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After the success of The Ring, I reached out to Koji Suzuki’s agent in New York and asked what else he had that would make a great film. A package of roughly 200 pages of short stories arrived at my office the following week, and one immediately stood out: Adrift — a haunting, deceptively simple tale about a fishing boat lost at sea.
Mike Macari and I quickly optioned the story and brought on Stephen Susco, fresh off writing The Grudge. The project ultimately landed at Dimension Films with Bob Weinstein, largely because the Japanese publisher forced the situation. By then, Mike and I already knew enough to understand that avoiding Bob and Harvey whenever possible was usually the wiser course.
Predictably, Adrift disappeared into the familiar machinery of development hell — not through any fault of the material, but through mishandling and inertia. It remains an extraordinary short story and, in the right hands, would make a superb film. At some point the rights migrated to someone claiming years of involvement with the project, a revisionist version of events that mirror the fiction of the novella.
Suzuki was a remarkable writer. His stories carried an eerie emotional gravity that lingered long after the final page, and I suspect his work will continue to be discovered, studied, and enjoyed for as long as people continue to read.
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