Latest / Verbal Diorama / Godzilla (Gojira ゴジラ) (1954)

Transcript

Godzilla (Gojira ゴジラ) (1954) · Verbal Diorama

2:23
Hi
2:23
everyone,
2:23
I'm
2:24
Em,
2:24
and
2:24
welcome
2:24
to
2:25
verbal
2:25
diorama,
2:25
episode
2:26
348,
2:28
Godzilla.
2:30
This
2:30
is
2:30
the
2:30
podcast
2:30
that's
2:31
all
2:31
about
2:31
the
2:31
history
2:31
and
2:31
legacy
2:32
of
2:32
movies
2:32
you
2:32
Know
2:33
and
2:33
movies
2:33
yous
2:33
don't.
2:34
That's
2:34
the
2:35
Raymond
2:35
Burr
2:36
of
2:36
this
2:36
episode
2:37
in
2:37
the
2:38
background
2:38
trying
2:38
to
2:39
explain
2:39
the
2:39
story
2:39
to
2:40
you
2:40
in
2:40
English.
2:42
If
2:42
that
2:42
doesn't
2:42
make
2:43
sense,
2:43
it
2:43
soon
2:44
will.
2:45
Welcome
2:45
to
2:46
Verbal
2:46
Diorama.
2:46
Whether
2:46
you're
2:47
a
2:47
brand
2:47
new
2:47
listener,
2:47
whether
2:48
you're
2:48
a
2:48
regular
2:48
returning
2:48
listener,
2:49
thank
2:49
you
2:49
so
2:49
much
2:49
for
2:50
being
2:50
here
2:50
and
2:51
thank
2:51
you,
2:51
thank
2:51
you
2:51
for
2:51
choosing
2:52
to
2:52
listen
2:52
to
2:52
this
2:53
podcast.
2:54
I'm
2:54
so
2:55
happy
2:55
to
2:55
have
2:55
you
2:55
here
2:55
for
2:56
the
2:56
history
2:56
and
2:56
legacy
2:57
of
2:57
Godzilla.
2:59
And
2:59
of
2:59
course,
3:00
if
3:00
you
3:00
are
3:00
a
3:00
regular
3:01
returning
3:01
listener,
3:01
thank
3:02
you
3:02
so
3:02
much
3:03
to
3:03
you
3:03
because
3:04
you
3:04
continue
3:05
to
3:05
listen
3:05
to
3:05
and
3:06
support
3:06
this
3:06
podcast
3:07
and
3:07
you
3:08
have
3:08
been
3:08
doing
3:08
so
3:09
for
3:10
over
3:10
the
3:10
last
3:10
seven
3:11
years
3:11
and
3:11
over
3:12
300
3:12
episodes
3:13
now.
3:13
So
3:13
thank
3:13
you
3:13
so
3:14
much
3:14
for
3:14
your
3:15
continued
3:15
support.
3:15
It
3:16
genuinely
3:16
means
3:17
so
3:17
much.
3:18
As
3:18
I
3:18
say
3:19
to
3:19
an
3:19
indie
3:19
podcaster
3:20
who
3:20
does
3:20
all
3:20
of
3:21
this
3:21
all
3:21
by
3:22
herself
3:22
and
3:22
has
3:23
done
3:23
for
3:23
the
3:23
last
3:23
seven
3:24
years,
3:24
I'm
3:25
always
3:25
blown
3:25
away
3:26
by
3:26
people's
3:27
generosity
3:27
and
3:28
continued
3:28
support.
3:28
So
3:29
thank
3:29
you
3:29
so
3:29
much.
3:30
And
3:30
if
3:30
you
3:30
are
3:31
a
3:31
brand
3:31
new
3:31
listener,
3:32
well,
3:32
welcome
3:33
to
3:33
this
3:33
podcast.
3:34
And
3:34
also
3:35
there's
3:36
plenty
3:36
for
3:36
you
3:36
to
3:36
catch
3:36
up
3:37
on,
3:37
so
3:38
maybe
3:38
eventually
3:38
you
3:39
will
3:39
too,
3:39
become
3:40
a
3:40
regular
3:40
returning
3:41
listener.
3:41
That
3:41
would
3:41
be
3:42
amazing.
3:43
It
3:44
is
3:44
June,
3:45
and
3:45
one
3:45
of
3:45
the
3:45
things
3:46
that
3:46
I've
3:46
always
3:46
loved
3:46
to
3:47
do
3:47
on
3:47
this
3:47
podcast
3:48
is
3:48
a
3:48
Kaijune
3:49
season.
3:49
This
3:50
is
3:50
my
3:50
third
3:51
Kaijune
3:51
season
3:51
that
3:52
I've
3:52
done.
3:52
So
3:52
there's
3:52
plenty
3:53
of
3:53
other
3:53
Kaijune
3:54
movie
3:54
episodes
3:54
on
3:55
this
3:55
podcast,
3:56
but
3:56
Kaijune
3:57
is
3:57
always
3:57
a
3:58
really
3:58
popular
3:58
month,
3:59
not
3:59
just
3:59
for
3:59
the
3:59
listeners,
4:00
but
4:00
for
4:00
me
4:00
as
4:01
well,
4:01
because
4:02
I
4:02
am
4:02
such
4:02
a
4:03
huge
4:03
fan
4:03
of
4:03
monster
4:04
movies
4:04
and
4:05
I
4:05
always
4:05
have
4:06
been.
4:06
And
4:06
so
4:06
these
4:07
are
4:07
the
4:07
sort
4:07
of
4:07
movies
4:07
that
4:08
I
4:08
love
4:08
to
4:08
talk
4:08
about
4:08
the
4:09
most.
4:10
And
4:10
in
4:10
fact,
4:10
this
4:10
season,
4:11
the
4:11
first
4:12
episode
4:12
of
4:13
Kaijune
4:13
was
4:14
on
4:14
the
4:15
Meg,
4:15
which
4:16
who
4:16
doesn't
4:17
love
4:17
a
4:17
great
4:17
big
4:18
shark
4:18
movie?
4:19
And.
4:19
And
4:20
then
4:20
the
4:20
last
4:20
episode
4:21
was
4:21
on
4:21
the
4:21
original
4:21
king
4:22
Kong
4:22
from
4:22
1933.
4:24
And
4:24
of
4:24
course,
4:25
King
4:25
Kong
4:25
shaped
4:26
cinema
4:27
and
4:27
inspired
4:28
Godzilla
4:28
in
4:29
part.
4:29
But
4:30
Godzilla
4:30
isn't
4:31
just
4:31
a
4:31
monster
4:32
movie.
4:32
It
4:33
didn't
4:33
just
4:33
birth
4:34
the
4:34
Kaiju
4:35
genre.
4:35
It
4:36
was
4:36
a
4:36
response
4:37
to
4:37
the
4:37
grief
4:37
and
4:37
trauma
4:38
of
4:38
an
4:38
entire
4:39
nation
4:40
and
4:40
a
4:40
stark
4:41
warning
4:41
to
4:41
the
4:41
rest
4:42
of
4:42
humanity.
4:44
Here's
4:44
the
4:44
trailer
4:45
for
4:45
Godzilla.
7:36
When
7:36
17
7:37
vessels
7:37
explode
7:38
and
7:38
sink
7:38
near
7:39
Odo
7:39
Island,
7:40
Professor
7:40
Yamane,
7:41
his
7:41
daughter
7:42
Emiko,
7:43
and
7:43
ship's
7:43
captain
7:44
Hideto
7:44
Ogata
7:45
head
7:46
to
7:46
the
7:46
island
7:46
to
7:46
investigate.
7:48
Soon
7:48
they
7:48
witness
7:48
a
7:49
giant
7:49
monster
7:49
called
7:50
Godzilla
7:50
by
7:51
the
7:51
locals
7:51
destroying
7:52
the
7:52
spot.
7:53
Meanwhile,
7:54
Emiko
7:54
meets
7:55
her
7:55
fiance,
7:56
the
7:56
secluded
7:56
scientist
7:57
Serizawa,
7:58
and
7:58
he
7:58
makes
7:59
her
7:59
promise
7:59
to
7:59
keep
7:59
a
8:00
secret
8:00
about
8:00
his
8:00
newly
8:01
developed
8:01
Oxygen
8:02
Destroyer,
8:03
a
8:03
biological
8:04
device
8:04
that
8:04
would
8:04
destroy
8:05
all
8:05
living
8:06
things
8:06
in
8:06
the
8:06
ocean.
8:07
When
8:08
Godzilla
8:08
threatens
8:09
Tokyo
8:09
and
8:09
other
8:10
Japanese
8:10
cities
8:11
and
8:11
the
8:11
army
8:12
and
8:12
navy
8:12
are
8:12
incapable
8:13
of
8:13
stopping
8:14
the
8:14
monster,
8:14
Emiko
8:15
divulges
8:16
Serizawa's
8:17
secret
8:17
to
8:18
her
8:18
secret
8:18
love,
8:18
Agata.
8:20
While
8:20
her
8:20
father
8:20
wants
8:21
to
8:21
keep
8:21
Godzilla
8:22
alive,
8:22
they
8:22
have
8:22
to
8:22
convince
8:23
Serizawa
8:24
to
8:24
use
8:24
the
8:24
Oxygen
8:25
Destroyer
8:25
to
8:26
kill
8:26
Godzilla,
8:27
but
8:27
he
8:27
refuses
8:28
to
8:28
let
8:28
his
8:29
invention
8:29
become
8:30
the
8:30
next
8:30
big
8:31
superweapon.
8:33
Let's
8:33
run
8:33
through
8:33
the
8:33
cast.
8:34
We
8:34
have
8:35
Akira
8:35
Takarada
8:36
as
8:36
Hideto
8:37
Ogata,
8:38
Momoko
8:39
Kouchi
8:39
as
8:40
Emiko
8:40
Yamane,
8:41
akihiko
8:42
Hirata
8:43
as
8:43
Dr.
8:44
Serizawa,
8:45
Takashi
8:46
Shimura
8:47
as
8:47
Dr.
8:47
Yamane,
8:49
Fuyuki
8:50
Murakami
8:51
as
8:51
Dr.
8:51
Tanabe,
8:52
Sashio
8:53
Sakai
8:54
as
8:54
Hagiwara
8:56
and
8:56
Haruo
8:57
Nakajima
8:58
and
8:58
Katsumi
8:59
Tezuka
9:00
as
9:00
Godzilla.
9:02
Godzilla
9:02
has
9:03
a
9:03
screenplay
9:03
by
9:04
Takao
9:04
Murata
9:05
and
9:05
Ishiro
9:05
Honda,
9:07
story
9:07
by
9:08
Shigeru
9:08
Kayama,
9:09
and
9:09
was
9:10
directed
9:10
by
9:10
Ishiro
9:11
Honda.
9:12
And
9:12
as
9:13
always,
9:13
apologies
9:14
for
9:14
any
9:14
butcherings
9:15
of
9:15
Japanese
9:16
pronunciations,
9:18
but
9:18
when
9:19
we
9:19
think
9:19
of
9:19
Gojira
9:20
or
9:21
Godzilla,
9:22
I'm
9:22
going
9:22
to
9:22
use
9:23
the
9:23
term
9:23
Godzilla
9:24
in
9:24
this
9:24
episode
9:24
rather
9:25
than
9:26
use
9:26
Gojira
9:27
or
9:27
use
9:27
the
9:27
names
9:28
interchangeably.
9:29
But
9:29
when
9:29
we
9:30
think
9:30
of
9:30
Godzilla,
9:30
we
9:30
think
9:31
of
9:31
either
9:31
the
9:31
larger
9:32
than
9:32
life
9:32
blockbuster
9:33
US
9:33
Monsterverse
9:34
movies,
9:35
which
9:35
started
9:36
with
9:36
the
9:36
American
9:36
reboot
9:37
of
9:37
Godzilla
9:37
in
9:38
2014,
9:39
followed
9:39
by
9:40
Skull
9:40
island
9:40
in
9:41
2017.
9:42
The
9:43
two
9:43
characters
9:43
then
9:43
clashed
9:44
in
9:44
Godzilla
9:44
vs
9:44
Kong,
9:45
a
9:45
genuine
9:46
fun
9:46
time
9:46
at
9:47
the
9:47
movies
9:47
during
9:47
the
9:48
pandemic.
9:49
But
9:49
we
9:49
also
9:49
think
9:49
of
9:50
Toho's
9:50
modern
9:51
reboots,
9:51
the
9:51
Reiwa
9:52
era
9:52
of
9:52
Godzilla,
9:53
the
9:54
bureaucracy
9:54
filled
9:55
Shin
9:55
Godzilla,
9:56
which
9:56
is
9:56
episode
9:56
212
9:57
of
9:57
this
9:57
podcast,
9:58
or
9:59
the
9:59
post
9:59
war
9:59
ptsd
10:00
epic
10:00
Godzilla
10:01
minus
10:02
one.
10:03
Or
10:03
if
10:03
you're
10:03
me,
10:04
you
10:04
think
10:04
of
10:04
the
10:05
1998
10:05
Roland
10:06
Emmerich
10:06
Godzilla.
10:07
The
10:08
original
10:08
1954
10:09
film
10:10
was
10:10
never
10:11
intended
10:11
to
10:11
be
10:12
a
10:12
fun
10:12
monster
10:13
movie.
10:14
It
10:14
was
10:14
the
10:15
trauma
10:15
of
10:15
a
10:15
country
10:16
laid
10:16
out
10:16
bare
10:17
on
10:17
screen.
10:18
Released
10:18
a
10:18
decade
10:19
after
10:19
one
10:19
of
10:19
Japan's
10:20
biggest
10:21
tragedies.
10:22
The
10:22
United
10:23
States
10:23
dropped
10:24
two
10:24
atomic
10:24
bombs
10:25
over
10:25
the
10:25
Japanese
10:26
cities
10:26
of
10:26
Hiroshima
10:27
and
10:27
Nagasaki,
10:28
and
10:28
on
10:29
the
10:29
6th
10:29
and
10:29
9th
10:29
of
10:30
August
10:30
1945,
10:31
respectively.
10:32
The
10:32
aerial
10:33
bombings,
10:33
the
10:34
only
10:34
time
10:34
nuclear
10:35
weapons
10:35
have
10:35
been
10:36
used
10:36
in
10:36
an
10:36
Armed
10:37
conflict
10:37
killed
10:38
between
10:38
129,000
10:40
and
10:40
226,000
10:42
people
10:42
overall,
10:43
most
10:43
of
10:43
them
10:44
civilians.
10:45
The
10:45
UK
10:46
gave
10:46
their
10:46
consent
10:47
to
10:47
the
10:47
bombings
10:47
of
10:48
large
10:48
urban
10:48
areas
10:49
with
10:49
significant
10:50
military
10:50
facilities.
