O.W. development, established as a pharmaceutical company in 1968 to monopolize the military market. By 2004, it received a full operational shutdown order from the U.S. government, causing its stock price to plummet. It effectively collapsed.
Cerberus
A type of B.O.W. created by injecting the t-Virus into Doberman pinschers, a large breed suited for military use.
Zombie
Humans infected with the t-Virus who mutate under its influence. They lose their intelligence and suffer progressive skin decay. Due to their hideous appearance, they're called Zombies, meaning "living dead."
Raccoon City
An industrial city located in the midwestern United States. Beyond the vast Raccoon Forest stretching to its north lie the Arklay Mountains. Named after the raccoon, this mid-sized city with a population of about 100,000 was once a small provincial town, however it experienced rapid development following Umbrella's establishment of a related factory there. At its peak, roughly 30% of citizens worked for Umbrella or its affiliates and the corporation wielded enough influence to sway city policy, becoming indispensable to Raccoon City.
R.P.D. (Raccoon Police Department)
Located in the city center, the police force was responsible for maintaining order in Raccoon City, prioritizing citizen safety. However, the former chief was secretly involved in corruption with Umbrella, accepting bribes.
Los Iluminados Cult
Led by the cult leader Osmund Saddler, this unique religious group has long existed in a remote village. They sought to dominate the world through their "innovative proselytizing method," aiming to rule the world by using the parasitic entity "Plaga", which could control hosts at will. However, their plans were thwarted by Leon, who was investigating the abduction of the US President's daughter.
Arklay Laboratory
The Umbrella Corporation research facility, "Arklay Laboratory," built deep within Raccoon Forest in the Arklay Mountains. The tragedy that engulfed the S.T.A.R.S. members occurred at the mansion serving as its temporary cover. While the facility's objective was to collect combat data between S.T.A.R.S. members and B.O.W.'s, Umbrella's research facility was ultimately destroyed by an explosion.
Team: Silver Dagger
An elite unit within the BSAA, Silver Dagger. Unlike standard bioterror response teams, Silver Dagger was formed to carry out longer-term, intel-oriented missions. Its primary tasks include long-term tracking and surveillance of individuals responsible for bioterrorism, as well as gathering intel beyond legal means. Furthermore, in the event of the gathered evidence suggesting plans for mass destruction or mass murder, it also functions as an emergency rapid response unit.
HISTORY
biohazard DEGENERATION
A bioterror attack occurs at Harvardville Airport in the American Midwest. Terrorists possessing the "t-Virus" developed by Umbrella Corporation demand that the President personally disclose the "Raccoon City Destruction Incident", a catastrophe the government covered up seven years prior. Leon, an agent directly under the White House, and Claire, an NGO employee at the airport, battle Zombies while attempting to suppress the terror. Despite its limited release, this was the series' first full CG animation and became a phenomenal hit. Directed by Makoto Kamiya, who served as assistant director for the special effects in the "Heisei Gamera" trilogy.
biohazard DAMNATION
In the Eastern Slav Republic of Eastern Europe, where a civil war rages, the U.S. government learns rumors of "monsters sighted" on the battlefield. Eyeing the deployment of B.O.W.'s (Bio Organic Weapons) in combat, they dispatch Leon to the region. By the time Leon arrives, the U.S. forces have already withdrawn. Unable to ignore the B.O.W.'s operating in the shadows, Leon throws himself into battle alone. The film's packed with intense scenes: the appearance of B.O.W.'s deployed in combat, battles against hordes of Lickers, and fight scenes featuring Ada Wong and President Svetlana. Directed by Makoto Kamiya, it follows the events of DEGENERATION.
biohazard DEGENERATION
A bioterror attack occurs at Harvardville Airport in the American Midwest. Terrorists possessing the "t-Virus" developed by Umbrella Corporation demand that the President personally disclose the "Raccoon City Destruction Incident", a catastrophe the government covered up seven years prior. Leon, an agent directly under the White House, and Claire, an NGO employee at the airport, battle Zombies while attempting to suppress the terror. Despite its limited release, this was the series' first full CG animation and became a phenomenal hit. Directed by Makoto Kamiya, who served as assistant director for the special effects in the "Heisei Gamera" trilogy.
biohazard DAMNATION
In the Eastern Slav Republic of Eastern Europe, where a civil war rages, the U.S. government learns rumors of "monsters sighted" on the battlefield. Eyeing the deployment of B.O.W.'s (Bio Organic Weapons) in combat, they dispatch Leon to the region. By the time Leon arrives, the U.S. forces have already withdrawn. Unable to ignore the B.O.W.'s operating in the shadows, Leon throws himself into battle alone. The film's packed with intense scenes: the appearance of B.O.W.'s deployed in combat, battles against hordes of Lickers, and fight scenes featuring Ada Wong and President Svetlana. Directed by Makoto Kamiya, it follows the events of DEGENERATION.
INTERVIEW - MAKOTO FUKAMI
----First, I'd like to ask about your experience with the BIOHAZARD games, Fukami-san. You're quite the fan, aren't you...?
FUKAMI: That's right (laughs). I really love games in general, and I've played every BIO title since the first. I remember being quite shocked back then by the concept of a game where you could shoot Zombies. I like all the games in the series, but BIO4 was the one that really blew me away. The feeling of "actually shooting a gun" was incredible when I first played it. There were other TPS (third-person shooter) games before it, but BIO4 was on a whole different level of polish.
——BIO4 was definitely groundbreaking. It set the global standard for TPS in gaming afterward and significantly elevated the importance of guns in games.
FUKAMI: Then starting with "5", the graphics got even more detailed and the military feel intensified, right? Chris' BSAA unit feels genuinely authentic too. I think the series got more and more interesting as the military elements deepened along with technological advancements. So when I got this project, since Chris was available, I wanted to build the story around the BSAA.
——A major highlight of this installment is "Chris and Leon teaming up," right?
FUKAMI: Being able to control Chris and Leon was a tremendous honor as a fan of the game series. For Leon, since BIO4's my most cherished game, it was deeply moving. Leon cracks jokes, but he's a cool tough guy. Chris is even tougher than Leon. Japanese games and anime often feature teenage protagonists. So it was fun to create characters like Western movie leads. They're fictional, but Chris and Leon feel like popular actors who've starred in countless action films (laughs). It felt like writing a script tailored for them, almost like a live-action movie.
——This story's set after the game series' "6", right?
FUKAMI: That's right. Since it's set after "6", I wanted this film to be a counterpart to "6". "6" was a story where Chris was constantly troubled, so this time, I aimed to flip their roles: have Chris encourage a troubled Leon. I thought this would create a nice, balanced relationship with "6". And crucially, this is a movie, not a game, you can't play it. In games the player's still the protagonist no matter which character you control. In this film though, Chris and Leon are the protagonists, so I felt we needed to properly showcase them. There's a shot in the elevator hall battle near the end where they briefly stand back-to-back. In that sense, I think that's a very important scene.
——What about Rebecca?
FUKAMI: Rebecca hadn't appeared in a while, so we had limited information. Referencing Rebecca from "0" wouldn't have been convincing though. We started by considering what research she pursued at university after Raccoon City, and what state of mind led her to become a university professor.
——Purely from your imagination, Fukami-san, what kind of life do you think Rebecca led leading up to this "Vendetta"?
FUKAMI: First, naturally, like Chris and Leon, as a survivor of Raccoon City, I think she harbors resentment towards Umbrella and other evil pharmaceutical companies. When she decided she wanted to do something about it, what would she do...? While the combat-oriented types like Chris take a surgical approach, cutting out the infected areas, Rebecca, given her background as a grade-skipping genius to graduate college early, might've chosen a fundamental cure. To prevent evil pharmaceutical companies from exploiting the situation, she'd take a different approach than the action-oriented types, one with a broader perspective to eradicate the root of evil. It'd make perfect sense if she became a university professor to pursue that research.
——What kind of discussions did you have with Director Tsujimoto?
FUKAMI: Director Tsujimoto told me, "You absolutely must include a motorcycle chase with Cerberus." After talking with the director, I made sure the action scenes didn't feel isolated within the film. I incorporated his requests for that kind of thing as much as possible. In action movies, I believe the emotional arc and the action scenes should be interconnected. The greater the protagonists' anger or desperation within the story, the more intense the action scenes should become in proportion. That's the ideal, I think.
——I think the scene in the elevator lobby is where that comes through the strongest.
FUKAMI: That's Tsujimoto-san for you. What we discussed for that scene was that having the Zombies closer would be better. According to FBI data, the distance where gunfights are most likely to occur is about 7m. Within 4m, knives become more effective than guns. Gunfights actually happen at surprisingly close range, while close-quarters combat like hand-to-hand grappling also happen. Especially since the opponents are Zombies with no fear of death, you absolutely can't handle them with guns alone. So we agreed that incorporating that kind of data was essential.
——Finally, if there's one point you'd like viewers to focus on in this film, what would it be?
FUKAMI: Definitely Arias. I believe the villain's the most crucial element for an exciting action film. He's undeniably insane, but I think he also has a certain human quality, a sense of pathos. Plus, he's ridiculously tough (laughs). Watching it a second time from Arias' perspective should deepen the enjoyment. And please savor Director Tsujimoto's fantastic action scenes!
----First, I'd like to ask about your experience with the BIOHAZARD games, Fukami-san. You're quite the fan, aren't you...?
FUKAMI: That's right (laughs). I really love games in general, and I've played every BIO title since the first. I remember being quite shocked back then by the concept of a game where you could shoot Zombies. I like all the games in the series, but BIO4 was the one that really blew me away. The feeling of "actually shooting a gun" was incredible when I first played it. There were other TPS (third-person shooter) games before it, but BIO4 was on a whole different level of polish.
——BIO4 was definitely groundbreaking. It set the global standard for TPS in gaming afterward and significantly elevated the importance of guns in games.
FUKAMI: Then starting with "5", the graphics got even more detailed and the military feel intensified, right? Chris' BSAA unit feels genuinely authentic too. I think the series got more and more interesting as the military elements deepened along with technological advancements. So when I got this project, since Chris was available, I wanted to build the story around the BSAA.
