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Efrem Naumov
Efrem Naumov

You Have Requested : Godzilla.II.Rei.dos.Monstr... ((NEW))

Monarch scientists Dr. Ishirō Serizawa and Dr. Vivienne Graham approach former employee Dr. Mark Russell, Emma's ex-husband and Madison's father, to help track them down. Mark is reluctant at first due to his hatred toward Godzilla, whom he blames for the death of his son during the events in San Francisco, but eventually agrees. The Monarch team follows Godzilla to Antarctica, where Jonah plans to free a three-headed Titan codenamed "Monster Zero." Emma frees and awakens Monster Zero, who battles Godzilla, devours Graham, and escapes. The team later realizes that Emma is working with the terrorists. From a Monarch bunker in Boston, Emma contacts Monarch and argues that the Titans must be awakened to heal the Earth from the damages that humans have caused.

You have requested : Godzilla.II.Rei.dos.Monstr...

In the original script, Mark and Sam were originally written as old friends. This was changed in later drafts from Sam to Serizawa to have him be the guiding force for Mark.[61] Dougherty added the Oxygen Destroyer as a representation of "humanity's inability to not interfere."[62] Dougherty and Shields chose to have Godzilla killed during the film's mid-point due to this being an idea that has not been done in previous Godzilla films. Shields noted that this was also to parallel Godzilla and Mark's characters, stating, "Kyle's loss of faith in the beginning, and finding it in this moment when he realizes, you know, God is dead."[63] In Dougherty and Shields's treatment and early drafts, full sequences of the non-Toho Titans rising after Ghidorah's call were written but later trimmed due to budgetary concerns.[64] Borenstein had originally written Mechagodzilla into the film. However, Dougherty scrapped the character during development.[65]

The film reclassifies the monsters' designation from "MUTOs" to "Titans".[67] For the monsters, Dougherty wanted their designs to emit a godly presence and evoke a sense of worship, stating, "Primitive man saw these creatures, and you want to give them a presence that would make him drop to his knees and bow to this god...It can't just look like big dinosaurs. Jurassic Park has that covered. These have to be distinct. They have to be their own thing. They're Titans."[56] The director instructed the designers to look at the original designs from every era and "distill those silhouettes and those key traits into something more modern." It was important for the director that the Titans were not just treated as monsters but "very large animals with a distinct thought process."[53]

For Rodan, elements of volcanic rock were added to the scales and skin color to make Rodan look capable of living inside of a volcano. Dougherty wanted Rodan's design to resemble something that "Mother Nature could have created."[54] The designers were instructed to not just look at Pteranodons but at various birds such as vultures, eagles, and hawks due to birds being related to dinosaurs.[53] Dougherty described Rodan as a "bit of a never quite know where his loyalties lie". The director further described Rodan as a "massive A-bomb" that brings "speed and ferocity."[68] Tom Woodruff Jr. and Amalgamated Dynamics provided the design for Rodan.[53] The Rodan chase scene was the first pre-viz sequence produced to be used as a pitch to Legendary.[69]

For the roars, the director felt it was important "getting the noises right." He gave the sound designers a "super cut" of the monster roars from the Shōwa Godzilla films, and had them start from there. He stated that the monsters would have new roars that would resemble the original incarnations.[56] Dougherty had the Shōwa roars on a massive speaker system to use on-set for scenes where actors had to run from or react to the monsters.[66]

On July 21, 2018, Dougherty revealed that Bear McCreary would compose the film's score, incorporating themes from Akira Ifukube's previous Godzilla scores.[22] Regarding his involvement, McCreary stated, "I am thrilled to be the composer for Godzilla: King of the Monsters, and honored beyond words to have the opportunity to contribute to one of cinema's longest-running musical legacies."[99] McCreary further expanded on his plans and involvement, stating;

"I've known Michael Dougherty for a long time, as we both run in the same film-nerd circles. I have always appreciated his love of film music, chatting with him for hours on end over the years about the scores we both love. I was thrilled for him when he landed the gig to direct Godzilla, because I knew what it meant to him. When he later asked me to join the project, I was overwhelmed with excitement, and awe, grateful for the chance to join him in contributing to the legacy of our favorite monster. We knew from the beginning that we wanted to incorporate classic [Akira] Ifukube themes, and yet I think fans will be excited to hear how they have evolved. There are some fun surprises in store. Fitting the material and Michael's visionary film, this score is the most massive I have ever written, and I can't wait for fans to experience it!"[100]