10:52
For
10:52
months
10:52
afterwards,
10:53
many
10:53
people
10:53
continued
10:54
to
10:54
die
10:54
from
10:55
the
10:55
effects
10:55
of
10:56
burns,
10:56
radiation,
10:57
sickness
10:57
and
10:58
injuries
10:59
compounded
10:59
by
10:59
illness
11:00
and
11:00
malnutrition.
11:02
There
11:02
were
11:02
plans
11:03
for
11:03
further
11:03
attacks,
11:04
but
11:04
on
11:04
15
11:05
August,
11:05
six
11:06
days
11:06
after
11:06
the
11:06
bombing
11:07
of
11:07
Nagasaki,
11:08
Japan
11:09
surrendered
11:09
to
11:09
the
11:09
Allies.
11:11
On
11:11
2
11:12
September
11:12
1945,
11:13
the
11:13
Japanese
11:14
leadership
11:15
formally
11:15
declared
11:15
their
11:16
country's
11:16
surrender,
11:17
bringing
11:17
an
11:18
end
11:18
to
11:18
the
11:18
conflict.
11:19
It
11:19
was
11:19
not
11:20
the
11:20
only
11:20
time
11:20
Allied
11:21
forces
11:21
bombed
11:22
Japan,
11:23
but
11:23
it
11:23
was
11:23
the
11:23
only
11:24
time
11:24
atomic
11:25
bombs
11:25
had
11:25
been
11:26
used.
11:27
Japan's
11:28
painful
11:28
history
11:28
with
11:28
the
11:28
atomic
11:29
bomb
11:29
gave
11:29
them
11:30
a
11:30
unique
11:30
perspective.
11:31
As
11:32
the
11:32
only
11:32
country
11:33
to
11:33
have
11:33
ever
11:33
been
11:33
affected
11:34
by
11:34
nuclear
11:35
weapons,
11:35
their
11:36
fears
11:36
of
11:36
the
11:36
atomic
11:37
bomb
11:37
and
11:37
how
11:37
humanity
11:38
deals
11:38
with
11:39
such
11:39
a
11:39
thing
11:40
are
11:40
what
11:40
made
11:40
Godzilla
11:41
the
11:42
fears
11:42
of
11:42
a
11:42
nation
11:43
and
11:43
the
11:43
embodiment
11:44
of
11:44
a
11:44
man
11:44
made
11:44
creation
11:45
that
11:46
is
11:46
unpredictable,
11:47
unprecedented
11:48
and
11:49
terrifying.
11:50
Following
11:51
Japan's
11:51
surrender,
11:52
the
11:52
American
11:52
occupation
11:53
imposed
11:54
strict
11:54
censorship
11:55
on
11:56
Japanese
11:56
filmmaking.
11:57
Banned
11:58
subjects
11:59
included
11:59
any
11:59
depiction
12:00
of
12:00
feudal
12:01
loyalty,
12:01
samurai
12:02
conflict
12:03
or
12:03
material
12:03
that
12:04
could
12:04
be
12:04
read
12:04
as
12:04
nationalistic.
12:06
Also
12:06
forbidden
12:07
critically,
12:07
was
12:08
any
12:08
direct
12:08
reference
12:09
to
12:09
the
12:09
atomic
12:10
bombings
12:10
or
12:10
their
12:11
aftermath.
12:12
Hiroshima
12:13
and
12:13
Nagasaki
12:13
were
12:14
essentially
12:14
off
12:14
limits
12:15
as
12:15
subjects,
12:16
which
12:16
meant
12:17
the
12:17
nation's
12:17
deepest
12:18
wound
12:18
couldn't
12:18
be
12:19
addressed
12:19
directly
12:19
on
12:20
screen.
12:21
This
12:21
suppression
12:22
didn't
12:22
kill
12:22
Japanese
12:23
cinema,
12:24
but
12:24
it
12:24
shaped
12:24
it
12:24
in
12:25
lasting
12:25
ways,
12:26
pushing
12:26
trauma
12:27
underground.
12:29
Despite
12:29
or
12:30
arguably
12:30
because
12:31
of
12:31
these
12:31
constraints,
12:32
the
12:32
late
12:32
1940s
12:33
and
12:33
early
12:34
1950s
12:34
produced
12:35
some
12:35
of
12:35
the
12:35
most
12:35
celebrated
12:36
Japanese
12:37
films
12:37
ever
12:38
made.
12:38
Akira
12:39
Kurosawa
12:40
emerged
12:40
as
12:41
a
12:41
dominant
12:41
force
12:41
with
12:42
Drunken
12:42
angel
12:43
in
12:43
1948
12:44
and
12:44
Stray
12:45
Dog
12:45
in
12:45
1949.
12:47
They
12:47
were
12:47
gritty,
12:48
noir
12:48
inflected
12:49
films,
12:49
grappling
12:50
with
12:50
post
12:50
war
12:50
dislocation.
12:52
Rashomon
12:53
in
12:53
1950
12:54
won
12:54
the
12:54
golden
12:55
lion
12:55
at
12:55
Venice
12:56
and
12:56
the
12:56
honorary
12:57
Oscar,
12:57
essentially
12:58
introducing
12:59
Japanese
12:59
cinema
13:00
to
13:00
western
13:00
audiences
13:01
for
13:01
the
13:01
first
13:02
time.
13:02
Ikiru
13:03
followed
13:04
in
13:04
1952
13:05
and
13:05
Seven
13:06
Samurai
13:06
arrived
13:07
the
13:07
same
13:07
year
13:08
as
13:08
Godzilla
13:09
in
13:09
1954.
13:11
But
13:11
really
13:12
one
13:12
of
13:12
the
13:12
main
13:12
catalysts
13:13
for
13:13
Godzilla
13:14
was
13:14
the
13:14
subject
13:15
of
13:15
the
13:15
previous
13:15
episode,
13:16
because
13:17
RKO
13:17
re
13:18
released
13:18
the
13:18
original
13:19
king
13:19
Kong
13:20
from
13:20
1933
13:21
in
13:22
1952
13:23
and
13:23
it
13:23
performed
13:24
exceptionally
13:25
well
13:25
both
13:26
in
13:26
America
13:26
and
13:27
internationally,
13:28
including
13:28
in
13:29
Japan.
13:30
It
13:30
demonstrated
13:31
there
13:31
was
13:31
a
13:31
large
13:32
active
13:32
audience
13:32
for
13:33
giant
13:33
monster
13:34
movies
13:34
and
13:35
that
13:35
the
13:35
appetite
13:36
hadn't
13:36
dimmed
13:36
in
13:37
nearly
13:37
20
13:37
years.
13:39
For
13:39
Japanese
13:39
producers,
13:40
this
13:40
signified
13:41
that
13:41
probably
13:42
they
13:43
should
13:43
create
13:43
their
13:43
own
13:44
monster.
13:45
Tomoyuki
13:46
Tanaka,
13:47
the
13:47
Toho
13:47
producer
13:48
who
13:48
would
13:48
shepherd
13:49
Godzilla
13:49
into
13:49
existence,
13:50
has
13:51
cited
13:51
the
13:51
King
13:52
Kong
13:52
RE
13:52
release
13:53
as
13:53
A
13:53
direct
13:53
influence
13:54
on
13:54
his
13:54
thinking
13:55
because
13:55
it
13:56
showed
13:56
that
13:56
a
13:56
monster
13:57
spectacle
13:57
built
13:57
around
13:58
scale
13:58
and
13:58
destruction
13:59
could
14:00
be
14:00
a
14:00
major
14:01
commercial
14:01
proposition.
14:03
And
14:03
then
14:03
a
14:03
year
14:04
later,
14:04
The
14:05
Beast
14:05
from
14:05
20,000
14:06
Fathoms
14:06
was
14:07
released
14:07
in
14:07
1953.
14:09
It
14:09
was
14:09
adapted
14:10
loosely
14:10
from
14:10
a
14:10
Ray
14:11
Bradbury
14:11
story
14:11
and
14:12
featured
14:12
stop
14:12
motion
14:13
effects
14:13
by
14:14
Ray
14:14
Harryhausen.
14:15
It
14:15
was
14:16
another
14:16
significant
14:16
hit
14:17
and
14:17
it's
14:18
arguably
14:18
a
14:18
more
14:19
direct
14:19
template
14:19
for
14:20
Godzilla
14:20
in
14:20
structural
14:21
terms
14:22
because
14:22
it
14:22
features
14:23
a
14:23
prehistoric
14:23
creature
14:24
awakened
14:24
by
14:25
nuclear
14:25
testing
14:25
in
14:26
the
14:26
Arctic
14:26
which
14:27
then
14:27
attacks
14:27
a
14:28
major
14:28
city.
14:29
But
14:29
originally
14:30
Tanaka
14:31
wasn't
14:31
going
14:31
to
14:32
make
14:32
Godzilla
14:33
because
14:33
he
14:33
was
14:33
involved
14:34
in
14:34
in
14:34
another
14:35
production.
14:36
In
14:37
early
14:37
1954,
14:38
Tanaka
14:38
was
14:39
producing
14:39
a
14:40
Japanese
14:40
Indonesian
14:41
co
14:41
production
14:42
called
14:42
in
14:42
the
14:42
Shadow
14:43
of
14:43
Glory.
14:44
But
14:44
the
14:44
project
14:44
collapsed
14:45
when
14:45
the
14:45
Indonesian
14:46
government
14:46
withdrew
14:47
its
14:47
cooperation
14:48
over
14:48
the
14:49
casting
14:49
of
14:49
a
14:49
Japanese
14:50
director
14:51
as
14:51
well
14:51
as
14:52
general
14:52
Indonesian
14:53
anti
14:53
Japanese
14:54
sentiment.
14:55
Tanaka
14:56
was
14:56
on
14:56
a
14:56
flight
14:56
back
14:57
to
14:57
Tokyo
14:57
from
14:57
Jakarta
14:58
with
14:58
a
14:58
significant
14:59
budget
14:59
commitment
15:00
and
15:00
nothing
15:01
to
15:01
fill
15:01
it.
15:01
And
15:02
he
15:02
needed
15:02
a
15:02
movie
15:03
and,
15:03
and
15:03
he
15:03
needed
15:04
it
15:04
fast.
15:05
The
15:05
story
15:05
goes
15:06
that
15:06
the
15:06
idea
15:06
for
15:06
a
15:07
giant
15:07
monster
15:07
movie
15:08
came
15:08
to
15:08
him
15:09
on
15:09
that
15:09
flight,
15:10
drawing
15:10
on
15:10
everything
15:10
that
15:11
was
15:11
already
15:11
circulating
15:12
in
15:12
the
15:12
culture
15:13
and
15:13
within
15:13
his
15:14
mind.
15:14
The
15:14
King
15:15
Kong
15:15
re
15:15
released
15:16
the
15:16
beast
15:16
from
15:17
20,000
15:17
fathoms
15:18
and
15:19
the
15:19
Lucky
15:19
Dragon
15:20
Incident,
15:21
which
15:21
unlike
15:22
King
15:22
Kong
15:22
and
15:22
The
15:22
beast
15:23
from
15:23
20,000
15:23
fathoms
15:24
was
15:25
a
15:25
very
15:25
real
15:25
Japanese
15:26
nuclear
15:27
catastrophe.
15:27
That
15:28
again
15:28
wasn't
15:29
of
15:29
Japan's
15:30
doing,
15:30
but
15:31
the
15:31
United
15:32
States.
15:33
On
15:34
1
15:34
March
15:35
1954,
15:35
the
15:36
United
15:36
States
15:36
detonated
15:37
a
15:37
thermal
15:38
nuclear
15:38
device
15:39
at
15:39
Bikini
15:40
Atoll
15:40
in
15:40
the
15:40
Marshall
15:41
Islands
15:42
as
15:42
part
15:42
of
15:42
Operation
15:43
Castle
15:43
Bravo,
15:44
a
15:44
series
15:45
of
15:45
high
15:45
yield
15:45
thermonuclear
15:46
weapon
15:47
design
15:47
tests.
15:48
The
15:49
yield
15:49
was
15:49
catastrophically
15:50
larger
15:51
than
15:51
expected,
15:52
approximately
15:53
15
15:53
megatons,
15:54
roughly
15:55
two
15:55
and
15:55
a
15:55
half
15:55
times
15:56
what
15:56
they
15:56
predicted,
15:57
making
15:57
it
15:58
the
15:58
most
15:58
powerful
15:58
American
15:59
nuclear
16:00
test
16:00
ever
16:00
conducted.
16:02
The
16:02
miscalculation
16:03
meant
16:03
the
16:03
fallout
16:04
radius
16:04
was
16:05
far
16:05
larger
16:05
than
16:05
the
16:06
exclusion
16:06
zone
16:07
the
16:07
US
16:07
had
16:08
established.
16:09
The
16:09
Daigo
16:10
Fukuryu
16:11
Maru,
16:11
the
16:11
Lucky
16:12
Dragon
16:12
number
16:12
five
16:13
was
16:13
a
16:13
Japanese
16:14
tuna
16:14
fishing
16:15
vessel
16:15
with
16:15
a
16:15
crew
16:15
of
16:16
23
16:17
operating
16:17
about
16:18
80
16:18
miles
16:18
east
16:19
of
16:19
the
16:19
Bikini
16:20
Atoll.
16:21
That
16:21
placed
16:21
them
16:21
outside
16:22
the
16:22
declared
16:23
danger
16:23
zone,
16:23
but
16:24
well
16:24
within
16:24
the
16:24
actual
16:25
fallout
16:25
radius,
16:26
given
16:26
the
16:27
unexpected
16:27
yield.
16:28
The
16:29
crew
16:29
witnessed
16:29
the
16:29
detonation.
16:30
An
16:31
enormous
16:31
flash
16:31
followed
16:32
by
16:32
a
16:32
shockwave.
16:33
And
16:33
then
16:33
about
16:34
three
16:34
hours
16:34
later,
16:35
a
16:35
fine
16:36
white
16:36
ash
16:36
began
16:37
falling
16:37
on
16:37
the
16:38
ship.
16:39
The
16:39
crew
16:39
called
16:40
it
16:40
Shi
16:40
no
16:41
Hai,
16:41
Ash
16:42
of
16:42
Death.
16:43
They
16:43
didn't
16:43
know
16:43
what
16:44
it
16:44
was,
16:44
but
16:45
several
16:45
men
16:45
touched
16:46
it
16:46
and
16:46
tasted
16:47
it
16:47
out
16:47
of
16:47
curiosity
16:48
before
16:48
realising
16:49
what
16:49
it
16:49
was.
16:50
But
16:50
you
16:51
didn't
16:51
even
16:51
need
16:51
to
16:52
touch
16:52
it
16:52
or
16:52
taste
16:53
it.
16:53
The
16:53
dust
16:54
was
16:54
everywhere.
16:55
They
16:55
breathed
16:56
it
16:56
in.
16:56
It
16:56
Collected
16:57
in
16:57
their
16:57
ears
16:58
and
16:58
eyes
16:58
and
16:58
in
16:59
their
16:59
clothing,
17:00
the
17:00
ash
17:01
carried
17:01
strontium
17:02
90,
17:03
cesium
17:04
137
17:04
and
17:05
uranium
17:05
237.