——A major highlight of this installment is "Chris and Leon teaming up," right?
FUKAMI: Being able to control Chris and Leon was a tremendous honor as a fan of the game series. For Leon, since BIO4's my most cherished game, it was deeply moving. Leon cracks jokes, but he's a cool tough guy. Chris is even tougher than Leon. Japanese games and anime often feature teenage protagonists. So it was fun to create characters like Western movie leads. They're fictional, but Chris and Leon feel like popular actors who've starred in countless action films (laughs). It felt like writing a script tailored for them, almost like a live-action movie.
——This story's set after the game series' "6", right?
FUKAMI: That's right. Since it's set after "6", I wanted this film to be a counterpart to "6". "6" was a story where Chris was constantly troubled, so this time, I aimed to flip their roles: have Chris encourage a troubled Leon. I thought this would create a nice, balanced relationship with "6". And crucially, this is a movie, not a game, you can't play it. In games the player's still the protagonist no matter which character you control. In this film though, Chris and Leon are the protagonists, so I felt we needed to properly showcase them. There's a shot in the elevator hall battle near the end where they briefly stand back-to-back. In that sense, I think that's a very important scene.
——What about Rebecca?
FUKAMI: Rebecca hadn't appeared in a while, so we had limited information. Referencing Rebecca from "0" wouldn't have been convincing though. We started by considering what research she pursued at university after Raccoon City, and what state of mind led her to become a university professor.
——Purely from your imagination, Fukami-san, what kind of life do you think Rebecca led leading up to this "Vendetta"?
FUKAMI: First, naturally, like Chris and Leon, as a survivor of Raccoon City, I think she harbors resentment towards Umbrella and other evil pharmaceutical companies. When she decided she wanted to do something about it, what would she do...? While the combat-oriented types like Chris take a surgical approach, cutting out the infected areas, Rebecca, given her background as a grade-skipping genius to graduate college early, might've chosen a fundamental cure. To prevent evil pharmaceutical companies from exploiting the situation, she'd take a different approach than the action-oriented types, one with a broader perspective to eradicate the root of evil. It'd make perfect sense if she became a university professor to pursue that research.
——What kind of discussions did you have with Director Tsujimoto?
FUKAMI: Director Tsujimoto told me, "You absolutely must include a motorcycle chase with Cerberus." After talking with the director, I made sure the action scenes didn't feel isolated within the film. I incorporated his requests for that kind of thing as much as possible. In action movies, I believe the emotional arc and the action scenes should be interconnected. The greater the protagonists' anger or desperation within the story, the more intense the action scenes should become in proportion. That's the ideal, I think.
——I think the scene in the elevator lobby is where that comes through the strongest.
FUKAMI: That's Tsujimoto-san for you. What we discussed for that scene was that having the Zombies closer would be better. According to FBI data, the distance where gunfights are most likely to occur is about 7m. Within 4m, knives become more effective than guns. Gunfights actually happen at surprisingly close range, while close-quarters combat like hand-to-hand grappling also happen. Especially since the opponents are Zombies with no fear of death, you absolutely can't handle them with guns alone. So we agreed that incorporating that kind of data was essential.
——Finally, if there's one point you'd like viewers to focus on in this film, what would it be?
FUKAMI: Definitely Arias. I believe the villain's the most crucial element for an exciting action film. He's undeniably insane, but I think he also has a certain human quality, a sense of pathos. Plus, he's ridiculously tough (laughs). Watching it a second time from Arias' perspective should deepen the enjoyment. And please savor Director Tsujimoto's fantastic action scenes!
INTERVIEW - HIROYUKI KOBAYASHI
——This time, Chris and Leon are the main characters, but Leon seemed troubled by life, or rather, his true feelings emerged.
KOBAYASHI: Regarding CG films, Leon was the main character in the first and second installments too. I personally just really like Leon. So I basically demanded they include him (laughs). As for Chris, when we decided to bring him back this time there was a plan to make it a story where a troubled Chris overcomes his struggles. But that would've just repeated what happened in the games with "6". If we were depicting the aftermath of the major events of "6", it felt more natural for Leon, who personally shot his best friend, the President, to be struggling with life.
——Over the series' long years, Chris and Leon have been through a lot.
KOBAYASHI: That's right. That's precisely why the conversation between Chris and the special forces at the beginning of the movie is so great. Because they've truly endured so much, and for fans who've known them for 20 years, every single word carries real weight (laughs). Having made various entries in the series over the years, I feel the characters have grown and aged like real people. They don't just stay young and active within the games; they age alongside the players. It's not something we consciously decided to do, it just happened naturally. That's one of the great things about BIOHAZARD.
——For long-time fans, Chris and Leon have become like Brad Pitt or Tom Cruise.
KOBAYASHI: They don't exist in real life, but we think of them as characters who've aged like Hollywood stars, appearing in various works over the years. That's also part of the intention. So this time, with Director Tsujimoto, Director Shimizu, Fukami-san, and the production team, etc., we treated them like talent agency managers would. Leon and Chris are our stars, after all (laughs).
——Speaking of stars, Rebecca made a surprise return!
KOBAYASHI: Once the two male leads were cast, we decided to bring back a female character. In the first film it was Claire, and in the second it was Ada. This time we considered Jill, but she's been active in the games and live-action movies, and timing-wise with the game timeline, it felt a bit tricky to touch on her (laughs). Then coincidentally around this time, I got involved with the HD remasters of the games "1" and "0", so I worked with Rebecca again after a long time. That also made her a timely character, so we decided, "Alright, let's go with Rebecca." In fact, back when "1" came out, I was young myself and I actually disliked Rebecca (laughs). She seemed cocky and like she was just getting in the way. Now that I'm older though and working with her again after so long, I've come to appreciate her qualities.
——How'd you build Rebecca's character this time?
KOBAYASHI: Since Leon and Chris have aged, Rebecca naturally has too. We didn't nail down the exact details, but roughly 10-odd years have passed, so she's now a grown woman around her early 30s. That said, we wanted to make sure she was recognizable as Rebecca, so from the outset we kept her trademark short hair, her green shirt and white vest when she fights, symbols that identify her, and we had created lore for Rebecca in the stage play I was involved with, "BIOHAZARD THE STAGE", which wasn't in the games. After S.T.A.R.S. disbanded, she left spec ops and became a university professor researching ways to eliminate bioterrorism. She's essentially a scientist who collaborates on investigations, so it wouldn't be strange if she previously worked with Chris or Leon.
——This marks the third CG film. What's its position within the BIOHAZARD Universe?
KOBAYASHI: Regarding these CG films, we've had a major concept since the first one: we wanted them to connect with the games' world. That's why I imagined the director must've felt constrained and found it difficult to work with. Despite that, I made some unreasonable demands, but everyone really worked hard. While it's linked to the games, the most important thing's ensuring it stands as a highly polished work in its own right. In that sense, we have two film directors, Director Shimizu and Director Tsujimoto, and Fukami-san's an excellent screenwriter. We placed great importance on ensuring it could be enjoyed even by those unfamiliar with the series.
——How was working with Director Tsujimoto?
KOBAYASHI: I was already aware he was exceptionally skilled at action direction, but this time every single action scene felt like it was up to Hollywood standards. It was his first feature-length CG project, but I think he brought in elements only possible from a live-action director's perspective. Also, screenwriter Fukami-san's someone with a huge “BIO love,” and you could really feel that when talking with him (laughs). For Rebecca's fight in the lab, he was very conscious of using the objects around her. I think screenwriter Fukami-san had the hardest job, despite all the various requests from Director Shimizu, Director Tsujimoto, and myself, he did an amazing job coordinating everyone's intentions, and I'm truly grateful.
——Finally, please share a message for BIOHAZARD fans watching the movie.
KOBAYASHI: Chris and Leon teaming up delivers truly spectacular action. And I hope you'll enjoy the wonderful, grown-up Rebecca. Just like in the games, the costumes are meticulously designed, and you can really feel the love the staff has for Rebecca. Like in that scene where Rebecca's supposedly just out of the shower, even though her hair could have been dry, they deliberately left it slightly damp (laughs). And including Arias, the original characters are also very well fleshed out, so I hope you'll enjoy watching the film over and over again.
——This time, Chris and Leon are the main characters, but Leon seemed troubled by life, or rather, his true feelings emerged.
KOBAYASHI: Regarding CG films, Leon was the main character in the first and second installments too. I personally just really like Leon. So I basically demanded they include him (laughs). As for Chris, when we decided to bring him back this time there was a plan to make it a story where a troubled Chris overcomes his struggles. But that would've just repeated what happened in the games with "6". If we were depicting the aftermath of the major events of "6", it felt more natural for Leon, who personally shot his best friend, the President, to be struggling with life.
——Over the series' long years, Chris and Leon have been through a lot.
KOBAYASHI: That's right. That's precisely why the conversation between Chris and the special forces at the beginning of the movie is so great. Because they've truly endured so much, and for fans who've known them for 20 years, every single word carries real weight (laughs). Having made various entries in the series over the years, I feel the characters have grown and aged like real people. They don't just stay young and active within the games; they age alongside the players. It's not something we consciously decided to do, it just happened naturally. That's one of the great things about BIOHAZARD.
——For long-time fans, Chris and Leon have become like Brad Pitt or Tom Cruise.
KOBAYASHI: They don't exist in real life, but we think of them as characters who've aged like Hollywood stars, appearing in various works over the years. That's also part of the intention. So this time, with Director Tsujimoto, Director Shimizu, Fukami-san, and the production team, etc., we treated them like talent agency managers would. Leon and Chris are our stars, after all (laughs).
——Speaking of stars, Rebecca made a surprise return!
KOBAYASHI: Once the two male leads were cast, we decided to bring back a female character. In the first film it was Claire, and in the second it was Ada. This time we considered Jill, but she's been active in the games and live-action movies, and timing-wise with the game timeline, it felt a bit tricky to touch on her (laughs). Then coincidentally around this time, I got involved with the HD remasters of the games "1" and "0", so I worked with Rebecca again after a long time. That also made her a timely character, so we decided, "Alright, let's go with Rebecca." In fact, back when "1" came out, I was young myself and I actually disliked Rebecca (laughs). She seemed cocky and like she was just getting in the way. Now that I'm older though and working with her again after so long, I've come to appreciate her qualities.