The Japanese band Alexandros contributed the single "Pray" for the film's Japanese release. On this decision, Dougherty commented, "we feel incredibly fortunate to have had [Alexandros] contribute such an anthemic song that captures not only the gravitas of the film, but also perfectly complements its dramatic conclusion."[108] The single was released on May 13, 2019.[109] The soundtrack was released by Waxwork Records in 2019 on a triple LP.[110]

"We weren't interested in politics, believe me. We only wanted to make a movie we could sell. At that time, the American public wouldn't have gone for a movie with an all-Japanese cast. That's why we did what we did. We didn't really change the story. We just gave it an American point of view."

Alterations and new footage with Burr interacting with body doubles were produced to appeal to American audiences, as foreign films held no appeal to the mainstream public at the time.[17] Morse viewed the original Japanese cut, with an English translation of the script, to find key scenes in which Burr could be inserted.[18] Rather than dub the entire film, Morse chose to retain most of the original Japanese dialogue and have Frank Iwanaga translate, albeit inaccurately, those scenes and alternate with Burr narrating. Burr worked with body-doubles, who were filmed over their shoulder to conceal their faces. Editing techniques were also used to mask the body doubles and the original Japanese actors. Asian-American extras were hired to play minor roles. The new footage was filmed in three days on a rented soundstage at Visual Drama Inc.[11] Burr shot his footage over six days although he later said it was one day and he worked twenty-four hours.[19] Set decorator George Rohr provided mock-up sets that resembled the sets in the original Japanese cut.[20] Overt references to the atom bomb and hydrogen bomb, such as the bombing of Nagasaki, the Bikini Island tests, radioactive contamination of tuna by American and Russian bomb tests, were omitted.[21]

The dubbing required for the entire film was recorded in under five hours. James Hong and the other voice actors have not given any details of the film's production. The voice actors were locked in a room with Morse and were told to read for every role. Each line was recorded at different speeds and the best one was chosen to match the footage. The voice actors never saw the film as they recorded their lines. The voice actors dubbed the entire film sitting at a table with a microphone before them.[11] Hong confirmed that several Japanese actors auditioned for the voice-over job. However, Hong and Sammee Tong were hired due to their versatility. Tong recorded voices for six older characters, while Hong recorded for seven younger characters.[22]

It was the first Japanese feature to become a commercial success in the United States and was, at the time, the fourth foreign film to have grossed more than $1 million at the American box office.[24] Goldman originally acquired the film to distribute in the American and Canadian markets. Due to the film's commercial success, however, foreign distributors became interested in acquiring the American cut. Trans World, therefore, renegotiated with Toho to license the American version to foreign markets.[25]

The film was released on DVD and VHS by Simitar Entertainment in 1998[42] and on DVD and VHS by Classic Media in 2002.[43] In 2006, Classic Media and Sony BMG released a two-disc DVD set titled Gojira: The Original Japanese Masterpiece. This release features both the 1954 film and the 1956 American version, making the original Japanese version of the film available on DVD in North America for the first time. This release features theatrical trailers, audio commentaries by film historians Steve Ryfle and Ed Godziszewski, two 13-minute documentaries titled "Godzilla Story Development" and "Making of the Godzilla Suit", and a 12-page essay booklet by Ryfle. This release also restores the original ending credits of the American film which, until recently, were thought to have been lost.[44]

The decision by Cozzi to specifically add real footage of death and destruction from war-time film reels was intentional. He wanted to give such an old feature an "up-to-date and more violent look". While editing the film, Cozzi was aware that certain stock footage did not match the Godzilla footage, but he chose to proceed anyway, feeling that the "effect would have been stronger than the defects". Additional footage was recycled from The Train and The Day the Earth Caught Fire. As tributes, Cozzi added brief clips from The Beast from 20,000 Fathoms and Godzilla Raids Again, taken from his personal 16mm prints. He coined the term "Spectrorama 70" for advertising purposes, referring to the film's colorization and for a feeling of 70mm. Cozzi stated that it "helped to give a 'bigger' look to my Godzilla theatrical re-release advertising materials".[51] 041b061a72


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