17:07
The
17:07
ship
17:08
took
17:08
about
17:08
two
17:08
weeks
17:09
to
17:09
return
17:09
to
17:09
its
17:10
home
17:10
port
17:10
of
17:10
Yaozhu.
17:11
By
17:12
the
17:12
time
17:12
it
17:12
docked,
17:13
all
17:13
23
17:13
crew
17:14
members
17:14
were
17:14
showing
17:15
symptoms
17:15
of
17:15
acute
17:16
radiation
17:17
sickness.
17:18
Nausea,
17:18
bleeding
17:19
gums,
17:19
hair
17:20
loss,
17:20
skin
17:20
lesions.
17:21
Their
17:21
cargo
17:22
of
17:22
tuna
17:23
had
17:23
also
17:23
been
17:23
irradiated.
17:25
The
17:25
effect
17:26
on
17:26
the
17:26
Japanese
17:26
public
17:27
opinion
17:27
was
17:28
seismic.
17:29
This
17:29
was
17:29
a
17:29
nation
17:29
that
17:30
had
17:30
survived
17:30
Hiroshima
17:31
and
17:31
Nagasaki
17:32
less
17:33
than
17:33
a
17:33
decade
17:34
earlier,
17:34
had
17:34
lived
17:35
under
17:35
American
17:35
occupation
17:36
for
17:36
seven
17:37
years,
17:37
and
17:37
was
17:38
now
17:38
watching
17:38
its
17:38
fishermen
17:39
come
17:40
home
17:40
poisoned
17:41
by
17:41
American
17:42
nuclear
17:42
testing
17:43
in
17:43
the
17:43
Pacific.
17:44
The
17:44
sense
17:45
of
17:45
violation,
17:46
of
17:46
being
17:46
again
17:47
the
17:47
victims
17:47
of
17:48
American
17:48
nuclear
17:49
power,
17:49
was
17:50
profound
17:50
and
17:50
widespread.
17:51
It
17:52
triggered
17:52
a
17:52
nationwide
17:53
panic
17:53
about
17:54
contaminated
17:55
fish
17:55
and
17:55
seafood.
17:56
Tuna
17:57
sales
17:57
collapsed.
17:58
There
17:58
were
17:58
fears
17:58
about
17:59
the
17:59
broader
17:59
Pacific
18:00
fishing
18:00
industry.
18:01
The
18:01
incident
18:02
touched
18:02
something
18:03
very
18:03
primal
18:03
about
18:04
food
18:04
security
18:05
and
18:05
invisible
18:06
contamination.
18:07
The
18:07
idea
18:08
you
18:08
couldn't
18:08
see
18:08
the
18:08
danger,
18:09
you
18:09
couldn't
18:09
taste
18:10
it.
18:10
You
18:10
didn't
18:11
know
18:11
it
18:11
was
18:11
there
18:12
until
18:12
the
18:12
damage
18:13
was
18:13
done.
18:14
The
18:14
US
18:15
government's
18:15
response
18:16
made
18:16
things
18:16
considerably
18:17
worse.
18:18
American
18:18
officials
18:19
were
18:19
slow
18:19
to
18:19
acknowledge
18:20
the
18:20
scale
18:20
of
18:21
what
18:21
had
18:21
happened
18:22
and
18:22
initially
18:22
suggested
18:23
the
18:23
Lucky
18:23
Dragon
18:24
had
18:24
been
18:24
inside
18:25
the
18:25
exclusion
18:26
zone,
18:26
implying
18:27
the
18:27
crew
18:28
bore
18:28
some
18:28
responsibility.
18:30
This
18:30
was
18:30
untrue
18:31
and
18:31
deeply
18:31
resented.
18:32
There
18:33
were
18:33
also
18:33
concerns,
18:34
later
18:34
substantiated,
18:35
that
18:36
American
18:36
authorities
18:37
were
18:37
more
18:37
interested
18:38
in
18:38
studying
18:39
the
18:39
crew's
18:39
radiation
18:40
exposure
18:41
as
18:41
medical
18:41
data
18:42
than
18:42
treating
18:43
them
18:43
as
18:43
victims
18:44
deserving
18:44
of
18:44
straightforward
18:45
humanitarian
18:46
response.
18:48
One
18:48
crew
18:48
member,
18:49
the
18:49
radio
18:49
operator
18:50
Eikichi
18:51
Kuboyama,
18:52
died
18:52
in
18:52
September
18:53
1954,
18:54
the
18:54
same
18:55
month
18:55
Godzilla
18:56
finished
18:56
production.
18:57
His
18:57
death
18:58
intensified
18:58
the
18:59
national
18:59
grief
18:59
around
19:00
the
19:00
incident.
19:01
He's
19:01
often
19:01
described
19:02
as
19:02
the
19:02
first
19:03
Japanese
19:03
victim
19:03
of
19:04
the
19:04
hydrogen
19:04
bomb,
19:05
a
19:05
framing
19:06
that
19:06
explicitly
19:07
connected
19:07
his
19:07
fate
19:08
to
19:08
Hiroshima
19:09
and
19:09
Nagasaki.
19:11
Unfortunately,
19:11
the
19:11
Lucky
19:12
Dragon
19:12
number
19:12
five
19:13
crew
19:14
didn't
19:14
qualify
19:14
for
19:14
the
19:15
medical
19:15
care
19:15
benefits
19:16
that
19:16
the
19:16
survivors
19:17
of
19:17
the
19:17
atomic
19:18
bomb
19:18
were
19:18
given,
19:19
and
19:19
many
19:19
of
19:19
them
19:20
died
19:20
early
19:20
deaths,
19:21
mostly
19:22
of
19:22
cirrhosis
19:23
of
19:23
the
19:23
liver
19:23
and,
19:24
unsurprisingly,
19:25
cancer.
19:26
Although
19:26
they
19:26
were
19:27
compensated
19:27
at
19:28
the
19:28
time
19:28
with
19:28
2
19:29
million
19:29
yen,
19:30
which
19:30
is
19:30
a
19:30
little
19:31
over
19:31
$50,000
19:32
in
19:32
today's
19:33
money.
19:34
The
19:35
opening
19:35
sequence
19:35
of
19:36
Godzilla,
19:36
a
19:37
fishing
19:37
vessel
19:37
destroyed
19:38
by
19:38
a
19:38
mysterious
19:39
force
19:39
at
19:39
sea,
19:40
the
19:40
crew
19:40
incinerated
19:41
or
19:42
irradiated
19:43
is
19:43
a
19:43
barely
19:44
displaced
19:44
version
19:45
of
19:45
the
19:45
Lucky
19:45
Dragon
19:46
story.
19:46
The
19:47
white
19:47
ash
19:47
falling
19:48
on
19:48
the
19:48
ship's
19:48
deck
19:49
becomes,
19:49
in
19:50
the
19:50
movie,
19:50
the
19:51
radioactive
19:51
wake
19:52
of
19:52
a
19:52
monster.
19:53
The
19:53
connection
19:53
was
19:54
unmistakable
19:54
to
19:55
Japanese
19:55
audiences
19:56
at
19:56
the
19:56
time,
19:56
and
19:57
intentionally
19:58
so.
19:59
The
19:59
incident
19:59
also
20:00
shaped
20:00
the
20:00
film's
20:01
texture
20:01
of
20:01
dread,
20:02
the
20:02
idea
20:02
of
20:02
invisible
20:03
contamination,
20:04
of
20:04
ordinary
20:05
life.
20:05
Suddenly
20:05
and
20:06
incomprehensibly
20:07
poisoned
20:08
runs
20:08
through
20:08
Godzilla
20:09
in
20:09
a
20:09
way
20:09
that
20:09
goes
20:09
beyond
20:10
simple
20:10
monster
20:11
movie
20:11
plotting.
20:12
It's
20:12
why
20:12
the
20:13
film
20:13
includes
20:13
hospital
20:14
scenes,
20:14
Geiger
20:15
counters
20:16
and
20:16
dying
20:16
children.
20:17
Ishiro
20:18
Honda
20:18
wanted
20:18
audiences
20:19
to
20:19
feel
20:19
the
20:20
specific
20:20
quality
20:20
of
20:21
nuclear
20:21
fear,
20:22
not
20:22
just
20:22
the
20:22
spectacle
20:23
of
20:23
destruction.
20:24
Godzilla
20:25
was
20:25
a
20:25
way
20:25
the
20:26
Japanese
20:26
nation
20:27
could
20:27
talk
20:27
about
20:27
their
20:27
shared
20:28
fears,
20:29
grief
20:29
and
20:29
trauma
20:30
without
20:30
explicitly
20:31
blaming
20:32
the
20:32
US
20:32
for
20:32
its
20:33
wanton
20:33
destruction.
20:35
The
20:35
Lucky
20:36
Dragon
20:36
incident
20:36
became
20:37
a
20:37
significant
20:37
catalyst
20:38
for
20:38
the
20:38
international
20:39
anti
20:39
nuclear
20:40
movement.
20:41
The
20:41
incident
20:41
sparked
20:42
a
20:42
growth
20:42
of
20:42
a
20:43
significant
20:43
and
20:43
sustained
20:44
anti
20:44
nuclear
20:45
campaign
20:46
that
20:46
by
20:46
August
20:47
1955
20:47
had
20:48
collected
20:48
30
20:49
million
20:49
signatures
20:50
on
20:50
a
20:51
petition
20:51
against
20:51
nuclear
20:52
weapons
20:53
which
20:53
was
20:53
institutionalised
20:54
as
20:54
the
20:54
Japan
20:55
Council
20:55
Against
20:56
Atomic
20:56
and
20:57
Hydrogen
20:57
Bombs.
20:58
It
20:58
contributed
20:59
directly
20:59
to
21:00
growing
21:00
global
21:00
pressure
21:01
for
21:01
a
21:01
nuclear
21:01
Test
21:02
Ban
21:02
treaty
21:03
which
21:03
eventually
21:04
produced
21:04
the
21:04
Partial
21:05
Nuclear
21:05
Test
21:05
ban
21:05
Treaty
21:06
of
21:06
1963.
21:08
In
21:09
Japan,
21:09
it
21:09
fed
21:10
a
21:10
pacifist
21:11
and
21:11
anti
21:11
nuclear
21:12
sentiment
21:12
that
21:12
became
21:13
deeply
21:13
embedded
21:14
in
21:14
post
21:15
war
21:15
political
21:15
culture.
21:16
That
21:16
Godzilla,
21:17
arriving
21:18
in
21:18
the
21:18
same
21:18
year
21:19
both
21:19
reflected
21:20
and
21:20
helped
21:20
to
21:21
shape.
21:22
In
21:22
1954,
21:23
the
21:23
most
21:24
expensive
21:24
film
21:24
ever
21:25
made
21:25
in
21:25
Japan
21:25
was
21:26
produced
21:26
and
21:26
distributed
21:27
by
21:27
Toho.
21:28
Directed
21:29
and
21:29
co
21:29
written
21:29
by
21:30
Akira
21:30
Kurosawa.
21:31
Seven
21:32
Samurai
21:32
was
21:32
a
21:33
huge
21:33
hit
21:33
in
21:33
Japan
21:34
and
21:34
and
21:34
considered
21:35
one
21:35
of
21:35
the
21:36
greatest
21:36
films
21:36
ever
21:37
made.
21:38
And
21:38
1954
21:39
turned
21:39
out
21:39
to
21:39
be
21:40
a
21:40
great
21:40
year
21:40
for
21:40
Toho,
21:41
not
21:42
only
21:42
giving
21:42
the
21:42
world
21:43
one
21:43
of
21:43
the
21:43
greatest
21:43
movies
21:44
ever
21:44
made
21:44
in
21:45
Seven
21:45
Samurai,
21:46
but
21:46
also
21:46
creating
21:47
a
21:47
cultural
21:48
touchstone,
21:48
an
21:49
icon
21:49
of
21:49
cinema.
21:50
A
21:50
character
21:51
that
21:51
70
21:52
years
21:52
later
21:52
is
21:53
still
21:53
revered,
21:54
respected
21:54
and
21:55
loved
21:55
despite
21:56
his
21:56
turbulent
21:57
cinematic
21:57
history.
21:58
The
21:59
character
21:59
of
21:59
Gojira,
22:01
or
22:01
as
22:01
he's
22:01
known
22:02
to
22:02
the
22:02
West,
22:02
Godzilla.
22:04
The
22:04
primary
22:04
forces
22:05
behind
22:05
1954's
22:06
Godzilla
22:07
were
22:07
special
22:07
effects
22:07
director
22:08
Eiji
22:09
Tsuburaya
22:10
and
22:10
director
22:11
Ishiro
22:11
Honda.
22:12
Tsuburaya
22:13
was
22:13
a
22:13
huge
22:13
fan
22:14
of
22:14
Willis
22:14
H.
22:14
O',
22:15
Brien,
22:15
the
22:15
animator
22:16
of
22:16
King
22:16
Kong,
22:17
and
22:17
would
22:17
go
22:17
on
22:18
to
22:18
develop
22:18
several
22:18
of
22:19
the
22:19
techniques
22:19
that
22:19
would
22:20
later
22:20
become
22:20
pillars
22:21
of
22:21
the
22:21
Kaiju
22:21
genre
22:22
and
22:22
help
22:23
forge
22:23
the
22:23
development
22:23
and
22:24
popularity
22:25
of
22:25
Tokusatsu
22:26
featuring
22:27
heavy
22:27
practical
22:28
effects,
22:28
miniature
22:29
sets
22:29
of
22:29
scaled
22:30
down
22:30
cities
22:30
and
22:31
suitmation.
22:32
Ishiro
22:33
Honda
22:34
completed
22:34
his
22:34
studies
22:35
while
22:35
working
22:36
at
22:36
the
22:36
studio
22:37
pcl,
22:38
becoming
22:38
an
22:38
assistant
22:39
director
22:40
which
22:40
required
22:40
him
22:41
to
22:41
be
22:41
a
22:41
scripter
22:42
in
22:42
the
22:42
editing
22:42
department.
22:43
Honda
22:44
eventually
22:44
became
22:45
a
22:45
third
22:45
assistant
22:46
director
22:46
on
22:47
Satoji
22:47
Kimura's
22:48
the
22:48
Elderly
22:48
Commoner's
22:49
Life
22:49
Study
22:49
in
22:50
1934
22:51
before
22:52
being
22:52
drafted
22:52
into
22:53
military
22:53
service
22:54
later
22:54
that
22:54
year.
22:55
After
22:56
completing
22:56
his
22:56
service,
22:57
Honda
22:57
returned
22:58
home
22:58
in
22:58
December
22:58
1942
23:00
only
23:00
to
23:01
find
23:01
that
23:01
PCL,
23:02
now
23:02
rebranded
23:03
as
23:03
Toho,
23:04
were
23:04
forced
23:05
to
23:05
produce
23:05
propaganda
23:06
films
23:06
to
23:06
support
23:07
the
23:07
war
23:07
effort.