——How'd you build Rebecca's character this time?
KOBAYASHI: Since Leon and Chris have aged, Rebecca naturally has too. We didn't nail down the exact details, but roughly 10-odd years have passed, so she's now a grown woman around her early 30s. That said, we wanted to make sure she was recognizable as Rebecca, so from the outset we kept her trademark short hair, her green shirt and white vest when she fights, symbols that identify her, and we had created lore for Rebecca in the stage play I was involved with, "BIOHAZARD THE STAGE", which wasn't in the games. After S.T.A.R.S. disbanded, she left spec ops and became a university professor researching ways to eliminate bioterrorism. She's essentially a scientist who collaborates on investigations, so it wouldn't be strange if she previously worked with Chris or Leon.
——This marks the third CG film. What's its position within the BIOHAZARD Universe?
KOBAYASHI: Regarding these CG films, we've had a major concept since the first one: we wanted them to connect with the games' world. That's why I imagined the director must've felt constrained and found it difficult to work with. Despite that, I made some unreasonable demands, but everyone really worked hard. While it's linked to the games, the most important thing's ensuring it stands as a highly polished work in its own right. In that sense, we have two film directors, Director Shimizu and Director Tsujimoto, and Fukami-san's an excellent screenwriter. We placed great importance on ensuring it could be enjoyed even by those unfamiliar with the series.
——How was working with Director Tsujimoto?
KOBAYASHI: I was already aware he was exceptionally skilled at action direction, but this time every single action scene felt like it was up to Hollywood standards. It was his first feature-length CG project, but I think he brought in elements only possible from a live-action director's perspective. Also, screenwriter Fukami-san's someone with a huge “BIO love,” and you could really feel that when talking with him (laughs). For Rebecca's fight in the lab, he was very conscious of using the objects around her. I think screenwriter Fukami-san had the hardest job, despite all the various requests from Director Shimizu, Director Tsujimoto, and myself, he did an amazing job coordinating everyone's intentions, and I'm truly grateful.
——Finally, please share a message for BIOHAZARD fans watching the movie.
KOBAYASHI: Chris and Leon teaming up delivers truly spectacular action. And I hope you'll enjoy the wonderful, grown-up Rebecca. Just like in the games, the costumes are meticulously designed, and you can really feel the love the staff has for Rebecca. Like in that scene where Rebecca's supposedly just out of the shower, even though her hair could have been dry, they deliberately left it slightly damp (laughs). And including Arias, the original characters are also very well fleshed out, so I hope you'll enjoy watching the film over and over again.
STAFF
Takashi Shimizu - EXECUTIVE PRODUCER
Born in 1972. Majored in theater in college and made his directorial debut with a three-minute self-produced short film. His 1999 V-cinema film "Ju-on" gained attention and was adapted into a theatrical film. It became a hit both domestically and internationally. In 2004, he directed the remake THE JUON/Ju-on (04), produced by Sam Raimi, marking his Hollywood debut. With this film, he became the first Japanese director to reach #1 at the U.S. box office. That same year, his film "The Rare One" (2004) won the Grand Prix at the Brussels International Fantastic Film Festival. His film "Rabbit Horror" (2010) won the festival's Second Prize. Focusing primarily on horror, he also works in comedy, sci-fi, fantasy, and mystery, and in recent years has also taken on producing roles. Recent works include the live-action adaptation of "Kiki's Delivery Service" (2014) and "The Blue Hearts Are Listening/Poem of a Boy" (2017). His 3D dome science film "The Man from the 9th Dimension" (2016) won the Grand Prix (Best Educational Film Award) at the IPS Full Dome Festival and is still currently screening. His upcoming film "The Child User" is scheduled for release on June 17. Affiliated with Shaker.
Takanori Tsujimoto - DIRECTOR
Formed the independent film production team "T3AA Entertainment" in 1998. Produced energetic and powerful action films on low budgets, winning numerous awards. His skills were highly regarded, leading to his commercial film directorial debut with the omnibus film "KILLERS" (2002). Major works include "Hard Revenge, Milly" (2008), "Red Tears" (2011), the "THE NEXT GENERATION Patlabor" series, "BUSHIDO MAN" (2013, OVA), "Ultraman X" (2015), and "HiGH&LOW Season 2" (2016), among many others.
Makoto Fukami - SCREENWRITER
Won the Fujimi Young Mystery Award in 2000, making his debut as a novelist. Also holds numerous awards in the fields of manga original stories and anime planning, including the Kadokawa Next Award. Served as screenwriter for the popular anime series "PSYCHO-PASS" (2012) and the theatrical film "PSYCHO-PASS: The Movie" (2014) with Gen Urobuchi, receiving high praise for his realistic military action and story depiction. Major works include "Yuruyuri San☆Hi!" (2015-Series Composition) and the TV anime "Berserk" (2016-Series Composition). He's also worked on numerous other anime projects, as well as game and manga original concepts.
Kenji Kawai - MUSIC
After working as a guitarist in a band, he composed the music for director Mamoru Oshii's film "Red Spectacles" (1987). Since then, he has created music for the TV anime and theatrical series of "Mobile Police Patlabor" and for "GHOST IN THE SHELL" (1995), becoming known as an indispensable composer for Oshii's works.Other major works include “Innocence” (2004), "Eden of the East" (2009), "Death Note" (2006), "Hana Moyu" (2015), and "The Perfect Insider" (2015), among many others. He works across a wide range of genres and also provides music for overseas entertainment productions.
Hiroyuki Kobayashi (CAPCOM) - ORIGINAL WORK SUPERVISOR
Producer at CAPCOM Co., Ltd. Joined CAPCOM as a programmer in 1995. After working on games like BIOHAZARD and Dino Crisis, he served as producer on various titles including the BIOHAZARD series, the "Sengoku BASARA" series, and the "Dragon's Dogma" series, handling everything from planning to promotion. Beyond games, he's participated in the BIOHAZARD movie series, the TV anime "Devil May Cry," and the Sengoku BASARA series, which has expanded across TV anime, stage plays, and live-action dramas.
Takashi Shimizu - EXECUTIVE PRODUCER
Born in 1972. Majored in theater in college and made his directorial debut with a three-minute self-produced short film. His 1999 V-cinema film "Ju-on" gained attention and was adapted into a theatrical film. It became a hit both domestically and internationally. In 2004, he directed the remake THE JUON/Ju-on (04), produced by Sam Raimi, marking his Hollywood debut. With this film, he became the first Japanese director to reach #1 at the U.S. box office. That same year, his film "The Rare One" (2004) won the Grand Prix at the Brussels International Fantastic Film Festival. His film "Rabbit Horror" (2010) won the festival's Second Prize. Focusing primarily on horror, he also works in comedy, sci-fi, fantasy, and mystery, and in recent years has also taken on producing roles. Recent works include the live-action adaptation of "Kiki's Delivery Service" (2014) and "The Blue Hearts Are Listening/Poem of a Boy" (2017). His 3D dome science film "The Man from the 9th Dimension" (2016) won the Grand Prix (Best Educational Film Award) at the IPS Full Dome Festival and is still currently screening. His upcoming film "The Child User" is scheduled for release on June 17. Affiliated with Shaker.
Takanori Tsujimoto - DIRECTOR
Formed the independent film production team "T3AA Entertainment" in 1998. Produced energetic and powerful action films on low budgets, winning numerous awards. His skills were highly regarded, leading to his commercial film directorial debut with the omnibus film "KILLERS" (2002). Major works include "Hard Revenge, Milly" (2008), "Red Tears" (2011), the "THE NEXT GENERATION Patlabor" series, "BUSHIDO MAN" (2013, OVA), "Ultraman X" (2015), and "HiGH&LOW Season 2" (2016), among many others.
Makoto Fukami - SCREENWRITER
Won the Fujimi Young Mystery Award in 2000, making his debut as a novelist. Also holds numerous awards in the fields of manga original stories and anime planning, including the Kadokawa Next Award. Served as screenwriter for the popular anime series "PSYCHO-PASS" (2012) and the theatrical film "PSYCHO-PASS: The Movie" (2014) with Gen Urobuchi, receiving high praise for his realistic military action and story depiction. Major works include "Yuruyuri San☆Hi!" (2015-Series Composition) and the TV anime "Berserk" (2016-Series Composition). He's also worked on numerous other anime projects, as well as game and manga original concepts.
Kenji Kawai - MUSIC
After working as a guitarist in a band, he composed the music for director Mamoru Oshii's film "Red Spectacles" (1987). Since then, he has created music for the TV anime and theatrical series of "Mobile Police Patlabor" and for "GHOST IN THE SHELL" (1995), becoming known as an indispensable composer for Oshii's works.Other major works include “Innocence” (2004), "Eden of the East" (2009), "Death Note" (2006), "Hana Moyu" (2015), and "The Perfect Insider" (2015), among many others. He works across a wide range of genres and also provides music for overseas entertainment productions.
Hiroyuki Kobayashi (CAPCOM) - ORIGINAL WORK SUPERVISOR
Producer at CAPCOM Co., Ltd. Joined CAPCOM as a programmer in 1995. After working on games like BIOHAZARD and Dino Crisis, he served as producer on various titles including the BIOHAZARD series, the "Sengoku BASARA" series, and the "Dragon's Dogma" series, handling everything from planning to promotion. Beyond games, he's participated in the BIOHAZARD movie series, the TV anime "Devil May Cry," and the Sengoku BASARA series, which has expanded across TV anime, stage plays, and live-action dramas.
PRODUCTION NOTES
CHARACTER DESIGN - Creating popular characters in a realistic way
The CG animation for this movie was handled by MARZA Animation Planet, known for full-CG films like "Captain Harlock" and "MOOM". Production Department Head Yoshi Miyamoto stated that balancing the ever-evolving CG expression with beloved characters was a major challenge. "CG technology is advancing rapidly, enabling expressions that were impossible in the past. Incorporating that while maintaining the characters CAPCOM has always valued was initially difficult and also a source of pressure." For the actual production, CG Supervisor Tsubasa Nakai also focused intently on realism. "As CG becomes increasingly precise and realistic, we struggled with how to integrate the game's heroes—characters with an anime-inspired look. For example, with Chris, since his design's based on settings after BIOHAZARD 6, we wanted to convey the passage of time through age-related expressions. But going too far could make him look unrecognizable. For facial expressions, we worked closely with CAPCOM on details like beard volume and forehead wrinkles."
