New images and footage from the approaching Godzilla moviehave us so mad that we ’re zooming through the melodic phrase like three - head space kaiju . At Comic - Con , we sat down with theater director Gareth Edwards to talk about his elephantine monster designs , and the political subtext of this definitive anti - nuke tale .
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io9 : Which version of Godzilla shape your design for this monster ? Were you looking at any particular Godzilla movie ?
We went through all of the previous Godzillas [ for inspiration ] . We did hundreds of designs . I wanted to experiment with everything . We ’re hold this film in partnership with [ Godzilla franchise owner ] Toho Studios , so they had signoff on a lot of the design . The way I tried to view it was to imagine Godzilla was a real animate being and someone from Toho go out him in the 1950s and ran back to the studio to make a moving-picture show about the animal and was trying their good to remember it and take up it . And in our film you get to see him for real . In the Toho motion picture , you could see how they made those courting . But hopefully now with VFX , we can make the most naturalistic interpretation . Still , it ’s true to the Toho original in terms of the animal itself .
Is this the 1954 Godzilla , who is pestilent and horrible , or more like the humanise friend who emerges in the 70s and 90 picture show ?
That ’s the enthralling matter . Godzilla ’s an antihero . He started as the enemy and in the later celluloid became the adept bozo . In our film , it ’s not blackened or blank . I desire people to be afraid , and have that reaction . You would n’t be cheering if he really turned up , and we tried to keep it that agency .
You have a strong political subtext in your old movie Monsters . Did you portion out with any of the politics from the original Godzilla movie ?
Godzilla is a metaphor for Hiroshima in the original moving-picture show . We tried to keep that , and there are a lot of themes from ’ 54 movie that we ’ve kept . To me , if all we did was just have monsters smashing thing up , then the film would be pointless . The nifty affair about the 1954 Godzilla is that beyond the spectacle and epic enjoyment ofseeing giant monsters demolish a city , there ’s another layer to the movie that you could take or leave .
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In our plastic film , Godzilla represents a force of nature . The theme of man vs. nature creeps up a mountain visually throughout the cinema .
What do you mean ? Like climate variety ?
It ’s not specifically mood variety or anything . We tap into atomic themes within our film — that ’s at the heart of the motion picture . But it ’s more about the business leader of nature , and how we sometimes abuse that superpower . Godzilla is a symbolization of nature coming back to put us in our situation , to reconstruct the balance or however you want to fix it . Films like this are herculean when you feel like you deserve what ’s coming . It ’s not just a fantasy . Deep inside you sense like we ’ve been inquire for this — it ’s been a longsighted meter coming . As softheaded as all these events are , subconsciously it feels true that this could happen .
My pet repulsion film are single where character feel guilt , and have it coming to them . man has abused its position in the world and I think that Godzilla represents a force — not quite of retribution , but a violence of putting affair back to right .
Does an American kaiju represent something dissimilar than a Japanese one ? Does it have to be determine in Japan to tell this fib ?
It ’s of import that part of the film take away space in Japan , but it ’s very much a worldwide story . The whole idea was that it would be a sort of origin story , and you ca n’t do that without Japan .
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