23:08
The
23:08
government
23:09
took
23:09
control
23:09
of
23:10
the
23:10
Japanese
23:10
film
23:11
industry
23:11
in
23:11
1939
23:13
modeling
23:13
the
23:13
passage
23:14
of
23:14
motion
23:14
picture
23:15
laws
23:15
after
23:15
Nazi
23:16
policies
23:16
where
23:17
scripts
23:17
and
23:18
films
23:18
were
23:18
reviewed
23:19
so
23:19
they
23:19
supported
23:20
the
23:20
war
23:20
effort
23:21
and
23:21
non
23:21
compliant
23:22
filmmakers
23:23
were
23:23
punished.
23:24
Honda's
23:24
experiences
23:25
in
23:25
the
23:25
military
23:26
would
23:26
deepen
23:27
his
23:27
pacifist
23:28
views.
23:28
But
23:28
the
23:29
propaganda
23:29
films
23:30
he
23:30
was
23:30
forced
23:30
to
23:30
make
23:31
needed
23:31
special
23:32
effects
23:32
which
23:32
would
23:33
link
23:33
him
23:33
to
23:33
Eiji
23:34
Tsuburaya.
23:35
Producer
23:36
Tomoyuki
23:37
Tanaka
23:38
conceived
23:38
the
23:38
idea
23:39
for
23:39
a
23:39
giant
23:39
monster
23:40
film
23:40
inspired
23:41
by
23:41
the
23:41
1953
23:42
film
23:42
the
23:43
Beast
23:43
from
23:43
20,000
23:44
Fathoms
23:45
and
23:45
the
23:45
Lucky
23:45
Dragon
23:46
Number
23:46
Five
23:46
Incident.
23:47
While
23:47
on
23:48
the
23:48
plane
23:48
home
23:48
after
23:49
negotiations
23:50
with
23:50
the
23:50
Indonesian
23:50
government
23:51
over
23:52
the
23:52
cancelled
23:52
in
23:52
the
23:53
Shadow
23:53
of
23:53
Glory
23:53
project,
23:54
Tanaka
23:55
wrote
23:55
an
23:55
outline
23:56
with
23:56
the
23:56
working
23:56
title
23:57
the
23:57
giant
23:58
monster
23:58
from
23:58
20,000
23:59
miles
23:59
beneath
24:00
the
24:00
Sea
24:01
and
24:01
pitched
24:01
it
24:01
to
24:02
executive
24:02
producer
24:03
Iwao
24:03
Mori.
24:04
Mori
24:05
approved
24:05
the
24:05
project
24:06
in
24:06
mid
24:06
April
24:07
1954
24:08
after
24:09
special
24:09
effects
24:09
director
24:10
Eiji
24:10
Tsuburaya
24:11
agreed
24:12
to
24:12
do
24:12
the
24:12
film's
24:12
effects
24:13
and
24:13
confirmed
24:14
that
24:14
the
24:14
film
24:14
was
24:14
financially
24:15
feasible.
24:16
Mori
24:17
also
24:17
felt
24:17
the
24:17
project
24:18
was
24:18
perfect
24:18
as
24:19
a
24:19
vehicle
24:19
for
24:20
Tsuburaya
24:20
and
24:21
to
24:21
test
24:21
the
24:21
storyboarding
24:22
system
24:22
he
24:23
created
24:23
at
24:24
the
24:24
time.
24:24
Mori
24:25
also
24:25
approved
24:26
Tanaka's
24:26
choice
24:27
to
24:27
have
24:27
Ishiro
24:28
Honda
24:28
direct
24:29
the
24:29
film.
24:29
Honda
24:30
wasn't
24:30
the
24:30
first
24:31
choice
24:31
for
24:31
director,
24:32
but
24:33
having
24:33
been
24:33
drafted
24:34
into
24:34
the
24:34
Imperial
24:34
Japanese
24:35
army
24:35
and
24:36
sent
24:36
to
24:36
the
24:36
front
24:36
lines
24:37
of
24:37
Japan's
24:37
invasion
24:38
of
24:38
China,
24:39
his
24:39
wartime
24:40
experience
24:40
would
24:41
make
24:41
him
24:41
an
24:41
ideal
24:42
candidate
24:42
for
24:42
the
24:43
film's
24:43
anti
24:43
nuclear
24:44
themes.
24:45
The
24:45
title
24:46
for
24:46
the
24:46
movie
24:46
was
24:47
shortened
24:47
to
24:48
Project
24:48
G
24:49
G
24:49
for
24:50
Giant,
24:50
but
24:51
it
24:51
would
24:51
eventually
24:51
be
24:52
named
24:52
Gojira.
24:53
The
24:54
name
24:54
Gojira
24:55
was
24:55
derived
24:56
from
24:56
the
24:56
Japanese
24:57
word
24:57
for
24:57
gorilla
24:58
Gorira
24:59
and
24:59
whale
25:00
Kujira.
25:01
And
25:01
so
25:01
you
25:02
put
25:02
Gorira
25:02
and
25:03
Kujira
25:03
together
25:04
and
25:04
you
25:04
get
25:05
Gojira.
25:06
IG
25:06
Tsuburaya
25:07
had
25:07
written
25:08
his
25:08
own
25:08
story
25:08
three
25:09
years
25:09
before
25:09
Godzilla
25:10
which
25:11
featured
25:11
a
25:11
giant
25:12
octopus
25:12
attacking
25:13
ships
25:13
in
25:13
the
25:13
Indian
25:14
Ocean.
25:15
Tanaka
25:15
wanted
25:16
something
25:16
sci
25:16
fi
25:17
horror
25:17
and
25:17
so
25:17
hired
25:18
novelist
25:18
Shigeru
25:19
Kayama
25:20
to
25:20
help
25:20
refine
25:21
this
25:21
idea
25:21
of
25:22
a
25:22
giant
25:22
monster
25:23
into
25:23
an
25:23
actual
25:23
story.
25:24
His
25:25
treatment
25:25
borrowed
25:26
elements
25:26
from
25:26
films
25:27
like
25:27
the
25:27
Lost
25:27
World,
25:28
King
25:28
Kong,
25:29
the
25:29
beast
25:29
from
25:29
20,000
25:30
fathoms
25:30
and
25:31
and
25:31
from
25:31
his
25:31
own
25:32
1952
25:33
short
25:33
story
25:33
Jira
25:34
Monster
25:35
which
25:35
featured
25:36
a
25:36
reptilian
25:36
creature
25:37
with
25:37
hind
25:38
legs
25:38
terrorizing
25:39
primitive
25:39
civilians
25:40
and
25:40
withstanding
25:41
weaponry.
25:42
Ishira
25:43
Honda
25:43
read
25:43
the
25:44
sea
25:44
creature
25:44
story
25:45
and
25:45
had
25:45
a
25:46
specific
25:46
direction
25:47
he
25:47
wanted
25:47
to
25:47
take
25:47
the
25:48
film.
25:49
Honda,
25:49
along
25:49
with
25:50
Takeo
25:50
Murata
25:51
adapted
25:52
the
25:52
story
25:52
into
25:53
a
25:53
screenplay
25:54
that
25:54
ultimately
25:55
became
25:55
Godzilla.
25:56
Written
25:56
in
25:57
three
25:57
weeks
25:57
and
25:57
introducing
25:58
the
25:58
idea
25:59
that
25:59
the
25:59
monster
25:59
should
25:59
see
26:00
serve
26:00
as
26:00
an
26:01
allegory
26:01
for
26:01
nuclear
26:02
testing.
26:03
When
26:03
it
26:03
came
26:04
to
26:04
the
26:04
design
26:04
of
26:04
the
26:05
creature.
26:05
Tanaka
26:06
contemplated
26:06
having
26:07
the
26:07
monster
26:08
be
26:08
gorilla
26:09
like
26:09
or
26:09
whale
26:10
like
26:10
in
26:10
design,
26:11
but
26:11
he
26:11
eventually
26:12
settled
26:12
on
26:12
a
26:13
dinosaur
26:13
like
26:14
design.
26:15
Wasuki
26:16
Abe
26:16
was
26:16
hired
26:17
to
26:17
design
26:17
Godzilla,
26:18
but
26:19
his
26:19
ideas
26:19
were
26:19
later
26:20
rejected
26:20
since
26:21
Godzilla
26:21
looked
26:21
too
26:22
humanoid
26:22
and
26:22
mammalian
26:23
with
26:24
a
26:24
head
26:24
shaped
26:24
like
26:25
a
26:25
mushroom
26:25
cloud.
26:27
Tsuburaya
26:28
originally
26:28
wanted
26:28
to
26:29
use
26:29
stop
26:29
motion
26:30
like
26:30
Willis
26:30
H.
26:31
O'
26:31
Brien
26:31
for
26:32
the
26:32
film's
26:32
special
26:32
effects,
26:33
but
26:33
realised
26:34
it
26:34
would
26:34
take
26:34
seven
26:35
years
26:35
to
26:35
complete
26:36
based
26:37
on
26:37
the
26:37
current
26:37
staff
26:38
and
26:38
infrastructure
26:39
at
26:39
Toho.
26:40
Settling
26:41
on
26:41
suitmation
26:42
and
26:42
miniature
26:42
effects,
26:43
Tsuburaya
26:44
and
26:44
his
26:44
crew
26:44
scouted
26:45
the
26:45
locations
26:46
that
26:46
Godzilla
26:47
was
26:47
to
26:47
destroy.
26:48
Most
26:49
of
26:49
the
26:49
miniatures
26:49
were
26:49
built
26:50
at
26:50
1
26:51
25th
26:51
scale,
26:52
but
26:52
the
26:52
Diet
26:52
building
26:53
was
26:53
scaled
26:53
down
26:54
to
26:54
a
26:54
1:33rd
26:55
scale
26:55
to
26:56
look
26:56
smaller
26:56
than
26:57
Godzilla.
26:58
While
26:58
they
26:58
couldn't
26:58
use
26:59
stop
26:59
motion
26:59
to
26:59
animate
27:00
all
27:00
of
27:00
Godzilla,
27:01
the
27:02
final
27:02
film
27:02
does
27:02
include
27:03
a
27:03
stop
27:03
motion
27:04
scene
27:04
of
27:05
Godzilla's
27:05
tail
27:05
destroying
27:06
the
27:06
Nishigeki
27:07
Theater
27:08
building.
27:09
The
27:09
Godzilla
27:10
suit
27:10
was
27:10
constructed
27:11
by
27:11
Kanju
27:12
Yagi,
27:12
Yasui
27:13
Yagi
27:14
and
27:14
Eizo
27:14
Kaimai,
27:16
who
27:16
used
27:16
thin
27:16
bamboo
27:17
sticks
27:17
and
27:18
wire
27:18
to
27:18
build
27:18
a
27:19
frame
27:19
for
27:19
the
27:19
interior
27:20
of
27:20
the
27:20
suit
27:20
and
27:21
and
27:21
added
27:21
metal
27:22
mesh
27:22
and
27:22
cushioning
27:23
over
27:23
it
27:23
to
27:23
bolster
27:24
its
27:24
structure
27:24
and
27:25
apply
27:25
coats
27:26
of
27:26
latex.
27:27
Molten
27:28
rubber
27:28
was
27:29
also
27:29
applied,
27:29
followed
27:30
by
27:30
carved
27:30
indentations
27:31
and
27:32
strips
27:32
of
27:32
latex
27:33
glued
27:33
onto
27:34
the
27:34
surface
27:34
of
27:34
the
27:34
suit
27:35
to
27:35
create
27:35
Godzilla's
27:36
scaly
27:37
hide.
27:37
The
27:38
first
27:38
version
27:38
of
27:38
the
27:39
suit
27:39
weighed
27:39
100kg
27:40
or
27:41
220lbs.
27:42
For
27:43
close
27:43
ups,
27:44
a
27:44
smaller
27:44
scale
27:45
mechanical
27:45
hand
27:46
operated
27:46
puppet
27:47
that
27:47
sprayed
27:47
streams
27:48
of
27:48
mist
27:48
from
27:48
its
27:49
mouth
27:49
to
27:50
act
27:50
as
27:50
Godzilla's
27:51
atomic
27:51
breath
27:52
was
27:52
created.
27:53
The
27:54
building's
27:54
frameworks
27:55
were
27:55
made
27:55
of
27:55
thin
27:56
wooden
27:56
boards
27:56
reinforced
27:57
with
27:57
a
27:57
mixture
27:58
of
27:58
plaster
27:58
and
27:58
white
27:59
chalk.
28:00
Explosives
28:00
were
28:01
installed
28:01
inside
28:02
miniatures
28:02
that
28:02
were
28:02
to
28:03
be
28:03
destroyed
28:03
by
28:03
Godzilla's
28:04
atomic
28:04
breath.
28:05
Some
28:06
were
28:06
sprayed
28:06
with
28:06
gasoline
28:07
to
28:07
make
28:07
them
28:07
burn
28:08
more
28:08
easily.
28:09
Others
28:09
included
28:09
small
28:10
cracks
28:10
so
28:10
they
28:10
would
28:11
crumble
28:11
easily.
28:12
Most
28:13
of
28:13
the
28:13
electrical
28:14
towers
28:14
in
28:14
the
28:14
film
28:14
were
28:14
made
28:15
of
28:15
steel.
28:15
Steel.
28:16
But
28:16
those
28:16
that
28:17
were
28:17
to
28:17
be
28:17
melted
28:17
by
28:18
Godzilla's
28:18
atomic
28:19
breath
28:19
were
28:20
made
28:20
of
28:20
wax.
28:21
The
28:21
special
28:22
effects
28:22
crew
28:22
melted
28:23
the
28:23
towers
28:23
by
28:23
blowing
28:24
hot
28:24
air
28:24
on
28:25
them
28:25
as
28:25
well
28:25
as
28:25
shining
28:26
hot
28:26
studio
28:27
lights
28:27
on
28:27
them
28:27
for
28:27
the
28:28
white
28:28
hot
28:28
effect.
28:29
Optical
28:30
animation
28:30
techniques
28:31
were
28:31
used
28:31
for
28:31
Godzilla's
28:32
glowing
28:32
dorsal
28:33
fins
28:34
by
28:34
having
28:34
hundreds
28:34
of
28:35
cells
28:35
which
28:35
were
28:35
drawn
28:36
frame
28:36
by
28:37
frame.
28:38
In
28:38
Godzilla's
28:39
suit
28:39
were
28:40
Haruo
28:40
Nakajima
28:41
and
28:41
Katsumi
28:42
Tezuka.