The first character tackled was Chris. As the face of the BIOHAZARD series and the film's protagonist, his character was thoroughly solidified before moving on to the others. "He's making his first appearance in the movies. Since he's central to the story, we worked with the staff to make him look as cool as possible." (Miyamoto)
Leon's defining feature is his flowing bangs that cover one eye. "If you could see the eye hidden by his hair, he wouldn't be Leon. We shared this understanding with the director and strictly implemented lighting that casts his eye in shadow and camera work that keeps it out of sight." (Nakai)
"Making her first appearance in the series in quite some time, Rebecca proved challenging to unify the different visions of Rebecca held by each creator. "Just as her design was finalized and we moved into filming, Director Tsujimoto remarked, 'Something feels off.' That's when we realized her face may be slightly larger compared to Chris and Leon... So we unexpectedly had to redo her modeling. That was one of the nerve-wracking moments during this production." (Miyamoto)
"When creating CG characters, there's this rule about adhering to ergonomically correct proportions. But honestly, following that can sometimes make the character less cute (laughs). Since Chris and Leon have smaller faces and model-like builds, we adjusted Rebecca's proportions to balance things out." (Nakai)
MOTION CAPTURE - Bringing characters to life
Adding "movement" to CG characters is called "motion capture." Numerous markers are attached to the actor's face and the bodysuit they wear, and they're filmed by about 60 cameras set up around them. This data's then fed into a computer to breathe life into the character. Filming was divided into drama parts and action parts, with action director Kensuke Sonomura also participating in the action parts. On set, actors were shown footage of scenes pre-performed by stunt actors to help them develop specific movements.
CONCEPT ART - Detailed design sketches serve as the foundation for the creative process
This movie features various buildings: a mansion deep in the mountains of Querétaro, Mexico; the research lab at the Chicago university where Rebecca works; and the high-rise in New York City serving as Arias' hideout. Concept art depicting everything from the buildings' designs to their detailed interiors helped share the vision. Based on the script, the team meticulously crafted settings down to the smallest details while simultaneously determining layouts and character actions aligned with the story progression. Since locations were specific, they thoroughly researched and reflected not only the scenery but even the materials used in the buildings, relentlessly pursuing realism. Incidentally, the mansion Chris infiltrates at the beginning is an homage to the first game in the series, so keep an eye on that too.
CHARACTER DESIGN - Creating popular characters in a realistic way
The CG animation for this movie was handled by MARZA Animation Planet, known for full-CG films like "Captain Harlock" and "MOOM". Production Department Head Yoshi Miyamoto stated that balancing the ever-evolving CG expression with beloved characters was a major challenge. "CG technology is advancing rapidly, enabling expressions that were impossible in the past. Incorporating that while maintaining the characters CAPCOM has always valued was initially difficult and also a source of pressure." For the actual production, CG Supervisor Tsubasa Nakai also focused intently on realism. "As CG becomes increasingly precise and realistic, we struggled with how to integrate the game's heroes—characters with an anime-inspired look. For example, with Chris, since his design's based on settings after BIOHAZARD 6, we wanted to convey the passage of time through age-related expressions. But going too far could make him look unrecognizable. For facial expressions, we worked closely with CAPCOM on details like beard volume and forehead wrinkles."
The first character tackled was Chris. As the face of the BIOHAZARD series and the film's protagonist, his character was thoroughly solidified before moving on to the others. "He's making his first appearance in the movies. Since he's central to the story, we worked with the staff to make him look as cool as possible." (Miyamoto)
Leon's defining feature is his flowing bangs that cover one eye. "If you could see the eye hidden by his hair, he wouldn't be Leon. We shared this understanding with the director and strictly implemented lighting that casts his eye in shadow and camera work that keeps it out of sight." (Nakai)
"Making her first appearance in the series in quite some time, Rebecca proved challenging to unify the different visions of Rebecca held by each creator. "Just as her design was finalized and we moved into filming, Director Tsujimoto remarked, 'Something feels off.' That's when we realized her face may be slightly larger compared to Chris and Leon... So we unexpectedly had to redo her modeling. That was one of the nerve-wracking moments during this production." (Miyamoto)
"When creating CG characters, there's this rule about adhering to ergonomically correct proportions. But honestly, following that can sometimes make the character less cute (laughs). Since Chris and Leon have smaller faces and model-like builds, we adjusted Rebecca's proportions to balance things out." (Nakai)
MOTION CAPTURE - Bringing characters to life
Adding "movement" to CG characters is called "motion capture." Numerous markers are attached to the actor's face and the bodysuit they wear, and they're filmed by about 60 cameras set up around them. This data's then fed into a computer to breathe life into the character. Filming was divided into drama parts and action parts, with action director Kensuke Sonomura also participating in the action parts. On set, actors were shown footage of scenes pre-performed by stunt actors to help them develop specific movements.
CONCEPT ART - Detailed design sketches serve as the foundation for the creative process
This movie features various buildings: a mansion deep in the mountains of Querétaro, Mexico; the research lab at the Chicago university where Rebecca works; and the high-rise in New York City serving as Arias' hideout. Concept art depicting everything from the buildings' designs to their detailed interiors helped share the vision. Based on the script, the team meticulously crafted settings down to the smallest details while simultaneously determining layouts and character actions aligned with the story progression. Since locations were specific, they thoroughly researched and reflected not only the scenery but even the materials used in the buildings, relentlessly pursuing realism. Incidentally, the mansion Chris infiltrates at the beginning is an homage to the first game in the series, so keep an eye on that too.
TRIVIA
CHRIS' FIREARMS
The firearm Chris uses in this title is the "Colt M4A1," commonly known as the M4, a fully automatic 5.56mm caliber assault carbine. Requested by the director, it's the most popular firearm, appearing in various games and films, and has been standard issue for most of the U.S. military since the late 90s. In the film, Chris attaches an "M9" combat knife to the front and an "M203" grenade launcher to the underside. Compared to M16-type assault rifles, the M4's smaller size makes it more suitable for Close Quarters Combat (CQC). Taking into account the aspect of conserving ammunition, Chris' customizations can be considered a data-driven, reasonable choice. His handgun's the "Beretta M93R," a machine pistol featuring a three-round burst mode. In "5" a modified version of the "Beretta M92F" appeared.
LEON'S FIREARMS
Leon's primary weapon from the start is the Leon Model "Sentinel Nine," a custom based on the "Sig Sauer P226E2" (an airsoft version was released by Tokyo Marui). While the standard "P226" introduced later in the games also uses 9x19mm Parabellum rounds with a 15+1 capacity, the Sentinel Nine utilizes a long magazine holding 20 rounds. The gun he used to detonate the "Ducati" aimed at Arias clinging to the Silver Dagger's military helicopter was the Desert Eagle, the familiar magnum also used in "2". In comparison to the P226 it has greater recoil, but compared to other guns using the same ammunition, it has less recoil and is easier to handle. "I wanted Leon in this film to only use handgun-type weapons, avoiding so-called long guns like the M4", stated the director.
GLENN ARIAS' FIREARMS
The "Glock 18" used by Arias is a firearm widely used by law enforcement agencies. Originally developed at the request of the Australian counter-terrorism unit COBRA, it's a fully automatic version of the previous generation "Glock 17", capable of firing 20 rounds per second. He also takes the M93R from Chris in the rooftop battle scene and uses it. According to the director, "For the rooftop battle, we prioritized making it visually exciting, rather than worrying about realistic reloading mechanics!"
THE MOST REALISTIC SCI-FI WEAPON, THE RAILGUN
A railgun's a device that accelerates projectiles using electromagnetic induction, the U.S. military conducted a prototype demonstration test at sea in 2016. The mechanism involves placing a conductive projectile between two long rails and passing an electric current through them. Dictated by Fleming's left-hand rule, it generates a force, and the Lorentz force accelerates the projectile to high velocity before ejection. Achieving effective power requires considerably long rails and distances. While the theory was proposed in the 19th century, practical implementation has yet to be achieved. For this project, screenwriter Fukami proposed adopting it as "the most realistic sci-fi weapon." Director Tsujimoto initially wanted to introduce a more straightforward laser gun, but after revising the script, Fukami rewrote it to use the railgun again, leading Tsujimoto to ultimately concede. The director describes it as "a design straddling sci-fi and reality with immense power."
LEON ON A MOTORCYCLE
The motorcycle Leon rides in this film is an Italian-made Ducati XDiavel. Interestingly, Leon had never ridden a motorcycle in the series prior to this movie. Ducati has frequently appeared in movies and anime as a sponsored brand, but in this film, the motorcycle ends up being shot and blown up at the end. Concerned this might cause problems with the sponsorship agreement, Director Tsujimoto was worried the scene might have to be changed, but Ducati apparently gave their full approval for the motorcycle being destroyed in the film.
THE SERIES' CLOSE RELATIONSHIP WITH HELICOPTERS
The formula “facing Zombies means escaping by helicopter” could be considered a tradition in zombie movies ever since George A. Romero's "Dawn of the Dead". The BIOHAZARD series pays homage to this and faithfully upholds it. While not guaranteed in every installment, the use of helicopters in the final scene is extremely common. Helicopters are prominently featured even in this latest installment, and the escape scene was originally planned to feature one. However, considering the image of helicopters already established in the live-action adaptations, Director Tsujimoto proposed using a vertical takeoff and landing aircraft instead.
THE LEGENDARY SHOCKING SCENE
The scene where the postdoctoral researcher who handed Rebecca her caramel macchiato becomes a Zombie and turns to face her upon their reunion is an homage to "1". This legendary scene terrified audiences worldwide and made BIOHAZARD a global sensation. Its inclusion in "Vendetta" was decided from the start, and it was faithfully recreated by referring to original footage from the game.
