Godzilla Quotes
Going to see Godzilla at the Palais of the Cannes Film Festival is like attending a satanic ritual in St. Peter's Basilica. It's a rebuke to the faith that the building represents. Cannes touchingly adheres to a belief that film can be intelligent, moving and grand. Godzilla is a big, ugly, ungainly device to give teenagers the impression they are seeing a movie. It was the festival's closing film, coming at the end like the horses in a parade, perhaps for the same reason.
Roger Ebert
Godzilla is the ultimate culmination of the "who cares about plot" summer movie. A loose remake of the 1954 "classic" Japanese monster movie, Godzilla, King of the Monsters (which is itself pretty thin in the story department), Roland Emmerich and Dean Devlin's big-budget lizard-stomps-Manhattan disaster flick has been written with the brain dead in mind. The script isn't just "dumbed down," it's lobotomized. Godzilla lives and dies on special effects alone.
James Berardinelli
The director of 'Independence Day,' 'Godzilla' and 'The Patriot' has certain attributes, all of which are given full vent in 'The Day After Tomorrow.' He's crude, stupid, slick, cornball, predictable, laughable, relentless, trivial and, the sum of all these, ridiculous. He's never made a movie you could believe and he still hasn't.
Stephen Hunter
Godzilla was a product of the times. There previously had been no monster like him. So, people were frightened, and shocked, by him. Now, when Godzilla appears in a city, most of the buildings are even taller than he is! The image of what a monster is shouldn't stay the same. It should be different so that people will be shocked and surprised, just as they were by GODZILLA - KING OF THE MONSTERS in 1954. Something new, and strange, must be created.
Ishiro Honda
I don't really have a positive or negative opinion about them [the Heisei Godzilla films]. The special effects technically are very sophisticated, but the films lack imagination. It seems as if all Toho is trying to do is show things being destroyed. I don't fault the members of the production department, though, because I know that that is what Toho's executives are demanding.
Ishiro Honda
At first, I didn't intend to use the [vocal] piece in the film [Godzilla vs. Mechagodzilla II]. I instead planned to use it only as a timing cue. So, I originally wrote it only with nonsense syllables. Since the piece was going to be sung by children, difficult words would not have been appropriate. Latin also wouldn't have worked. So, I decided to use Ainu. The Ainu live in Hokkaido, close to Adonoa Island.
Akira Ifukube
I didn't use the music from the scene in which Godzilla dies in GODZILLA - KING OF THE MONSTERS for the one in which he does actually meltdown because Godzilla was not what I was trying to focus on this time. Instead, I tried to focus on the dark side of humanity, which lead to the creation of atomic weapons, and Godzilla.
Akira Ifukube
For the roar of Godzilla, I took out the lowest string of a contrabass and then ran a glove that had resin on it across the string. The different kinds of roars were created by playing the recording of the sound that I'd made at different speeds. Toho's sound engineers previously had tried to use the roars of many different animals for Godzilla's roar. They went to a zoo and recorded the roars of many different mammals, but no matter how the sounds were manipulated, they seemed too much like the roars of each of the animals. The sound engineers also tried to alter the call of a night heron bird, but that also was not successful.
Akira Ifukube
I decided not to score GODZILLA VS. SPACE GODZILLA (1994) when I read the script for the film. The atmosphere was very different. However, when I read the screenplay for GODZILLA VS. DESTROYER, I discovered that it was directly related to GODZILLA - KING OF THE MONSTERS. There was even going to be footage from GODZILLA - KING OF THE MONSTERS in the movie! I felt that since I'd been involved in Godzilla's birth, it was fitting for me to be involved in his death.
Akira Ifukube
More and more film scores are being recorded the way television scores are recorded. The performers are not shown any footage. I personally don't like working that way because if you do not allow the members of the orchestra to see footage on a big screen, they will tend to perform as if they are in a concert hall. They will try not to stand out. They will try to perform as members of an orchestra. What is needed when scoring a movie such as GODZILLA VS. MECHAGODZILLA is playing that is much more aggressive. No matter how much you explain the character of Godzilla to the performers and urge them to play aggressively, they still will play as if they are in a concert hall. However, if you show the performers footage of Godzilla, their playing will dramatically change. That is why I insisted on being allowed to show footage to the performers before I agreed to score GODZILLA VS. GHIDRAH.
Akira Ifukube
When I was playing Godzilla, we would show him wrestling with the other monsters. These days Godzilla and the other monsters only are shown firing their rays at each other. Period films are enjoyable because they feature sword battles. Westerns are enjoyable because they feature gun battles. The recent Godzilla movies are like period films without swords and westerns without guns.
Haruo Nakajima
Katsumi Tezuka and I both tried on the Godzilla costume during the first day of shooting. The costume was very stiff and heavy. I could walk about thirty feet in it, but Mr. Tezuka could only walk about ten feet in it. There were three cables coming out of the back of the costume. Two were for the operation of the eyes, and one was for the operation of the mouth. Eizo Kaimai was responsible for the movement of the eyes and the mouth. The ASA speed of the film that was used at the time was very slow, so the set had to be very brightly lit. Another actor complained that the lights made it too hot inside the costume, but I never complained. Batteries were installed in the Godzilla costume that was made for the second Godzilla movie. They were for the operation of the eyes and the mouth. The batteries made the costume even heavier than the one that had been constructed for the first Godzilla film.
Haruo Nakajima