28:43
The
28:43
suit
28:44
was
28:44
so
28:44
heavy
28:44
that
28:44
the
28:45
first
28:45
version
28:45
of
28:45
the
28:45
suit
28:46
was
28:46
cut
28:46
in
28:46
two
28:47
and
28:47
used
28:47
for
28:47
scenes
28:48
requiring
28:49
only
28:49
partial
28:50
shots
28:50
of
28:50
Godzilla
28:51
or
28:51
close
28:51
ups
28:52
with
28:52
the
28:52
Lower
28:52
half
28:52
fitted
28:53
with
28:53
rope
28:53
suspenders
28:54
for
28:54
Nakajima
28:55
to
28:55
wear.
28:56
A
28:56
second,
28:57
slightly
28:57
lighter
28:58
suit
28:58
was
28:58
built
28:59
for
28:59
full
28:59
body
28:59
shots.
29:00
But
29:00
Nakajima
29:01
could
29:01
only
29:01
spend
29:02
three
29:02
minutes
29:02
in
29:02
the
29:03
suit
29:03
before
29:03
he
29:03
would
29:04
pass
29:04
out.
29:04
He
29:05
lost
29:05
20lbs
29:06
during
29:06
filming
29:07
just
29:07
from
29:07
the
29:08
loss
29:08
of
29:08
bodily
29:08
fluids
29:09
inside
29:10
the
29:10
suit.
29:10
It
29:10
was
29:11
60
29:11
degrees
29:11
Celsius,
29:12
that's
29:12
150
29:13
degrees
29:13
Fahrenheit.
29:14
Under
29:14
hot
29:15
studio
29:15
lights.
29:16
Nakajima
29:17
would
29:17
lose
29:18
a
29:18
cup
29:18
of
29:18
sweat
29:18
every
29:19
day.
29:19
In
29:20
fact,
29:20
he
29:20
perspired
29:21
so
29:21
much
29:21
that
29:22
the
29:22
Yagi
29:22
brothers
29:23
had
29:23
to
29:23
dry
29:23
out
29:23
the
29:24
cotton
29:24
lining
29:24
every
29:25
morning
29:25
and
29:26
sometimes
29:26
reline
29:27
the
29:27
interior
29:27
of
29:28
the
29:28
suit
29:28
and
29:28
repair
29:29
damages.
29:30
Katsumi
29:30
Tezuka
29:31
would
29:31
fill
29:31
in
29:32
for
29:32
when
29:32
Nakajima
29:33
was
29:33
unavailable.
29:35
Cinematographer
29:35
Masao
29:36
Tamai
29:37
had
29:37
considerable
29:37
influence
29:38
on
29:38
the
29:38
film's
29:39
look
29:39
since
29:39
he
29:40
was
29:40
one
29:40
of
29:40
Toho's
29:41
top
29:41
cinematographers.
29:42
Known
29:43
for
29:43
working
29:43
with
29:43
Mikio
29:44
Narusi
29:45
on
29:45
several
29:45
films,
29:46
Narusi
29:47
was
29:47
considered
29:48
a
29:48
major
29:48
figure
29:49
in
29:49
Japan's
29:49
golden
29:50
age
29:50
of
29:50
cinema.
29:51
Tamai
29:52
only
29:52
accepted
29:53
the
29:53
job
29:53
on
29:53
Godzilla
29:54
on
29:54
the
29:54
condition
29:54
that
29:55
the
29:55
rest
29:55
of
29:55
Narusi's
29:56
crew
29:56
was
29:56
hired
29:57
along
29:57
with
29:57
him,
29:58
and
29:58
he
29:58
was
29:58
given
29:58
authority
29:59
on
29:59
the
29:59
film's
30:00
final
30:00
look.
30:01
For
30:01
Godzilla's
30:02
first
30:02
appearance,
30:02
there
30:03
was
30:03
supposed
30:03
to
30:03
be
30:03
a
30:04
bloody
30:04
cow
30:04
in
30:05
his
30:05
mouth.
30:05
But
30:06
after
30:06
reviewing
30:06
the
30:07
test
30:07
shots,
30:07
Tamai
30:08
felt
30:08
it
30:08
was
30:08
far
30:09
too
30:09
graphic
30:10
and
30:10
had
30:10
director
30:11
Ishiro
30:11
Honda
30:12
cut
30:12
the
30:12
scene.
30:14
The
30:14
typhoon
30:15
waves
30:15
were
30:15
created
30:16
by
30:16
stagehands
30:17
who
30:17
overturned
30:18
barrels
30:18
of
30:18
water
30:18
into
30:19
a
30:19
water
30:19
tank
30:20
where
30:20
they'd
30:21
built
30:21
a
30:21
miniature
30:22
Odo
30:22
island
30:22
shoreline.
30:23
Toho
30:24
hired
30:25
en
30:25
masse
30:25
part
30:26
time
30:26
employees
30:26
to
30:27
work
30:27
on
30:27
the
30:27
film's
30:28
optical
30:28
effects.
30:29
Half
30:29
of
30:30
the
30:30
400
30:30
hired
30:31
staff
30:31
were
30:31
mostly
30:32
part
30:32
time
30:32
with
30:32
little
30:33
to
30:33
no
30:33
experience.
30:35
Optical
30:35
effects
30:36
were
30:36
utilized
30:36
for
30:36
Godzilla's
30:37
footprints
30:37
on
30:38
the
30:38
beach
30:38
by
30:39
painting
30:39
them
30:39
onto
30:40
glass
30:40
and
30:40
inserting
30:41
them
30:41
into
30:41
an
30:41
area
30:42
of
30:42
the
30:42
live
30:42
action
30:43
footage.
30:44
Special
30:44
effects
30:44
photography
30:45
on
30:45
Godzilla
30:46
lasted
30:46
for
30:47
71
30:47
days.
30:49
When
30:49
it
30:49
came
30:49
to
30:50
the
30:50
actual
30:50
real
30:51
person
30:51
filming
30:52
on
30:52
the
30:52
first
30:53
day,
30:53
Honda
30:54
addressed
30:54
a
30:54
crew
30:54
of
30:55
30
30:56
to
30:56
read
30:56
the
30:56
script
30:57
and
30:57
leave
30:57
the
30:58
project
30:58
if
30:58
they
30:58
didn't
30:59
feel
30:59
convinced.
31:00
Because
31:00
he
31:01
only
31:01
wanted
31:01
to
31:02
work
31:02
with
31:02
crew
31:03
who
31:03
had
31:03
confidence
31:04
in
31:04
him
31:04
and
31:05
the
31:05
film.
31:06
They
31:06
filmed
31:06
on
31:07
location
31:07
in
31:07
the
31:07
Shima
31:08
Peninsula
31:09
in
31:09
Mie
31:10
Prefecture
31:10
to
31:10
film
31:11
the
31:11
Odo
31:11
island
31:12
scenes,
31:12
which
31:13
used
31:13
50
31:13
Toho
31:14
extras.
31:15
Honda's
31:16
team
31:16
established
31:16
their
31:17
base
31:17
in
31:17
the
31:17
town
31:17
of
31:18
Toba.
31:19
Local
31:19
villagers
31:20
were
31:20
also
31:20
used
31:21
as
31:21
extras
31:21
for
31:21
the
31:21
Odo
31:22
island
31:22
scenes.
31:23
The
31:23
dance
31:24
ritual
31:24
scene
31:24
was
31:24
filmed
31:25
on
31:25
location
31:25
in
31:26
Mie
31:26
Prefecture
31:27
with
31:27
local
31:28
villagers
31:28
performing
31:29
as
31:29
the
31:29
dancers.
31:30
2000
31:31
girls
31:31
were
31:32
used
31:32
from
31:32
an
31:32
all
31:32
girls
31:33
high
31:33
school
31:33
for
31:33
the
31:33
prayer
31:34
for
31:34
peace.
31:34
Scene
31:35
the
31:35
cast
31:35
and
31:36
crew
31:36
commuted
31:36
every
31:37
morning
31:37
by
31:37
boat
31:38
to
31:38
Toba
31:39
and
31:39
worked
31:39
under
31:40
harsh
31:40
weather
31:40
conditions,
31:41
which
31:42
included
31:42
blistering
31:43
sunburn.
31:44
Wear
31:44
sunscreen,
31:45
kids.
31:46
The
31:46
troops
31:47
going
31:47
to
31:47
the
31:47
coast
31:48
to
31:48
face
31:48
Godzilla
31:49
were
31:49
actual
31:49
Japanese
31:50
sailors,
31:50
Self
31:50
Defence
31:51
Force
31:51
troops.
31:52
They
31:52
were
31:52
on
31:52
manoeuvres
31:53
when
31:53
Honda
31:53
shot
31:54
the
31:54
footage
31:54
of
31:54
them,
31:55
but
31:55
they
31:55
refused
31:55
to
31:56
cooperate
31:56
with
31:56
the
31:57
filming.
31:57
And
31:58
so
31:58
much
31:58
of
31:58
the
31:58
footage
31:59
was
31:59
World
31:59
War
31:59
II
32:00
stock
32:00
footage
32:01
sourced
32:01
from
32:02
16mm
32:02
prints
32:03
provided
32:03
by
32:04
the
32:04
Japanese
32:04
military.
32:05
They
32:06
also
32:06
filmed
32:07
at
32:07
the
32:07
toho
32:07
backlot,
32:08
and
32:08
51
32:09
days
32:09
of
32:09
filming
32:10
took
32:10
place
32:11
in
32:11
the
32:11
spring
32:11
of
32:12
1954.
32:14
It
32:14
was
32:14
Honda's
32:15
idea
32:15
to
32:16
make
32:16
Godzilla
32:17
raw.
32:17
Sound
32:18
recorder
32:18
Hisaishi
32:19
Shimonaga
32:20
and
32:20
sound
32:20
and
32:21
musical
32:21
effects.
32:21
Ishiro
32:22
Minawa
32:23
were
32:23
originally
32:23
tasked
32:24
with
32:24
creating
32:24
the
32:25
roar,
32:25
but
32:26
composer
32:26
Akira
32:27
Ifukubi
32:28
became
32:28
involved
32:29
after
32:29
taking
32:29
an
32:30
interest
32:30
in
32:30
creating
32:31
sound
32:31
effects.
32:32
Ifukube
32:33
and
32:33
Honda
32:34
discussed
32:34
what
32:35
type
32:35
of
32:35
sounds
32:35
were
32:36
going
32:36
to
32:36
be
32:36
used
32:36
in
32:36
certain
32:37
scenes,
32:37
and
32:38
Minawa
32:38
went
32:39
to
32:39
the
32:39
zoo
32:39
and
32:39
recorded
32:40
various
32:40
animal
32:41
roars
32:41
and
32:42
played
32:42
them
32:42
back
32:42
at
32:42
different
32:42
scenes
32:43
speeds.
32:43
But
32:44
the
32:44
sounds
32:44
weren't
32:45
good
32:45
enough
32:45
and
32:46
they
32:46
eventually
32:46
went
32:47
unused.
32:48
So
32:48
Ifukube
32:49
borrowed
32:49
a
32:49
double
32:49
bass
32:50
from
32:50
the
32:50
Japan
32:51
Art
32:51
University's
32:52
music
32:52
department
32:53
and
32:53
created
32:54
Godzilla's
32:54
roar
32:55
by
32:55
loosening
32:55
the
32:56
strings
32:56
and
32:56
rubbing
32:57
them
32:57
with
32:57
a
32:57
leather
32:58
glove.
32:59
The
32:59
sound
32:59
was
32:59
recorded
33:00
and
33:00
played
33:00
at
33:01
reduced
33:01
speed,
33:01
which
33:01
achieved
33:02
the
33:02
effect
33:02
of
33:03
the
33:03
roar
33:03
used
33:04
in
33:04
the
33:04
film.
33:04
And
33:05
this
33:05
technique
33:05
would
33:06
be
33:06
adopted
33:06
by
33:06
Toho
33:07
as
33:07
the
33:08
standard
33:08
method
33:09
to
33:09
create
33:10
monster
33:10
roars
33:11
in
33:11
the
33:11
following
33:11
years.
33:12
Godzilla's
33:13
footsteps
33:13
were
33:14
created
33:14
using
33:14
a
33:15
primitive
33:15
amplifier
33:16
that
33:16
made
33:17
a
33:17
loud
33:17
clap
33:18
when
33:18
struck.
33:20
And
33:20
I
33:20
guess
33:21
this
33:21
is
33:21
the
33:21
best
33:21
time
33:22
to
33:22
try
33:22
and
33:22
segue
33:23
into
33:23
the
33:23
obligatory
33:24
Keanu
33:24
reference
33:25
of
33:25
this
33:25
episode.
33:26
And
33:26
if
33:26
you're
33:27
new
33:27
here
33:27
and
33:27
you
33:27
don't
33:27
know
33:27
what
33:28
this
33:28
is,
33:28
it's
33:29
a
33:29
part
33:29
of
33:30
the
33:30
podcast
33:30
where
33:30
I
33:30
try
33:31
and
33:31
link
33:31
every
33:31
episode
33:32
that
33:32
I
33:32
feature
33:32
with
33:32
Keanu
33:33
Reeves
33:34
in
33:34
some
33:34
way.
33:35
And
33:35
just
33:36
like
33:36
last
33:36
episode
33:36
with
33:37
King
33:37
Kong,
33:37
this
33:38
is
33:38
especially
33:38
difficult
33:39
because
33:39
a
33:40
movie
33:40
of
33:40
this
33:41
age,
33:42
Keanu
33:42
Reeves,
33:43
wasn't
33:43
around
33:44
at
33:44
this
33:44
time,
33:45
so
33:45
it's
33:46
very
33:46
difficult
33:46
to
33:47
link
33:47
him
33:47
to
33:47
this
33:47
movie.
33:48
However,
33:48
I
33:48
have
33:49
found
33:49
a
33:49
way,
33:50
because
33:51
Godzilla
33:51
is
33:52
the
33:52
king
33:52
of
33:52
the
33:52
monsters,
33:53
as
33:54
I'm
33:54
going
33:54
to
33:54
come
33:54
to,
33:55
and
33:55
Keanu
33:56
Reeves
33:56
is
33:56
quite
33:57
easily
33:57
the
33:58
king
33:58
of
33:58
the
33:58
men
33:59
because
33:59
he
34:00
is
34:00
the
34:00
best
34:00
of
34:00
men,
34:01
so
34:01
therefore
34:01
he
34:01
is
34:01
the
34:02
king.
34:03
Anyway,
34:04
just
34:04
going
34:04
back
34:05
to
34:05
the
34:05
music
34:05
and
34:06
the
34:06
sound
34:06
effects
34:07
of
34:07
Godzilla,
34:08
because
34:08
when
34:09
Godzilla
34:09
is
34:09
rampaging,
34:11
the
34:11
actual
34:11
music
34:12
and
34:12
sound
34:12
effects
34:13
were
34:13
recorded
34:14
live
34:14
simultaneously.