MIRACLE IN THE MORGUE
The opening scene with Leon in the morgue closely resembles the pre-title sequence in the remake of “1”. When asked if this was a deliberate homage to return to the roots, the director stated it was pure coincidence. "Well then, let's call this an homage too! (laughs)" said the director.
HUMAN BODY SLICING VIA PIANO WIRE TRAP
The depiction of a body being sliced by a piano wire trap in the opening mansion scene has a long history. It first appeared in the live-action film as an advancing laser cutting trap, which was well-received. It was later reintroduced into the games "4" and "Umbrella Chronicles", becoming a new iconic scene for the series. It has also appeared several times in the live-action films and was incorporated into this movie.
A FAMILIAR MANSION APPEARS
The iconic mansion, a defining setting of BIOHAZARD, makes its return in this installment. Surprisingly, it appears multiple times, with each instance featuring a strikingly similar entrance hall as the starting point. It has become a series staple and dedicated fans likely already know the layout of its staircases and doors. The director noted, "We built it while saying things like, ‘There's a save point around there,’ or ‘Handgun ammo will be scattered over there.’"
LEON'S LEATHER JACKET
Leon's leather jacket, now his trademark. In "6", it featured two white horizontal stripes on each sleeve, but in this installment, it's a biker suit with two vertical white stripes on each sleeve. Another point of interest is that while Leon's jacket is unzipped in the game, it's zipped up in this film. Leon's first leather jacket appeared in "2" as a hidden unlockable where meeting certain conditions allowed you to change his costume. It featured a large skull on the back, and changing into it boosted the handgun's rate of fire. According to the director, "This time, the jacket's zipped up due to budget constraints."
CHRIS' COMBAT SUIT
This outfit closely resembles the one he wore in the China chapters in "6", yet it's been completely redesigned. This includes the BSAA emblems on both shoulders, the shoulder armor, the vest, and the lower body armor. The director stated, "While maintaining the previous design template, our designers worked hard researching and creating a combat suit that feels contemporary." Incidentally, his hairstyle's almost identical to that in "6".
REBECCA'S COSTUME
Given her heroine status in this installment, she sports a wide variety of outfits, from casual wear topped with a lab coat to a wedding dress, showcasing the production staff's explosive affection for Rebecca. In the games, her familiar look was a white vest, army green shirt, and rolled-up pants. While there are minor changes, fans will be happy to see her appear in this familiar style again. The red choker around her neck is gone, but pay attention to the subtle coloring details like the red line on the shirt's chest. The intricate lace on the wedding dress was apparently the director's instruction. Her trademark short hair is, of course, still intact. Incidentally, in the HD remaster of "0" starring Rebecca, you can enjoy a wide variety of costumes: cheerleader, sportswear, nurse, cowgirl, various T-shirts, and more.
CHRIS LECTURES A BOOZY LEON!
In this film, Leon laments his life, tormented by a cruel fate, and drowns his sorrows in alcohol. Though after enduring such hardships for nearly 18 years, it's no wonder he wants to drink. Seeing Leon like this, Chris snaps, "Cut it out already!" However, in "6", Chris was so drunk he was even picking fights with the bar staff. Anyone who played "6" will get a chuckle seeing this scene.
CUTTING-EDGE ACTION RIVALING HOLLYWOOD
The action, a major highlight of this movie, is absolutely on par with the latest Hollywood action. Especially the gunplay and combat styles of Chris and Leon are packed with the latest Hollywood gun action, reminiscent of "John Wick". And speaking of drone usage, you'll want to check out the sequel to "Olympus Has Fallen"--- "London Has Fallen". Furthermore, Leon showcases motorcycle action in this film reminiscent of John Woo movies, which is another treat to enjoy.
JAPANESE-STYLE ZOMBIES, A SIGNATURE OF PRODUCER TAKASHI SHIMIZU
This film features Japanese-style zombies with J-Horroresque touches reminiscent of Sadako and Toshio. Director Tsujimoto reveals that child Zombies were deemed too shocking, so they were reimagined as middle-school-aged zombies. Furthermore, drawing on his past experience producing horror videos, the direction was crafted to make you wonder, "Was it really there for just a moment?" The spine-only Sadako-style Zombie was originally requested by Fukami-san as a "drowned corpse Zombie," but budget constraints led to this final design.
ZOMBIES THAT COULD BE CONTROLLED
In the games, the first example of controlling virus-infected individuals was the woman Hilda from "Darkside Chronicles". When appearing as a creature, she'd calm down upon hearing the song of Manuela, a girl Leon protected, or obey the commands of the mastermind, her husband Javier. Later in "5", Wesker and Excella, the masterminds behind spreading a virus, weren't attacked by Plaga/virus infected individuals, suggesting they could distinguish friend from foe.
CHRIS' FIREARMS
The firearm Chris uses in this title is the "Colt M4A1," commonly known as the M4, a fully automatic 5.56mm caliber assault carbine. Requested by the director, it's the most popular firearm, appearing in various games and films, and has been standard issue for most of the U.S. military since the late 90s. In the film, Chris attaches an "M9" combat knife to the front and an "M203" grenade launcher to the underside. Compared to M16-type assault rifles, the M4's smaller size makes it more suitable for Close Quarters Combat (CQC). Taking into account the aspect of conserving ammunition, Chris' customizations can be considered a data-driven, reasonable choice. His handgun's the "Beretta M93R," a machine pistol featuring a three-round burst mode. In "5" a modified version of the "Beretta M92F" appeared.
LEON'S FIREARMS
Leon's primary weapon from the start is the Leon Model "Sentinel Nine," a custom based on the "Sig Sauer P226E2" (an airsoft version was released by Tokyo Marui). While the standard "P226" introduced later in the games also uses 9x19mm Parabellum rounds with a 15+1 capacity, the Sentinel Nine utilizes a long magazine holding 20 rounds. The gun he used to detonate the "Ducati" aimed at Arias clinging to the Silver Dagger's military helicopter was the Desert Eagle, the familiar magnum also used in "2". In comparison to the P226 it has greater recoil, but compared to other guns using the same ammunition, it has less recoil and is easier to handle. "I wanted Leon in this film to only use handgun-type weapons, avoiding so-called long guns like the M4", stated the director.
GLENN ARIAS' FIREARMS
The "Glock 18" used by Arias is a firearm widely used by law enforcement agencies. Originally developed at the request of the Australian counter-terrorism unit COBRA, it's a fully automatic version of the previous generation "Glock 17", capable of firing 20 rounds per second. He also takes the M93R from Chris in the rooftop battle scene and uses it. According to the director, "For the rooftop battle, we prioritized making it visually exciting, rather than worrying about realistic reloading mechanics!"
THE MOST REALISTIC SCI-FI WEAPON, THE RAILGUN
A railgun's a device that accelerates projectiles using electromagnetic induction, the U.S. military conducted a prototype demonstration test at sea in 2016. The mechanism involves placing a conductive projectile between two long rails and passing an electric current through them. Dictated by Fleming's left-hand rule, it generates a force, and the Lorentz force accelerates the projectile to high velocity before ejection. Achieving effective power requires considerably long rails and distances. While the theory was proposed in the 19th century, practical implementation has yet to be achieved. For this project, screenwriter Fukami proposed adopting it as "the most realistic sci-fi weapon." Director Tsujimoto initially wanted to introduce a more straightforward laser gun, but after revising the script, Fukami rewrote it to use the railgun again, leading Tsujimoto to ultimately concede. The director describes it as "a design straddling sci-fi and reality with immense power."
LEON ON A MOTORCYCLE
The motorcycle Leon rides in this film is an Italian-made Ducati XDiavel. Interestingly, Leon had never ridden a motorcycle in the series prior to this movie. Ducati has frequently appeared in movies and anime as a sponsored brand, but in this film, the motorcycle ends up being shot and blown up at the end. Concerned this might cause problems with the sponsorship agreement, Director Tsujimoto was worried the scene might have to be changed, but Ducati apparently gave their full approval for the motorcycle being destroyed in the film.
THE SERIES' CLOSE RELATIONSHIP WITH HELICOPTERS
The formula “facing Zombies means escaping by helicopter” could be considered a tradition in zombie movies ever since George A. Romero's "Dawn of the Dead". The BIOHAZARD series pays homage to this and faithfully upholds it. While not guaranteed in every installment, the use of helicopters in the final scene is extremely common. Helicopters are prominently featured even in this latest installment, and the escape scene was originally planned to feature one. However, considering the image of helicopters already established in the live-action adaptations, Director Tsujimoto proposed using a vertical takeoff and landing aircraft instead.
THE LEGENDARY SHOCKING SCENE
The scene where the postdoctoral researcher who handed Rebecca her caramel macchiato becomes a Zombie and turns to face her upon their reunion is an homage to "1". This legendary scene terrified audiences worldwide and made BIOHAZARD a global sensation. Its inclusion in "Vendetta" was decided from the start, and it was faithfully recreated by referring to original footage from the game.
MIRACLE IN THE MORGUE
The opening scene with Leon in the morgue closely resembles the pre-title sequence in the remake of “1”. When asked if this was a deliberate homage to return to the roots, the director stated it was pure coincidence. "Well then, let's call this an homage too! (laughs)" said the director.
HUMAN BODY SLICING VIA PIANO WIRE TRAP
The depiction of a body being sliced by a piano wire trap in the opening mansion scene has a long history. It first appeared in the live-action film as an advancing laser cutting trap, which was well-received. It was later reintroduced into the games "4" and "Umbrella Chronicles", becoming a new iconic scene for the series. It has also appeared several times in the live-action films and was incorporated into this movie.
A FAMILIAR MANSION APPEARS
The iconic mansion, a defining setting of BIOHAZARD, makes its return in this installment. Surprisingly, it appears multiple times, with each instance featuring a strikingly similar entrance hall as the starting point. It has become a series staple and dedicated fans likely already know the layout of its staircases and doors. The director noted, "We built it while saying things like, ‘There's a save point around there,’ or ‘Handgun ammo will be scattered over there.’"
LEON'S LEATHER JACKET
Leon's leather jacket, now his trademark. In "6", it featured two white horizontal stripes on each sleeve, but in this installment, it's a biker suit with two vertical white stripes on each sleeve. Another point of interest is that while Leon's jacket is unzipped in the game, it's zipped up in this film. Leon's first leather jacket appeared in "2" as a hidden unlockable where meeting certain conditions allowed you to change his costume. It featured a large skull on the back, and changing into it boosted the handgun's rate of fire. According to the director, "This time, the jacket's zipped up due to budget constraints."
CHRIS' COMBAT SUIT
This outfit closely resembles the one he wore in the China chapters in "6", yet it's been completely redesigned. This includes the BSAA emblems on both shoulders, the shoulder armor, the vest, and the lower body armor. The director stated, "While maintaining the previous design template, our designers worked hard researching and creating a combat suit that feels contemporary." Incidentally, his hairstyle's almost identical to that in "6".
REBECCA'S COSTUME
Given her heroine status in this installment, she sports a wide variety of outfits, from casual wear topped with a lab coat to a wedding dress, showcasing the production staff's explosive affection for Rebecca. In the games, her familiar look was a white vest, army green shirt, and rolled-up pants. While there are minor changes, fans will be happy to see her appear in this familiar style again. The red choker around her neck is gone, but pay attention to the subtle coloring details like the red line on the shirt's chest. The intricate lace on the wedding dress was apparently the director's instruction. Her trademark short hair is, of course, still intact. Incidentally, in the HD remaster of "0" starring Rebecca, you can enjoy a wide variety of costumes: cheerleader, sportswear, nurse, cowgirl, various T-shirts, and more.
CHRIS LECTURES A BOOZY LEON!
In this film, Leon laments his life, tormented by a cruel fate, and drowns his sorrows in alcohol. Though after enduring such hardships for nearly 18 years, it's no wonder he wants to drink. Seeing Leon like this, Chris snaps, "Cut it out already!" However, in "6", Chris was so drunk he was even picking fights with the bar staff. Anyone who played "6" will get a chuckle seeing this scene.
CUTTING-EDGE ACTION RIVALING HOLLYWOOD
The action, a major highlight of this movie, is absolutely on par with the latest Hollywood action. Especially the gunplay and combat styles of Chris and Leon are packed with the latest Hollywood gun action, reminiscent of "John Wick". And speaking of drone usage, you'll want to check out the sequel to "Olympus Has Fallen"--- "London Has Fallen". Furthermore, Leon showcases motorcycle action in this film reminiscent of John Woo movies, which is another treat to enjoy.
JAPANESE-STYLE ZOMBIES, A SIGNATURE OF PRODUCER TAKASHI SHIMIZU
This film features Japanese-style zombies with J-Horroresque touches reminiscent of Sadako and Toshio. Director Tsujimoto reveals that child Zombies were deemed too shocking, so they were reimagined as middle-school-aged zombies. Furthermore, drawing on his past experience producing horror videos, the direction was crafted to make you wonder, "Was it really there for just a moment?" The spine-only Sadako-style Zombie was originally requested by Fukami-san as a "drowned corpse Zombie," but budget constraints led to this final design.
ZOMBIES THAT COULD BE CONTROLLED
In the games, the first example of controlling virus-infected individuals was the woman Hilda from "Darkside Chronicles". When appearing as a creature, she'd calm down upon hearing the song of Manuela, a girl Leon protected, or obey the commands of the mastermind, her husband Javier. Later in "5", Wesker and Excella, the masterminds behind spreading a virus, weren't attacked by Plaga/virus infected individuals, suggesting they could distinguish friend from foe.
SPECIAL INTERVIEW - TAKANORI TSUJIMOTO, MAMORU OSHII
——How have you perceived the BIOHAZARD franchise up until now?
OSHII: Over the years, it evolved from horror to action, and recently returned to horror again. It's content that contains plenty of elements suitable for adaptation into film. There are already numerous works, the characters are well-established, the world's fully formed, and it's popular. At first glance, it seems like anyone could adapt it into a film. As a film director though, I actually thought it was a game that was quite difficult to adapt into a movie.
——Why's that? Having many elements seems like a good thing.
OSHII: The live-action films with Milla Jovovich are, in their own way, successful Hollywood-style action movies that stand as a different world from the games. Although for players who've deeply immersed themselves in the games over the years, I think they're likely not what they were hoping for. This isn't limited to BIOHAZARD, it applies to any game or series adapted into a movie. The biggest hurdle's always the "characters." For the audience, the question "Who'll play that character?" is huge. Alice in the live-action films is a character who doesn't exist in the games, and Milla Jovovich is fantastic, so she's got a strong presence. But when characters from the games appear in live-action, the bar suddenly gets raised when real people play them. It's not just about finding lookalikes.
TSUJIMOTO: That's certainly true.
OSHII: So if we wanted to create something fans would accept for BIOHAZARD, the only viable approach was to use animation. But with traditional hand-drawn animation, accurately depicting Zombie movements is incredibly difficult. Therefore, 3DCG animation was the optimal solution. You could even say it was the only choice.
TSUJIMOTO: Regarding the characters this time, since CAPCOM's Kobayashi-san was supervising, I wasn't worried about that. Rather, I was more concerned whether we could fully utilize all the various elements: the action, the horror, and so on.
——Please tell us your honest impressions after watching this film.
OSHII: Fukami-kun's characterization was very well done. I doubt many people know the meaning of the word "Vendetta," but it's a great title for a story of "revenge," showing how each character's actions connect to their motivations. The opening ceremony also ties into the latter half, creating a real centripetal force. A fundamental requirement for a villain is having a clear motive, and that must connect to their humanity. In action films, "character" and "motivation" are synonymous.
——Director Tsujimoto, how'd you feel having Oshii-san watch your film?
TSUJIMOTO: Actually, we'd been consulting him since the project first came up. Even during production, he unofficially watched parts like the Cerberus sequence. He gave advice on fight scenes too, like "We need more weight to these."
OSHII: Within the constraints of using game characters in CG animation, I think this film's the first proper action movie made. Surprisingly, no one has achieved this groundbreaking feat yet. Casting Tsujimoto was a great choice. If you want to make gun action entertainment in Japan today, the strongest combo's Tsujimoto and (action director) Sonomura-kun. With a bigger budget it could be incredible, but honestly, it's hard with live-action Japanese cinema today. I think this was only achievable with a 3DCG film like this one.
TSUJIMOTO: That's very kind of you (laughs).
OSHII: It's good the two protagonists clearly carry the weight when they appear. This is absolutely crucial for an action film. Leon's utterly exhausted from his work, and Chris doesn't want to lose anymore comrades. Rescuing someone becomes their own salvation, it's a story of redemption. Even with the clear goal of "saving Rebecca," each character must have their own internal theme, and it's great this isn't ambiguous. Fukami-kun's script and Tsujimoto's direction meshed incredibly well. It's a result of excellent staff selection.
——What were your thoughts on Chris and Leon teaming up for the first time in this film?
OSHII: I don't know the exact process for deciding the main characters this time, but it was a good choice. Chris and Leon are such contrasting characters. While they've had minor interactions in the games before, seeing them team up properly is a really intriguing element.
TSUJIMOTO: I think it worked well precisely because it was these two.
OSHII: That brings up the question of what to do with the female character, and I think choosing Rebecca was also a success. The fact she became a researcher over time doesn't feel out of place. This movie's a classic tale of two different types of knights going to rescue a princess, isn't it? Rebecca's presence is huge in making it work as that kind of story. She doesn't get in the way of the plot when she's between Chris and Leon, and being a sisterly character means she doesn't create new friction between the two men over romantic entanglements. When a woman enters a story with two men, it usually causes friction. The narrative weight tends to shift that way, making it harder to maintain a single, clear thread as an action film.
TSUJIMOTO: It just becomes a hassle, doesn't it? Plus, if it were Jill or Ada, we'd have to create action scenes for them too. Given the limited budget, Rebecca was just right. If we'd thrown in too many characters, Oshii-san would've gotten angry, saying, "Why'd that person show up? It was pointless, wasn't it?" (laughs).
OSHII: "If they're just gonna show up, don't put them in" (laughs). That's just how fans think.
TSUJIMOTO: Yeah, Oshii-san really drove that point home.
OSHII: I've been through this countless times. Especially when it comes to female characters, fans become uncompromising, all tolerance goes out the window. It's like, "My Jill!" (laughs).
TSUJIMOTO: Especially with BIOHAZARD. It has such a long history, after all. Although scriptwriter Fukami handled that part perfectly. I think he struck just the right balance.
OSHII: It's a classic "rescue the princess" story, so there's a solid necessity for her to wear a wedding dress.
TSUJIMOTO: If it had been Jill, it would've been thrilling in a different way (laughs).
OSHII: If we were to feature Jill, it'd have to be in her battle suit (laughs). That suit stands out even in the long history of battle suit-wearing sisters. I tried it many times myself, but it's really hard to get right. It's tough, seriously.
TSUJIMOTO: I dunno about that (laughs).
——If you got an offer for a fourth CG-animated film, what would you do, Oshii-san?
OSHII: I'd do it. I have ideas about how I'd want to do it. Like having Tsujimoto handle the action scenes and assistant directing, and various other things.
TSUJIMOTO: I'm always the one stuck with the tedious parts (laughs). Is Jill already set as the heroine? (laughs)
OSHII: If you're looking for that exhilarating feeling, the protagonists really need to be Chris and Leon.
TSUJIMOTO: Isn't a female protagonist an option?
OSHII: Action movies with male leads and action movies with female leads may look similar, but their essence is totally different. Movie producers often think it's better to include male characters when portraying women, but in my opinion, that's a mistake. In those cases, it's absolutely better to introduce another female character. The live-action series is a good example, as Alice never has a male partner until the very end, right? She doesn't need a man. The strength lies in her being a complete protagonist on her own.
TSUJIMOTO: That's the beauty of the live-action series, isn't it?
OSHII: In games, Jill's the character closest to that. Jill's a character equivalent to Chris or Leon, but if you make her the protagonist, it just becomes a movie where they beat each other up for catharsis. She needs to be carrying something. In that sense, movies with male protagonists are easier to make as you don't need to add unnecessary backstories. Chris and Leon are contrasting characters with established principles.