34:16
So
34:16
while
34:16
Ifakubi
34:17
conducted
34:18
the
34:18
NHK
34:19
Philharmonic
34:20
Orchestra,
34:21
Foley
34:21
artists
34:22
watched
34:22
Godzilla's
34:23
rampage
34:23
projected
34:24
on
34:24
a
34:24
screen
34:25
and
34:25
used
34:26
things
34:26
like
34:26
tin,
34:27
concrete,
34:28
debris,
34:28
wood
34:28
and
34:29
other
34:29
equipment
34:30
to
34:30
simulate
34:31
sounds
34:31
that
34:31
would
34:32
sync
34:32
with
34:32
the
34:32
footage.
34:33
But
34:33
the
34:33
problem
34:34
with
34:34
that
34:34
was
34:34
a
34:35
new
34:35
take
34:35
was
34:36
needed
34:36
if
34:36
a
34:37
Foley
34:37
artist
34:37
missed
34:38
a
34:38
cue.
34:39
Many
34:40
of
34:40
Ifakube's
34:41
themes
34:41
and
34:41
motifs
34:42
associated
34:43
with
34:43
Godzilla
34:44
were
34:44
obviously
34:44
introduced
34:45
in
34:45
this
34:46
1954
34:47
film,
34:47
such
34:48
as
34:48
the
34:48
march,
34:49
the
34:49
horror
34:49
theme
34:50
and
34:50
the
34:50
Requiem.
34:51
The
34:52
Self
34:52
Defense
34:52
Force
34:53
march
34:53
has
34:53
become
34:54
so
34:54
synonymous
34:54
with
34:55
Godzilla
34:56
that
34:56
Ifukubu
34:56
later
34:57
referred
34:57
to
34:57
it
34:57
as
34:58
Godzilla's
34:59
theme,
34:59
and
34:59
he
35:00
considers
35:00
his
35:00
music
35:01
for
35:01
this
35:01
film
35:02
his
35:02
finest
35:03
film
35:03
score.
35:05
Now,
35:05
even
35:05
before
35:05
Godzilla
35:06
was
35:06
released,
35:07
there
35:07
was
35:08
a
35:08
concerted
35:08
marketing
35:09
effort
35:10
for
35:10
the
35:10
movie.
35:11
Eleven
35:11
episodes
35:12
of
35:12
a
35:12
radio
35:13
play
35:13
called
35:14
Monster
35:14
Godzilla
35:15
or
35:15
Kaiju
35:16
Gojira
35:17
were
35:17
produced
35:18
based
35:18
on
35:18
the
35:18
screenplay
35:19
and
35:19
aired
35:20
on
35:20
Saturdays
35:21
on
35:21
the
35:21
NHK
35:22
radio
35:22
network
35:23
from
35:23
17
35:24
July
35:24
to
35:25
25
35:25
September
35:26
1954
35:27
to
35:28
promote
35:28
the
35:29
upcoming
35:29
movie.
35:30
But
35:30
then,
35:31
Godzilla
35:31
was
35:31
a
35:32
huge
35:32
industry
35:32
secret.
35:33
Reporters
35:34
were
35:34
banned
35:35
from
35:35
the
35:35
set
35:36
and
35:36
the
35:36
special
35:36
effects
35:37
techniques
35:37
were
35:38
kept
35:38
secret.
35:39
But
35:39
then
35:39
also
35:40
images
35:40
of
35:40
Godzilla
35:41
were
35:41
widely
35:42
publicized
35:43
on
35:43
purpose.
35:44
The
35:44
theatrical
35:45
trailer
35:45
debuted
35:46
in
35:46
Japanese
35:47
cinemas
35:47
on
35:47
20
35:48
October
35:49
1954,
35:50
seven
35:50
days
35:51
before
35:51
the
35:51
movie
35:51
released
35:52
in
35:52
Nagoya
35:53
on
35:53
27
35:54
October
35:55
1954.
35:57
So
35:57
when
35:57
Godzilla
35:58
released
35:58
nationwide
35:59
on
35:59
3
36:00
November
36:01
1954,
36:02
it
36:02
set
36:03
a
36:03
new
36:03
opening
36:04
day
36:04
record
36:04
for
36:04
any
36:05
Toho
36:05
film
36:06
by
36:06
selling
36:07
33,000
36:08
tickets
36:08
at
36:08
Toho
36:09
cinemas
36:10
in
36:10
Tokyo
36:11
and
36:11
selling
36:11
out
36:11
at
36:12
Nishi
36:12
Geki
36:13
theater.
36:15
After
36:15
the
36:15
film's
36:15
success
36:16
in
36:16
Japan
36:16
in
36:17
1955,
36:18
Manson
36:19
International
36:19
Co
36:19
founder
36:20
Edmund
36:20
Goldman
36:21
approached
36:21
Toho
36:22
about
36:23
purchasing
36:23
the
36:23
rights
36:24
to
36:24
Godzilla,
36:25
making
36:25
Toho
36:26
an
36:26
offer
36:26
of
36:27
$25,000
36:28
for
36:28
the
36:28
theatrical
36:29
and
36:29
television
36:30
rights,
36:30
which
36:31
they
36:31
accepted.
36:32
The
36:33
contract
36:33
stipulated
36:34
that
36:34
Toho
36:34
and
36:35
Goldman
36:35
agreed
36:36
that
36:36
Godzilla
36:37
would
36:37
be
36:37
narrated,
36:38
dubbed
36:38
in
36:38
English
36:39
and
36:39
completed
36:40
by
36:40
the
36:40
revisions,
36:41
additions
36:41
and
36:41
deletions
36:42
with
36:43
final
36:43
approval
36:44
by
36:44
Toho.
36:45
And
36:46
so
36:46
this
36:46
is
36:46
where
36:46
we
36:46
get
36:47
to
36:47
a
36:48
heavily
36:48
altered
36:48
version
36:49
of
36:49
the
36:49
film,
36:49
which
36:50
was
36:50
released
36:50
in
36:50
the
36:51
US
36:51
and
36:52
worldwide
36:52
as
36:54
King
36:54
of
36:54
the
36:54
Monsters
36:55
on
36:55
25
36:56
April
36:57
1956,
36:58
featuring
36:58
new
36:59
footage
36:59
with
36:59
Canadian
37:00
actor
37:00
Raymond
37:01
Burr
37:02
interacting
37:02
with
37:03
body
37:03
doubles,
37:03
mixed
37:04
with
37:04
Honda's
37:04
footage
37:05
to
37:05
make
37:05
it
37:06
seem
37:06
as
37:06
if
37:07
he's
37:07
part
37:07
of
37:07
the
37:08
original
37:08
Japanese
37:09
production.
37:10
In
37:10
this
37:11
version,
37:11
the
37:11
overt
37:12
references
37:12
to
37:13
the
37:13
atom
37:13
bomb
37:13
and
37:14
hydrogen
37:14
bomb
37:15
were
37:15
omitted.
37:16
Ishiro
37:17
Honda
37:17
was
37:17
unaware
37:18
that
37:18
Godzilla
37:19
had
37:19
been
37:19
re
37:19
edited
37:20
until
37:20
the
37:21
American
37:21
version
37:22
was
37:22
released
37:22
in
37:22
Japan
37:23
as
37:23
Monster
37:24
king
37:24
Godzilla
37:25
in
37:25
May
37:25
1957.
37:28
King
37:28
of
37:28
the
37:28
Monsters
37:29
was
37:29
a
37:29
huge
37:29
success,
37:30
grossing
37:31
$2
37:31
million
37:31
at
37:32
the
37:32
box
37:32
office
37:32
in
37:32
the
37:32
US
37:33
four
37:34
times
37:34
what
37:34
Godzilla
37:35
had
37:35
made
37:35
in
37:35
its
37:36
native
37:36
Japan.
37:37
It
37:37
was
37:38
the
37:38
first
37:38
Japanese
37:38
feature
37:39
to
37:39
become
37:39
a
37:40
commercial
37:40
success
37:40
in
37:41
the
37:41
US
37:42
and
37:42
was
37:42
at
37:42
the
37:42
time
37:43
the
37:43
fourth
37:43
foreign
37:44
film
37:44
to
37:44
have
37:44
grossed
37:45
more
37:45
than
37:45
$1
37:45
million
37:46
at
37:47
the
37:47
American
37:47
box
37:47
office.
37:48
While
37:49
the
37:49
1954
37:50
film
37:50
is
37:50
credited
37:51
for
37:51
starting
37:51
the
37:52
franchise
37:52
and
37:52
establishing
37:53
the
37:53
template
37:54
for
37:54
tokusatsu
37:55
filming,
37:56
King
37:57
of
37:57
the
37:57
Monsters
37:57
was
37:57
responsible
37:58
for
37:58
introducing
37:59
international
38:00
audiences
38:01
to
38:01
the
38:01
character
38:01
of
38:02
Godzilla.
38:03
But
38:03
for
38:03
50
38:04
years,
38:04
Godzilla,
38:05
King
38:05
of
38:05
the
38:05
Monsters,
38:06
was
38:06
the
38:06
only
38:07
version
38:07
available
38:07
in
38:08
the
38:08
U.S.
38:08
it
38:09
took
38:09
until
38:09
2004
38:10
for
38:11
the
38:11
Japanese
38:11
original
38:12
1954
38:13
Godzilla
38:14
to
38:14
be
38:14
made
38:15
officially
38:15
available
38:16
in
38:16
the
38:16
United
38:17
States.
38:17
Previously,
38:18
it
38:18
was
38:18
only
38:19
available
38:19
to
38:19
cinemas
38:20
catering
38:21
specifically
38:21
for
38:21
a
38:22
Japanese
38:22
American
38:23
audience
38:23
in
38:24
predominantly
38:24
Japanese
38:25
neighborhoods.
38:27
To
38:27
coincide
38:27
with
38:27
the
38:28
film's
38:28
50th
38:28
anniversary
38:29
in
38:29
2004,
38:30
arthouse
38:31
distributor
38:32
Rialto
38:32
Pictures
38:33
gave
38:33
Godzilla
38:34
a
38:34
traveling
38:35
tour
38:35
style
38:35
limited
38:36
release
38:37
coast
38:37
to
38:37
coast
38:38
across
38:38
the
38:38
United
38:39
States.
38:40
It
38:40
ran
38:40
uncut
38:41
with
38:41
English
38:41
subtitles
38:42
for
38:42
seven
38:43
months,
38:43
playing
38:44
in
38:44
roughly
38:44
60
38:45
cinemas
38:45
and
38:46
cities
38:46
across
38:46
the
38:47
U.S.
38:47
in
38:48
October
38:49
2005,
38:49
the
38:49
British
38:50
film
38:50
Institute
38:51
theatrically
38:52
released
38:52
the
38:52
Japanese
38:53
version
38:53
in
38:53
the
38:54
UK.
38:55
Godzilla
38:56
had
38:56
a
38:56
budget
38:57
of
38:57
62.9
38:58
million
38:59
yen
38:59
and
39:00
earned
39:00
183
39:01
million
39:02
yen
39:02
in
39:03
distributor
39:03
rentals,
39:04
which
39:04
was
39:04
a
39:05
very
39:05
healthy
39:05
return.
39:06
Attendance
39:07
reached
39:07
approximately
39:08
9.6
39:08
million
39:09
viewers
39:09
in
39:09
Japan,
39:10
which
39:10
is
39:11
a
39:11
substantial
39:11
figure
39:12
for
39:12
the
39:12
period.
39:13
While
39:13
successful,
39:14
it
39:14
was
39:15
somewhat
39:15
smaller
39:15
in
39:16
scale
39:16
relative
39:16
to
39:17
other
39:17
major
39:17
works
39:18
of
39:18
the
39:18
same
39:18
year,
39:19
like
39:19
Kurosawa's
39:20
Seven
39:20
Samurai,
39:21
which
39:22
alongside
39:22
Godzilla,
39:23
has
39:23
become
39:23
one
39:24
of
39:24
Japan's
39:24
most
39:25
famous
39:25
films.
39:26
While
39:27
we
39:27
might
39:27
see
39:28
it
39:28
as
39:28
a
39:28
huge
39:29
critical
39:29
success,
39:30
Godzilla
39:31
was
39:31
met
39:31
with
39:31
mixed
39:32
reviews
39:32
upon
39:32
release
39:33
in
39:33
Japan.
39:34
Critical
39:34
opinion
39:35
at
39:35
the
39:35
time
39:35
was
39:36
divided.
39:36
Some
39:37
reviewers
39:37
recognized
39:38
its
39:38
seriousness
39:39
and
39:39
craft.
39:40
Others
39:40
were
39:40
dismissive
39:41
of
39:41
the
39:41
monster
39:42
movie
39:42
format.
39:42
Regardless
39:43
of
39:43
what
39:43
Honda
39:44
was
39:44
doing
39:44
with
39:45
it,
39:45
There
39:45
was
39:45
also
39:46
discomfort
39:46
in
39:46
some
39:47
quarters
39:47
about
39:47
whether
39:48
the
39:48
film
39:48
was
39:48
exciting.
39:49
Exploiting
39:49
national
39:49
trauma
39:50
rather
39:51
than
39:51
honoring
39:53
was
39:53
the
39:53
release
39:53
of
39:53
the
39:53
American
39:54
version,
39:55
King
39:55
of
39:55
the
39:55
Monsters,
39:56
that
39:56
helped
39:57
change
39:57
the
39:57
national
39:58
sentiment.
39:59
As
39:59
the
39:59
years
39:59
passed,
40:00
the
40:00
opinion
40:01
on
40:01
Godzilla
40:01
changed
40:02
in
40:02
Japan.
40:03
It
40:03
gained
40:03
respect
40:04
and
40:04
admiration.
40:06
Godzilla
40:06
was
40:06
nominated
40:07
for
40:07
two
40:07
Japanese
40:08
Movie
40:08
association
40:09
awards,
40:10
one
40:10
for
40:10
Best
40:11
Special
40:11
Effects
40:11
and
40:12
the
40:12
other
40:12
for
40:12
Best
40:12
Film.
40:13
It
40:13
won
40:14
Best
40:14
Special
40:14
Effects,
40:15
but
40:15
lost
40:15
Best
40:15
picture
40:16
to
40:16
Akira
40:17
Kurosawa's
40:18
Seven
40:18
Samurai.
40:19
Kurosawa
40:20
later
40:20
listed
40:21
Godzilla
40:21
as
40:21
one
40:22
of
40:22
his
40:22
100
40:23
favorite
40:23
films.
40:25
Godzilla
40:26
spawned
40:26
a
40:27
multimedia
40:27
franchise
40:28
consisting
40:29
of
40:29
38
40:30
films
40:30
in
40:30
total.
40:31
Video
40:32
games,
40:32
books,
40:33
comics,
40:33
toys
40:33
and
40:34
other
40:34
media.
40:35
The
40:35
Godzilla
40:35
franchise
40:36
has
40:36
been
40:36
recognized
40:37
by
40:37
Guinness
40:37
World
40:38
Records
40:38
as
40:39
being
40:39
the
40:39
longest
40:40
running
40:40
film
40:40
franchise
40:41
in
40:41
history.
40:42
History.