——Which do you prefer, Oshii-san, Chris or Leon?
OSHII: I prefer Chris. Chris is in a man's world, so I can relate to him a lot. He's an easy-to-understand guy. Leon may be more popular, but Chris is a universal action movie character, so he isn't disliked much. "Not being disliked" is actually a pretty important element for a protagonist.
TSUJIMOTO: It's also nice that he's finally starting to feel like a proper protagonist after all his struggles up to this point.
OSHII: As someone directing, having a character like Chris is incredibly useful. When you throw a line at him, you can instantly picture how he'll respond. Plus, he doesn't get in the way visually even when he's front and center. That's another crucial point for a lead.
TSUJIMOTO: Leon, well, Leon just naturally comes up with all sorts of stuff on his own. Like the motorcycle scene – of course Leon just hops on the bike and rides off.
OSHII: But Chris is still the one who takes down the final boss. We made sure to keep that point clear.
TSUJIMOTO: Since Chris is the protagonist this time, he lands the final blow. But the flashy battles leading up to it are Leon's moment to shine. Even when cutting the action storyboards, their natural roles just fall into place, which makes it easy for the director. It's their first time truly co-starring, but their roles are already established.
OSHII: That's the weight of the series. If you asked if you could start from scratch and achieve the same thing, it'd be pretty tough. It's the presence of characters forged by the passage of time. That's 20 years of accumulation. After so much in the game series, Chris became Chris and Leon became Leon. That's a huge asset built by the fans. That's precisely why Fukami-kun's script is brilliant, really grasping that aspect. You can tell he's incredibly knowledgeable just watching the film.
TSUJIMOTO: Well, you're quite the BIOHAZARD fanatic yourself, Oshii-san. I'm stunned (laughs).
MAMORU OSHII
Born in Tokyo in 1954. Made his theatrical directorial debut with “Urusei Yatsura Only You” (1982). Major works include “Urusei Yatsura 2: Beautiful Dreamer” (1984), “Mobile Police Patlabor: The Movie” (1989), “Ghost in the Shell” (1995), “Innocence” (2004), “The Sky Crawlers” (2008), “Assault Girls” (1999), and “Garm Wars” (2015). He was one of the people who recognized director Tsujimoto's talent, collaborating on the omnibus film “Killers” (2002), “True Stories of Female Street Food Vendors” (2007), and the “THE NEXT GENERATION Patlabor” series.
——How have you perceived the BIOHAZARD franchise up until now?
OSHII: Over the years, it evolved from horror to action, and recently returned to horror again. It's content that contains plenty of elements suitable for adaptation into film. There are already numerous works, the characters are well-established, the world's fully formed, and it's popular. At first glance, it seems like anyone could adapt it into a film. As a film director though, I actually thought it was a game that was quite difficult to adapt into a movie.
——Why's that? Having many elements seems like a good thing.
OSHII: The live-action films with Milla Jovovich are, in their own way, successful Hollywood-style action movies that stand as a different world from the games. Although for players who've deeply immersed themselves in the games over the years, I think they're likely not what they were hoping for. This isn't limited to BIOHAZARD, it applies to any game or series adapted into a movie. The biggest hurdle's always the "characters." For the audience, the question "Who'll play that character?" is huge. Alice in the live-action films is a character who doesn't exist in the games, and Milla Jovovich is fantastic, so she's got a strong presence. But when characters from the games appear in live-action, the bar suddenly gets raised when real people play them. It's not just about finding lookalikes.
TSUJIMOTO: That's certainly true.
OSHII: So if we wanted to create something fans would accept for BIOHAZARD, the only viable approach was to use animation. But with traditional hand-drawn animation, accurately depicting Zombie movements is incredibly difficult. Therefore, 3DCG animation was the optimal solution. You could even say it was the only choice.
TSUJIMOTO: Regarding the characters this time, since CAPCOM's Kobayashi-san was supervising, I wasn't worried about that. Rather, I was more concerned whether we could fully utilize all the various elements: the action, the horror, and so on.
——Please tell us your honest impressions after watching this film.
OSHII: Fukami-kun's characterization was very well done. I doubt many people know the meaning of the word "Vendetta," but it's a great title for a story of "revenge," showing how each character's actions connect to their motivations. The opening ceremony also ties into the latter half, creating a real centripetal force. A fundamental requirement for a villain is having a clear motive, and that must connect to their humanity. In action films, "character" and "motivation" are synonymous.
——Director Tsujimoto, how'd you feel having Oshii-san watch your film?
TSUJIMOTO: Actually, we'd been consulting him since the project first came up. Even during production, he unofficially watched parts like the Cerberus sequence. He gave advice on fight scenes too, like "We need more weight to these."
OSHII: Within the constraints of using game characters in CG animation, I think this film's the first proper action movie made. Surprisingly, no one has achieved this groundbreaking feat yet. Casting Tsujimoto was a great choice. If you want to make gun action entertainment in Japan today, the strongest combo's Tsujimoto and (action director) Sonomura-kun. With a bigger budget it could be incredible, but honestly, it's hard with live-action Japanese cinema today. I think this was only achievable with a 3DCG film like this one.
TSUJIMOTO: That's very kind of you (laughs).
OSHII: It's good the two protagonists clearly carry the weight when they appear. This is absolutely crucial for an action film. Leon's utterly exhausted from his work, and Chris doesn't want to lose anymore comrades. Rescuing someone becomes their own salvation, it's a story of redemption. Even with the clear goal of "saving Rebecca," each character must have their own internal theme, and it's great this isn't ambiguous. Fukami-kun's script and Tsujimoto's direction meshed incredibly well. It's a result of excellent staff selection.
——What were your thoughts on Chris and Leon teaming up for the first time in this film?
OSHII: I don't know the exact process for deciding the main characters this time, but it was a good choice. Chris and Leon are such contrasting characters. While they've had minor interactions in the games before, seeing them team up properly is a really intriguing element.
TSUJIMOTO: I think it worked well precisely because it was these two.
OSHII: That brings up the question of what to do with the female character, and I think choosing Rebecca was also a success. The fact she became a researcher over time doesn't feel out of place. This movie's a classic tale of two different types of knights going to rescue a princess, isn't it? Rebecca's presence is huge in making it work as that kind of story. She doesn't get in the way of the plot when she's between Chris and Leon, and being a sisterly character means she doesn't create new friction between the two men over romantic entanglements. When a woman enters a story with two men, it usually causes friction. The narrative weight tends to shift that way, making it harder to maintain a single, clear thread as an action film.
TSUJIMOTO: It just becomes a hassle, doesn't it? Plus, if it were Jill or Ada, we'd have to create action scenes for them too. Given the limited budget, Rebecca was just right. If we'd thrown in too many characters, Oshii-san would've gotten angry, saying, "Why'd that person show up? It was pointless, wasn't it?" (laughs).
OSHII: "If they're just gonna show up, don't put them in" (laughs). That's just how fans think.
TSUJIMOTO: Yeah, Oshii-san really drove that point home.
OSHII: I've been through this countless times. Especially when it comes to female characters, fans become uncompromising, all tolerance goes out the window. It's like, "My Jill!" (laughs).
TSUJIMOTO: Especially with BIOHAZARD. It has such a long history, after all. Although scriptwriter Fukami handled that part perfectly. I think he struck just the right balance.
OSHII: It's a classic "rescue the princess" story, so there's a solid necessity for her to wear a wedding dress.
TSUJIMOTO: If it had been Jill, it would've been thrilling in a different way (laughs).
OSHII: If we were to feature Jill, it'd have to be in her battle suit (laughs). That suit stands out even in the long history of battle suit-wearing sisters. I tried it many times myself, but it's really hard to get right. It's tough, seriously.
TSUJIMOTO: I dunno about that (laughs).
——If you got an offer for a fourth CG-animated film, what would you do, Oshii-san?
OSHII: I'd do it. I have ideas about how I'd want to do it. Like having Tsujimoto handle the action scenes and assistant directing, and various other things.
TSUJIMOTO: I'm always the one stuck with the tedious parts (laughs). Is Jill already set as the heroine? (laughs)
OSHII: If you're looking for that exhilarating feeling, the protagonists really need to be Chris and Leon.
TSUJIMOTO: Isn't a female protagonist an option?
OSHII: Action movies with male leads and action movies with female leads may look similar, but their essence is totally different. Movie producers often think it's better to include male characters when portraying women, but in my opinion, that's a mistake. In those cases, it's absolutely better to introduce another female character. The live-action series is a good example, as Alice never has a male partner until the very end, right? She doesn't need a man. The strength lies in her being a complete protagonist on her own.
TSUJIMOTO: That's the beauty of the live-action series, isn't it?
OSHII: In games, Jill's the character closest to that. Jill's a character equivalent to Chris or Leon, but if you make her the protagonist, it just becomes a movie where they beat each other up for catharsis. She needs to be carrying something. In that sense, movies with male protagonists are easier to make as you don't need to add unnecessary backstories. Chris and Leon are contrasting characters with established principles.
——Which do you prefer, Oshii-san, Chris or Leon?
OSHII: I prefer Chris. Chris is in a man's world, so I can relate to him a lot. He's an easy-to-understand guy. Leon may be more popular, but Chris is a universal action movie character, so he isn't disliked much. "Not being disliked" is actually a pretty important element for a protagonist.
TSUJIMOTO: It's also nice that he's finally starting to feel like a proper protagonist after all his struggles up to this point.
OSHII: As someone directing, having a character like Chris is incredibly useful. When you throw a line at him, you can instantly picture how he'll respond. Plus, he doesn't get in the way visually even when he's front and center. That's another crucial point for a lead.
TSUJIMOTO: Leon, well, Leon just naturally comes up with all sorts of stuff on his own. Like the motorcycle scene – of course Leon just hops on the bike and rides off.
OSHII: But Chris is still the one who takes down the final boss. We made sure to keep that point clear.
TSUJIMOTO: Since Chris is the protagonist this time, he lands the final blow. But the flashy battles leading up to it are Leon's moment to shine. Even when cutting the action storyboards, their natural roles just fall into place, which makes it easy for the director. It's their first time truly co-starring, but their roles are already established.
OSHII: That's the weight of the series. If you asked if you could start from scratch and achieve the same thing, it'd be pretty tough. It's the presence of characters forged by the passage of time. That's 20 years of accumulation. After so much in the game series, Chris became Chris and Leon became Leon. That's a huge asset built by the fans. That's precisely why Fukami-kun's script is brilliant, really grasping that aspect. You can tell he's incredibly knowledgeable just watching the film.
TSUJIMOTO: Well, you're quite the BIOHAZARD fanatic yourself, Oshii-san. I'm stunned (laughs).
MAMORU OSHII
Born in Tokyo in 1954. Made his theatrical directorial debut with “Urusei Yatsura Only You” (1982). Major works include “Urusei Yatsura 2: Beautiful Dreamer” (1984), “Mobile Police Patlabor: The Movie” (1989), “Ghost in the Shell” (1995), “Innocence” (2004), “The Sky Crawlers” (2008), “Assault Girls” (1999), and “Garm Wars” (2015). He was one of the people who recognized director Tsujimoto's talent, collaborating on the omnibus film “Killers” (2002), “True Stories of Female Street Food Vendors” (2007), and the “THE NEXT GENERATION Patlabor” series.
CHRIS REDFIELD - A Tough Guy Who Overcame a Brutal Life and Speaks Through His Actions
The protagonist of the original groundbreaking BIOHAZARD and a constant central figure in the series. In "1", as a member of a special forces unit with a strong sense of justice, he was drawn into the conspiracy behind the "Umbrella Incident" that led to Raccoon City's destruction, drastically altering his life. Having lost his parents at a young age, his only remaining family's his sister Claire, whom he cherishes deeply. After the Mansion Incident however, Claire too became entangled in the conspiracy, and the two are now siblings fighting against evil. Returning as the protagonist in "5", his appearance morphed into that of a muscular tough guy, and globally, he holds a heroic status as a figure who has survived a number of near-death experiences. At the same time, he lost many comrades along the way, leaving him with profound despair over wondering "whether this world's even worth protecting." This is the most crucial factor in understanding Chris' journey leading up to this installment. In "6", an even greater trial awaited him concerning the loss of allies. Now a man in his 40s, Chris has reached a level of understanding only someone who has lived through such a brutal life could truly comprehend.
biohazard
The groundbreaking first installment. Players could choose Chris or Jill as the protagonist. Remade in 2002, an HD remaster was released in 2014. Chris at this time still had a young, slimmer appearance.
BIOHAZARD 5
He appears as a mature man in his late 30s. While focusing on the showdown with his arch-rival Albert Wesker, the overarching theme of "fighting for the sake of comrades" was truly outstanding.
BIOHAZARD 6
As a field commander in the BSAA, he undertakes missions worldwide. A new incident deepens Chris' trauma over "the death of comrades," and his anguish is depicted throughout the entire story.
LEON S. KENNEDY - A Charismatic Guy Who Has Won Over Countless Women
When he first appeared in the series, he was a 21-year-old rookie cop with a strong sense of justice, wielding a .50 caliber Desert Eagle – the perfect setup for a game protagonist. On the other hand, he got into a lovers' quarrel with his girlfriend the day before his assignment and rushed to Raccoon City, but ended up drinking heavily and causing a huge disturbance at a motel along the way, getting completely wasted. This led to him being disastrously late on his first day of duty, a shocking start that endeared him to many players. In the series, he's often manipulated by women, with Ada Wong being the prime example. He's utterly lax with her, in BIOHAZARD 2 he ignored Claire's warnings to team up with Ada and in subsequent games he continues to be manipulated by Ada despite being unaware of her goals and motives, even while being pulled around by his own allies, causing significant friction with Chris in BIOHAZARD 6. The fact he's willing to keep working with her even when he knows he's being used makes their relationship reminiscent of Lupin and Fujiko Mine. His catchphrase is "Women!". Compared to Chris, the other protagonist in this installment, he stands as a contrasting playboy character, continuing to fulfill the role of the series' main protagonist.
BIOHAZARD 2
The game where he first appeared in the series. Leon and Claire are the protagonists, and other important characters for the subsequent series, Ada and Sherry, also appear in this masterpiece. A full remake long-awaited by fans worldwide has also been announced.
biohazard 4
Breaking from previous gameplay conventions, it established the third-person shooter (TPS) genre by controlling the action with the camera behind the protagonist. It introduced a new game system to the world, becoming the standard thereafter for the genre.
BIOHAZARD 6
A stark departure from Leon's previous appearances, his beard and wrinkles are now clearly defined, transforming him from a playboy into a slightly rough-around-the-edges middle-aged man. He's the character most manipulated by Ada Wong in the series, yet he remains soft on her.
REBECCA CHAMBERS - An Expert in Chemical Synthesis & Mixing
In the original BIOHAZARD, she appeared only in Chris' story, excelling in rear support by mixing monster-fighting chemicals and crafting serums for Chris. In 2002's biohazard 0, she became the main protagonist. Despite being only 18 on her first mission, she demonstrated an unflappable, self-possessed demeanor with innate survival skills, managing to remarkably return. Her iconic thumbs-up response to allies asking "Are you okay?" is memorable and reappears as a symbolic gesture in Vendetta. In BIOHAZARD 5, she appears as a guest character in the mini-game "Mercenaries Reunion", showcasing her signature action style.
biohazard
In the original version and the 2002 remake, Rebecca's personality was changed slightly, with her somewhat exaggerated responses becoming more subdued, and her bandana was removed.
biohazard 0
This is the prequel to the "Mansion Incident". The innovative "Partner Zapping" system, where you switch between controlling rookie member Rebecca and prisoner Billy Coen depending on the situation, was revolutionary.
The protagonist of the original groundbreaking BIOHAZARD and a constant central figure in the series. In "1", as a member of a special forces unit with a strong sense of justice, he was drawn into the conspiracy behind the "Umbrella Incident" that led to Raccoon City's destruction, drastically altering his life. Having lost his parents at a young age, his only remaining family's his sister Claire, whom he cherishes deeply. After the Mansion Incident however, Claire too became entangled in the conspiracy, and the two are now siblings fighting against evil. Returning as the protagonist in "5", his appearance morphed into that of a muscular tough guy, and globally, he holds a heroic status as a figure who has survived a number of near-death experiences. At the same time, he lost many comrades along the way, leaving him with profound despair over wondering "whether this world's even worth protecting." This is the most crucial factor in understanding Chris' journey leading up to this installment. In "6", an even greater trial awaited him concerning the loss of allies. Now a man in his 40s, Chris has reached a level of understanding only someone who has lived through such a brutal life could truly comprehend.
biohazard
The groundbreaking first installment. Players could choose Chris or Jill as the protagonist. Remade in 2002, an HD remaster was released in 2014. Chris at this time still had a young, slimmer appearance.
BIOHAZARD 5
He appears as a mature man in his late 30s. While focusing on the showdown with his arch-rival Albert Wesker, the overarching theme of "fighting for the sake of comrades" was truly outstanding.
BIOHAZARD 6
As a field commander in the BSAA, he undertakes missions worldwide. A new incident deepens Chris' trauma over "the death of comrades," and his anguish is depicted throughout the entire story.
LEON S. KENNEDY - A Charismatic Guy Who Has Won Over Countless Women
When he first appeared in the series, he was a 21-year-old rookie cop with a strong sense of justice, wielding a .50 caliber Desert Eagle – the perfect setup for a game protagonist. On the other hand, he got into a lovers' quarrel with his girlfriend the day before his assignment and rushed to Raccoon City, but ended up drinking heavily and causing a huge disturbance at a motel along the way, getting completely wasted. This led to him being disastrously late on his first day of duty, a shocking start that endeared him to many players. In the series, he's often manipulated by women, with Ada Wong being the prime example. He's utterly lax with her, in BIOHAZARD 2 he ignored Claire's warnings to team up with Ada and in subsequent games he continues to be manipulated by Ada despite being unaware of her goals and motives, even while being pulled around by his own allies, causing significant friction with Chris in BIOHAZARD 6. The fact he's willing to keep working with her even when he knows he's being used makes their relationship reminiscent of Lupin and Fujiko Mine. His catchphrase is "Women!". Compared to Chris, the other protagonist in this installment, he stands as a contrasting playboy character, continuing to fulfill the role of the series' main protagonist.
BIOHAZARD 2
The game where he first appeared in the series. Leon and Claire are the protagonists, and other important characters for the subsequent series, Ada and Sherry, also appear in this masterpiece. A full remake long-awaited by fans worldwide has also been announced.
biohazard 4
Breaking from previous gameplay conventions, it established the third-person shooter (TPS) genre by controlling the action with the camera behind the protagonist. It introduced a new game system to the world, becoming the standard thereafter for the genre.
BIOHAZARD 6
A stark departure from Leon's previous appearances, his beard and wrinkles are now clearly defined, transforming him from a playboy into a slightly rough-around-the-edges middle-aged man. He's the character most manipulated by Ada Wong in the series, yet he remains soft on her.
REBECCA CHAMBERS - An Expert in Chemical Synthesis & Mixing
In the original BIOHAZARD, she appeared only in Chris' story, excelling in rear support by mixing monster-fighting chemicals and crafting serums for Chris. In 2002's biohazard 0, she became the main protagonist. Despite being only 18 on her first mission, she demonstrated an unflappable, self-possessed demeanor with innate survival skills, managing to remarkably return. Her iconic thumbs-up response to allies asking "Are you okay?" is memorable and reappears as a symbolic gesture in Vendetta. In BIOHAZARD 5, she appears as a guest character in the mini-game "Mercenaries Reunion", showcasing her signature action style.
biohazard
In the original version and the 2002 remake, Rebecca's personality was changed slightly, with her somewhat exaggerated responses becoming more subdued, and her bandana was removed.
biohazard 0
This is the prequel to the "Mansion Incident". The innovative "Partner Zapping" system, where you switch between controlling rookie member Rebecca and prisoner Billy Coen depending on the situation, was revolutionary.