40:43
Since
40:43
its
40:43
debut,
40:44
Godzilla
40:44
became
40:44
an
40:45
international
40:45
pop
40:45
culture
40:46
icon,
40:47
inspiring
40:47
countless
40:48
rip
40:48
offs
40:49
imitations
40:50
parodies
40:50
and
40:51
tributes.
40:52
The
40:52
1954
40:53
film
40:53
and
40:54
its
40:54
special
40:54
effects
40:54
director,
40:55
IG
40:55
Subaraya,
40:56
have
40:57
been
40:57
largely
40:57
credited
40:58
for
40:58
establishing
40:59
the
40:59
template
40:59
for
40:59
tokusatsu,
41:01
a
41:01
technique
41:01
of
41:02
practical
41:02
special
41:02
effects
41:03
filmmaking
41:03
that
41:03
would
41:04
become
41:04
essential
41:05
in
41:05
Japan's
41:06
film
41:06
and
41:06
TV
41:07
industry
41:07
after
41:08
the
41:08
release
41:08
of
41:08
Godzilla.
41:10
There
41:10
are
41:10
many
41:10
eras
41:11
of
41:11
Godzilla.
41:11
You
41:11
have
41:12
the
41:12
showa
41:12
era
41:13
from
41:13
1954
41:14
to
41:14
1975,
41:15
which
41:16
is
41:16
the
41:16
original
41:16
Godzilla
41:17
to
41:17
Terror
41:18
of
41:18
Mechagodzilla
41:19
the
41:19
Heisai
41:20
era,
41:20
1984
41:21
to
41:21
1995,
41:23
from
41:23
the
41:23
return
41:23
of
41:24
Godzilla
41:24
to
41:24
Godzilla
41:25
versus
41:25
Destroyer
41:26
the
41:27
Millennium
41:27
era,
41:28
1999
41:29
to
41:29
2004,
41:30
which
41:30
is
41:30
Godzilla
41:31
2000
41:31
Millennium
41:32
to
41:33
Godzilla
41:33
Final
41:33
War
41:34
wars
41:34
and
41:34
the
41:35
Reiwa
41:35
era,
41:36
2016
41:36
to
41:37
present,
41:37
starting
41:38
with
41:38
Shin
41:38
Godzilla
41:39
in
41:39
2016
41:40
through
41:40
to
41:41
Godzilla
41:41
minus
41:42
one,
41:42
the
41:43
first
41:43
Godzilla
41:44
film
41:44
to
41:44
win
41:44
an
41:44
Academy
41:45
Award
41:45
in
41:46
2023.
41:47
Godzilla
41:48
returns
41:49
in
41:49
Godzilla
41:49
-0
41:50
this
41:51
year
41:51
in
41:51
2026.
41:53
And
41:53
then
41:53
you
41:53
have
41:54
the
41:54
American
41:54
releases,
41:55
1998's
41:56
Godzilla
41:57
and
41:57
the
41:57
Monsterverse
41:58
movies.
41:59
Godzilla
41:59
in
42:00
2014,
42:00
Godzilla
42:01
King
42:01
of
42:01
the
42:01
Monsters
42:02
in
42:02
2019,
42:03
Godzilla
42:04
vs
42:04
Kong
42:04
in
42:04
2021,
42:06
Godzilla
42:06
X
42:06
Kong
42:07
the
42:07
New
42:07
Empire
42:07
in
42:08
2026,
42:08
and
42:09
the
42:09
forthcoming
42:09
Godzilla
42:10
X
42:10
Kong
42:11
Supernova
42:12
in
42:12
2027.
42:14
The
42:14
general
42:14
rule
42:15
is
42:15
that
42:15
Japan
42:16
and
42:16
America
42:17
can
42:17
continue
42:17
to
42:17
produce
42:18
new
42:18
Godzillas,
42:19
but
42:19
never
42:20
in
42:20
the
42:20
same
42:20
year,
42:20
which
42:21
is
42:21
why
42:21
Godzilla
42:22
-0
42:22
is
42:23
this
42:23
year
42:23
and
42:24
Godzilla
42:24
X
42:24
Kong
42:25
Supernova
42:25
is
42:26
next
42:26
year.
42:27
Godzilla
42:28
is
42:28
now
42:28
routinely
42:29
placed
42:29
among
42:30
the
42:30
most
42:30
important
42:31
Japanese
42:31
films
42:32
ever
42:32
made,
42:33
and
42:33
its
42:33
influence
42:34
on
42:34
genre
42:34
cinema
42:35
worldwide
42:35
is
42:36
incalculable.
42:37
It
42:38
dared
42:38
to
42:38
show
42:38
mass
42:39
destruction
42:39
and
42:40
disaster
42:40
on
42:40
a
42:41
scale
42:41
never
42:41
before
42:42
seen.
42:43
Sure,
42:43
King
42:43
Kong
42:44
ate
42:44
a
42:44
few
42:44
people,
42:45
but
42:45
Godzilla
42:46
destroyed
42:46
ships
42:47
and
42:47
city
42:47
blocks
42:48
with
42:48
ease.
42:49
In
42:49
1954,
42:50
audiences
42:51
could
42:51
have
42:51
no
42:51
clue
42:52
they
42:52
were
42:52
watching
42:52
something
42:53
that
42:53
would
42:54
not
42:54
only
42:54
still
42:54
be
42:55
generating
42:55
sequels,
42:56
reboots,
42:57
and
42:57
critical
42:57
reassessment
42:58
70
42:58
years
42:59
later,
42:59
but
43:00
literally
43:00
create
43:00
the
43:01
Kaiju
43:01
genre
43:02
and
43:02
inspire
43:03
countless
43:03
other
43:04
filmmakers.
43:06
Steven
43:06
Spielberg
43:07
is
43:07
probably
43:07
the
43:07
most
43:07
prominent
43:08
admirer.
43:09
He
43:09
described
43:09
Godzilla
43:10
as
43:10
the
43:10
most
43:11
masterful
43:11
of
43:11
all
43:12
the
43:12
dinosaur
43:12
movies
43:13
because
43:13
it
43:13
made
43:14
you
43:14
believe
43:14
it
43:14
was
43:15
really
43:15
happening.
43:16
The
43:16
connection
43:17
to
43:17
Jurassic
43:17
park
43:18
is
43:18
obvious.
43:19
Spielberg's
43:20
admiration
43:20
for
43:20
the
43:20
original
43:21
film
43:21
is
43:22
documented
43:23
in
43:23
the
43:23
Making
43:23
of
43:23
Book
43:24
for
43:24
Jurassic
43:24
Park.
43:25
Guillermo
43:26
del
43:26
Toro
43:26
is
43:27
another
43:27
vocal
43:28
admirer
43:28
of
43:28
Godzilla.
43:29
He
43:29
described
43:30
his
43:30
experience
43:30
of
43:31
the
43:31
original
43:31
film
43:31
as
43:32
producing
43:32
a
43:33
cumulative
43:33
sense
43:34
of
43:34
oppression,
43:35
war,
43:35
dismay
43:36
and
43:36
hopelessness,
43:37
and
43:37
said
43:38
that
43:38
in
43:38
the
43:38
middle
43:38
of
43:38
it
43:38
all
43:39
there
43:39
was
43:39
a
43:39
monster
43:39
he
43:40
fell
43:40
in
43:40
love
43:40
with.
43:41
He
43:41
grew
43:41
up
43:42
in
43:42
the
43:42
60s,
43:42
when
43:42
the
43:43
Kaiju
43:43
genre
43:43
was
43:44
at
43:44
its
43:44
peak,
43:44
and
43:45
recalled
43:45
that
43:45
as
43:46
a
43:46
child
43:46
he
43:46
dreamed
43:47
about
43:47
giant
43:47
robots
43:48
when
43:48
he
43:48
had
43:48
a
43:48
Fever.
43:49
And
43:49
that
43:50
love
43:50
culminated
43:51
in
43:51
Pacific
43:51
Rim,
43:52
which
43:53
is
43:53
also
43:53
a
43:53
previous
43:54
episode
43:54
of
43:54
this
43:55
podcast.
43:55
In
43:55
a
43:56
previous
43:56
Kaijune,
43:57
that
43:57
is
43:57
episode
43:58
213.
44:00
Indeed,
44:00
Pacific
44:01
Rim
44:01
is
44:01
dedicated
44:02
to
44:02
Ishiro
44:03
Honda
44:04
and
44:04
Ray
44:04
Harryhausen,
44:05
and
44:05
he
44:05
calls
44:06
them
44:06
the
44:06
greatest
44:07
giant
44:07
monster
44:07
creators
44:08
in
44:08
the
44:08
history
44:08
of
44:09
cinema.
44:10
But
44:10
it's
44:10
not
44:10
just
44:10
Spielberg
44:11
and
44:11
Del
44:11
Toro,
44:12
John
44:12
Carpenter,
44:13
Martin
44:13
Scorsese
44:14
and
44:14
Tim
44:15
Burton
44:15
have
44:16
all
44:16
expressed
44:16
admiration
44:17
for
44:17
the
44:17
work
44:18
of
44:18
Ishiro
44:18
Honda
44:19
and
44:19
the
44:20
template
44:20
he
44:20
created
44:21
for
44:21
the
44:21
disaster
44:22
and
44:22
monster
44:23
film.
44:23
For
44:24
Christmas
44:24
last
44:24
year,
44:24
my
44:25
brother
44:25
bought
44:25
me
44:25
the
44:25
Criterion
44:26
Collection
44:27
Blu
44:27
ray
44:27
of
44:28
Godzilla
44:28
1954
44:30
and
44:30
I'll
44:30
be
44:30
completely
44:31
honest,
44:31
I
44:32
had
44:32
never
44:32
seen
44:32
this
44:32
movie
44:33
before.
44:34
This
44:34
was
44:34
my
44:34
first
44:35
time
44:35
watching
44:35
it.
44:36
I
44:36
actually
44:37
watched
44:37
the
44:37
1998
44:38
Godzilla
44:39
first
44:40
before
44:40
I
44:40
saw
44:41
any
44:41
Godzilla
44:42
movie.
44:43
So
44:43
I
44:43
saw
44:43
the
44:43
1998
44:44
Godzilla
44:45
before
44:45
I
44:45
saw
44:45
this.
44:46
And
44:46
listen,
44:47
that
44:47
movie
44:47
is
44:48
fine.
44:48
I
44:48
actually
44:49
quite
44:49
enjoy
44:49
it.
44:50
But
44:50
really
44:51
they
44:51
are
44:51
so
44:52
not
44:52
comparable.
44:54
I
44:54
enjoy
44:54
the
44:55
American
44:55
Monsterverse
44:56
Godzillas,
44:56
but
44:56
again,
44:57
they
44:57
don't
44:57
really
44:57
feel
44:58
anything
44:59
quite
44:59
like
44:59
this.
45:00
The
45:01
closest
45:01
comparison
45:02
that
45:02
I
45:02
have
45:02
seen
45:03
is
45:03
Shin
45:04
Godzilla
45:05
and
45:05
Godzilla
45:05
minus
45:06
1.
45:07
Shin
45:07
Godzilla
45:08
I
45:08
love
45:08
because
45:08
it
45:08
reimagined
45:09
the
45:09
creature
45:10
as
45:10
a
45:11
direct
45:11
metaphor
45:11
for
45:11
governmental
45:12
inefficiency
45:13
in
45:13
handling
45:13
disaster
45:14
and
45:14
also
45:15
drew
45:15
parallels
45:16
to
45:16
the
45:16
2011
45:17
Fukushima
45:18
nuclear
45:18
crisis.
45:19
Plus
45:19
it
45:19
shows
45:20
the
45:20
raw
45:20
monster
45:21
of
45:21
Godzilla
45:22
and
45:22
Godzilla
45:23
minus
45:23
one.
45:23
Because
45:23
like
45:24
this
45:24
movie,
45:24
it
45:25
speaks
45:25
of
45:26
the
45:26
human
45:26
story
45:27
around
45:27
this
45:27
Godzilla
45:28
attack.
45:28
And
45:29
it
45:29
takes
45:29
some
45:29
skill
45:30
to
45:30
make
45:30
us
45:30
care
45:31
about
45:31
the
45:31
humans
45:32
in
45:32
a
45:33
Godzilla
45:33
movie.
45:34
And
45:34
I
45:35
really
45:35
cared
45:35
about
45:35
the
45:36
people.
45:36
I
45:37
cared
45:37
about
45:37
Dr.
45:37
Yamani
45:38
and
45:38
his
45:38
desire
45:39
to
45:39
study
45:39
Godzilla,
45:40
the
45:41
only
45:41
one
45:41
of
45:41
its
45:41
species,
45:42
and
45:42
keep
45:42
it
45:42
alive
45:43
and
45:43
not
45:43
kill
45:44
it.
45:44
I
45:44
cared
45:45
about
45:45
Dr.
45:45
Serizawa
45:46
and
45:47
his
45:47
wish
45:47
to
45:47
not
45:47
have
45:48
a
45:48
super
45:48
weapon
45:49
used,
45:49
and
45:49
for
45:50
the
45:50
only
45:50
way
45:50
for
45:50
it
45:50
never
45:51
to
45:51
get
45:51
into
45:51
the
45:51
wrong
45:51
hands
45:52
is
45:52
to
45:52
use
45:52
it
45:52
and
45:53
then
45:53
taking
45:53
his
45:54
knowledge
45:54
to
45:54
the
45:54
grave.
45:55
And
45:56
I
45:56
cared
45:56
about
45:56
Emiko
45:57
and
45:57
Ogata
45:57
and
45:58
their
45:58
plans
45:58
to
45:59
wed
45:59
being
45:59
totally
46:00
derailed
46:00
by
46:01
the
46:01
appearance
46:01
of
46:02
this
46:02
monster.
46:02
But
46:03
also
46:03
Emiko
46:04
being
46:04
the
46:04
silent
46:05
most
46:05
important
46:05
person
46:06
in
46:06
this
46:06
movie
46:07
because
46:07
she's
46:08
the
46:08
only
46:08
one
46:08
who
46:08
knows
46:09
about
46:09
Serizawa's
46:10
Oxygen
46:10
Destroyer
46:11
and
46:12
chooses
46:12
to
46:12
tell
46:12
his
46:13
secret
46:13
and
46:13
betray
46:14
him
46:14
rather
46:15
than
46:15
let
46:15
the
46:15
world
46:16
burn.
46:17
Having
46:17
a
46:17
young
46:17
Japanese
46:18
woman
46:18
basically
46:19
be
46:19
the
46:19
hero
46:19
of
46:19
a
46:20
movie
46:20
in
46:20
the
46:20
50s
46:21
seems
46:21
remarkably
46:22
progressive,
46:23
despite
46:23
the
46:23
fact
46:24
she
46:24
is
46:24
still
46:24
a
46:24
woman
46:25
and
46:25
has
46:25
to
46:25
do
46:25
the
46:25
cooking
46:26
and
46:26
is
46:26
left
46:26
at
46:27
home
46:27
a
46:27
lot
46:27
of
46:27
the
46:27
time.
46:28
And
46:28
this
46:29
is
46:29
the
46:29
thing
46:29
with
46:29
Godzilla
46:30
as
46:30
a
46:30
character.
46:31
Godzilla
46:31
constantly
46:32
evolves.
46:33
Each
46:33
iteration
46:34
is
46:34
the
46:34
same
46:35
vessel
46:35
of
46:35
contemporary
46:36
dread.
46:37
And
46:37
that's
46:37
why
46:37
the
46:37
character
46:38
has
46:38
never
46:38
become
46:39
dated
46:39
because
46:40
it's
46:40
just
46:40
the
46:40
anxieties
46:41
that
46:41
are
46:41
changing.
46:43
Over
46:43
70
46:44
years,
46:44
Godzilla
46:45
has
46:45
been
46:45
transformed
46:46
and
46:46
morphed
46:47
into
46:47
something
46:47
akin
46:48
to
46:48
a
46:48
national
46:48
mascot.
46:49
Which
46:50
culminated
46:50
in
46:51
2015
46:51
when
46:52
Godzilla
46:52
received
46:53
a
46:53
citizenship
46:54
certificate
46:54
from
46:55
the
46:55
Japanese
46:55
government
46:56
and
46:56
was
46:56
appointed
46:57
as
46:57
an
46:57
official
46:58
tourism
46:58
ambassador.
46:59
Ambassador,
46:59
a
47:00
creature
47:00
born
47:01
from
47:01
trauma
47:01
and
47:01
designed
47:02
to
47:02
make
47:02
audiences
47:03
feel
47:03
the
47:03
horror
47:04
of
47:04
nuclear
47:04
annihilation,
47:06
became,
47:07
in
47:07
time,
47:07
a
47:08
symbol
47:08
of
47:08
Japanese
47:09
resilience,
47:10
survival,
47:10
and
47:11
cultural
47:11
identity.
47:12
For
47:13
his
47:13
50th
47:13
anniversary
47:14
in
47:14
2004,
47:15
he
47:15
received
47:16
a
47:16
star
47:16
on
47:17
the
47:17
Hollywood
47:17
Walk
47:18
of
47:18
Fame.
47:19
And
47:19
of
47:19
course,
47:20
70
47:20
years
47:20
later,
47:21
age
47:22
is
47:22
showing.
47:23
The
47:23
suitmation
47:24
doesn't
47:24
quite
47:24
hold
47:24
up
47:25
like
47:25
King
47:25
Kong's
47:25
son
47:25
stop
47:26
motion
47:26
animation.
47:27
But
47:27
the
47:27
feeling
47:28
you
47:28
get
47:28
remains
47:28
the
47:29
same.
47:29
The
47:30
music
47:30
is
47:30
still
47:31
perfection.
47:31
The
47:32
destruction
47:32
feels
47:33
relentless.
47:34
We
47:34
may
47:34
be
47:34
used
47:35
to
47:35
bigger
47:35
monsters,
47:36
but
47:36
Godzilla,
47:37
even
47:37
in
47:38
its
47:38
most
47:38
generic
47:38
elements,
47:39
is
47:39
never
47:40
just
47:40
a
47:40
monster
47:41
movie.
47:41
It's
47:42
a
47:42
deeply
47:42
human
47:43
story
47:43
of
47:44
survival,
47:45
struggle,
47:45
and
47:46
raw
47:46
emotion
47:47
wrapped
47:47
in
47:47
a
47:48
monster
47:48
movie.
47:49
Perhaps
47:50
the
47:50
most
47:50
durable
47:50
thing
47:51
about
47:51
Godzilla's
47:51
legacy
47:52
is
47:52
that
47:52
it
47:52
demonstrated
47:53
that
47:53
a
47:53
monster
47:54
movie
47:54
could
47:55
be
47:55
a
47:55
serious
47:56
work
47:56
of
47:56
art,
47:57
that
47:57
popular
47:57
entertainment
47:58
and
47:58
genuine
47:59
moral
47:59
weight
48:00
were
48:00
not
48:00
incompatible,
48:01
that
48:02
displacement
48:02
into
48:03
fantasy
48:03
could
48:03
be
48:04
a
48:04
form
48:04
of
48:04
truth
48:04
telling
48:05
rather
48:06
than
48:06
an
48:06
escape
48:06
from
48:07
it.
48:08
Godzilla
48:08
should
48:09
not
48:09
be
48:09
seen
48:09
as
48:09
an
48:10
artifact
48:10
of
48:10
its
48:10
time,
48:11
but
48:11
as
48:12
a
48:12
generative
48:12
node
48:13
that
48:13
continues
48:13
to
48:14
shape
48:14
and
48:14
be
48:15
reshaped
48:15
by
48:16
Japan's
48:16
cultural
48:17
currents.
48:18
And
48:18
just
48:19
like
48:19
Dr.
48:19
Yamani
48:20
says,
48:21
if
48:21
nuclear
48:21
weapon
48:22
testing
48:22
continues,
48:23
another
48:23
Godzilla
48:24
may
48:24
rise.
48:25
So
48:26
of
48:26
course
48:27
he
48:27
does,
48:28
and
48:28
he
48:28
did,
48:29
because
48:29
there
48:29
were
48:30
many
48:30
sequels
48:30
to
48:31
this
48:31
movie.
48:32
But
48:32
the
48:33
fact
48:33
that
48:33
some
48:33
countries
48:34
still
48:34
proudly
48:35
show
48:35
off
48:36
their
48:36
nuclear
48:36
capabilities
48:38
after
48:38
the
48:38
atrocities
48:39
of
48:39
Nagasaki
48:40
and
48:40
Hiroshima,
48:41
and
48:42
the
48:42
fact
48:42
that
48:42
we
48:42
haven't,
48:43
as
48:43
a
48:43
world,
48:44
abolished
48:44
atomic
48:45
weapons
48:46
is
48:46
a
48:46
travesty
48:47
in
48:47
itself.
48:48
And
48:48
as
48:49
long
48:49
as
48:49
countries
48:49
continue
48:50
to
48:50
test
48:51
and
48:51
threat
48:51
with
48:52
nuclear
48:52
weapons,
48:53
as
48:53
long
48:54
as
48:54
that
48:54
threat
48:54
persists,
48:56
so
48:56
does
48:56
Godzilla
48:57
as
48:57
a
48:57
warning
48:58
to
48:58
humanity.
49:00
Maybe
49:00
Godzilla
49:01
isn't
49:01
the
49:01
monster.
49:03
Maybe
49:03
we
49:04
are
49:04
the
49:04
monster.
49:06
Thank
49:07
you
49:07
for
49:07
listening.
49:07
As
49:07
always,
49:08
I
49:08
would
49:08
love
49:08
to
49:08
hear
49:08
your
49:08
thoughts
49:09
on
49:09
Godzilla.
49:10
And
49:11
thank
49:11
you
49:11
for
49:11
your
49:11
continued
49:12
support
49:12
of
49:13
this
49:13
podcast.
49:15
You'll
49:15
be
49:15
back
49:16
next
49:16
episode
49:17
to
49:17
celebrate
49:18
the
49:18
United
49:19
states
49:19
of
49:20
America's
49:21
250th
49:22
birthday.
49:24
That's
49:24
right.
49:24
It
49:24
has
49:24
been
49:25
250
49:25
years
49:26
since
49:27
America
49:28
gained
49:28
independence
49:29
from
49:29
us
49:30
Brits.
49:31
And
49:31
I'm
49:31
not
49:31
throwing
49:32
away
49:32
my
49:33
shot
49:33
at
49:33
this,
49:34
because
49:34
we
49:34
never
49:35
really
49:35
knew
49:35
a
49:35
lot
49:35
about
49:36
the
49:36
first
49:36
Secretary
49:37
of
49:37
the
49:37
treasury
49:38
and
49:38
founding
49:39
father
49:39
Alexander
49:40
Hamilton,
49:41
his
49:41
involvement
49:41
in
49:42
the
49:42
American
49:42
Revolution,
49:43
or
49:43
his
49:43
personal
49:44
life
49:44
until
49:45
Lin
49:46
Manuel
49:46
Miranda
49:47
wrote
49:47
the
49:47
music,
49:47
lyrics,
49:48
and
49:48
book
49:48
for
49:49
the
49:49
musical
49:50
Hamilton,
49:51
which
49:51
premiered
49:51
off
49:52
Broadway
49:52
in
49:52
2015
49:53
and
49:53
in
49:53
2020
49:54
during
49:54
the
49:54
Heights
49:55
of
49:55
the
49:55
Pandemic,
49:56
was
49:56
released
49:57
as
49:57
a
49:57
film
49:57
on
49:57
Disney
49:58
plus
49:58
and
49:58
became
49:59
a
49:59
smash
50:00
hit
50:00
phenomenon.
50:01
And
50:01
it
50:01
really
50:02
feels
50:02
like
50:02
the
50:02
ideal
50:03
time
50:03
to
50:03
talk
50:04
about
50:04
the
50:04
movie
50:04
version
50:05
that's
50:05
actually
50:06
just
50:06
a
50:06
filmed
50:07
version
50:07
of
50:07
three
50:07
performances
50:08
of
50:09
the
50:09
show.
50:10
However,
50:10
there
50:10
is
50:11
nothing
50:11
more
50:11
American
50:12
and
50:12
nothing
50:13
better
50:13
to
50:13
celebrate
50:14
the
50:14
250th
50:15
birthday
50:15
of
50:15
America
50:16
than
50:17
talking
50:17
about
50:17
one
50:18
of
50:18
its
50:18
founding
50:18
fathers.
50:19
So
50:20
join
50:20
me
50:20
next
50:21
episode
50:22
for
50:22
the
50:22
history
50:22
and
50:23
legacy
50:23
of
50:24
Hamilton
50:26
thank
50:26
you
50:26
for
50:26
listening
50:26
to
50:27
Verbal
50:27
Diorama,
50:28
a
50:28
totally
50:28
free
50:29
and
50:29
independent
50:30
podcast
50:30
that
50:31
relies
50:31
on
50:31
listener
50:32
support.
50:33
If
50:33
you
50:33
want
50:33
to
50:33
show
50:33
your
50:34
support
50:34
in
50:34
multiple
50:35
different
50:35
ways,
50:36
you
50:36
could
50:36
leave
50:37
a
50:37
rating
50:37
or
50:37
review
50:37
wherever
50:38
you
50:38
found
50:38
this
50:39
podcast.
50:39
You
50:40
could
50:40
tell
50:40
your
50:40
friends
50:40
and
50:41
family
50:41
about
50:41
this
50:42
podcast
50:42
or
50:43
you
50:43
could
50:43
find
50:44
me
50:44
and
50:44
follow
50:44
me
50:45
on
50:45
social
50:45
media
50:45
and
50:46
you
50:46
can
50:46
share
50:46
the
50:47
podcast
50:47
that
50:48
way.
50:49
I
50:49
am
50:49
erbaldiorama
50:50
across
50:51
social
50:51
media
50:52
where
50:52
you
50:53
can
50:53
share
50:53
posts
50:54
like
50:54
posts,
50:55
comment
50:55
on
50:55
posts.
50:56
It
50:56
all
50:56
helps
50:57
really
50:57
to
50:57
get
50:57
the
50:58
word
50:58
out
50:58
there
50:59
to
50:59
hopefully
50:59
get
50:59
other
51:00
people
51:00
to
51:00
know
51:00
this
51:01
podcast
51:02
and
51:02
know
51:02
the
51:02
recent
51:02
episodes
51:03
that
51:03
I've
51:03
put
51:04
out.
51:04
I
51:05
genuinely
51:05
love
51:05
doing
51:06
this
51:06
podcast
51:06
and
51:07
anything
51:07
you
51:07
could
51:07
do
51:08
to
51:08
help
51:08
would
51:08
be
51:09
so
51:09
appreciated.
51:11
A
51:11
huge
51:11
thank
51:11
you
51:12
to
51:12
the
51:12
incredibly
51:12
generous
51:13
patrons
51:13
of
51:14
this
51:14
podcast.
51:14
I
51:14
could
51:15
not
51:15
do
51:15
what
51:15
I
51:15
do
51:16
without
51:16
their
51:16
support.
51:18
To
51:18
Simon,
51:19
Laurel,
51:19
Derek,
51:20
Cat,
51:21
Andy,
51:21
Mike,
51:22
Luke,
51:23
Michael,
51:23
Scott,
51:24
Brendan,
51:25
Ian,
51:25
Lisa,
51:26
Sam,
51:27
Jack,
51:28
Dave,
51:28
Stuart,
51:29
Nicholas,
51:30
Zoe,
51:30
Kev,
51:31
Danny,
51:32
Stu,
51:33
Brett,
51:33
Xenos,
51:34
Sean,
51:35
Ryno,
51:36
Philip,
51:36
Adam,
51:37
Elaine,
51:37
Aaron
51:38
and
51:38
Steve.
51:41
Please
51:41
consider
51:41
joining
51:42
them
51:42
and
51:42
supporting
51:43
this
51:43
podcast
51:43
on
51:44
Patreon
51:44
if
51:45
you
51:45
have
51:45
the
51:45
means
51:46
to.
51:47
If
51:47
you
51:47
want
51:47
to
51:47
get
51:47
in
51:48
touch,
51:48
you
51:48
can
51:48
email
51:49
verbaldioramail.com
51:51
you
51:52
can
51:52
also
51:52
go
51:52
to
51:52
verbaldiorama.com
51:54
and
51:54
you
51:54
can
51:54
fill
51:54
out
51:54
the
51:55
contact
51:55
form.
51:56
You
51:56
could
51:56
say
51:56
hello,
51:57
you
51:57
can
51:57
give
51:57
feedback
51:58
or
51:58
you
51:58
can
51:59
give
51:59
suggestions
52:00
as
52:00
well.
52:00
I
52:01
would
52:01
genuinely
52:02
love
52:02
to
52:02
hear
52:02
from
52:03
you.
52:03
You
52:03
can
52:03
also
52:04
DM
52:04
me
52:04
on
52:04
social
52:05
media
52:05
as
52:05
well
52:05
if
52:06
that's
52:06
an
52:06
option
52:07
available
52:07
to
52:07
you.
52:08
I
52:08
love
52:08
to
52:08
hear
52:09
from
52:09
people
52:09
and
52:09
I
52:09
always
52:10
try
52:10
to
52:10
respond
52:11
as
52:11
quickly
52:11
as
52:12
possible.
52:13
Thanks
52:13
again
52:13
for
52:13
listening
52:14
and
52:14
thanks
52:14
for
52:15
supporting
52:15
independent
52:16
podcasting.
52:17
It
52:17
means
52:17
more
52:18
to
52:18
us
52:18
than
52:18
you
52:19
know.
52:20
And
52:21
finally,
52:31
Bye.