SHIN GODZILLA 『シン・ゴジラ』

All the dirt. All the top secret stuff. Anything that has to do with the process of getting us to sit and watch something projected on the big screen.

SHIN GODZILLA 『シン・ゴジラ』

Postby TheButcher on Mon Dec 08, 2014 4:48 am

The Good, The Bad, and Godzilla:
THE "JAPANESE GODZILLA" WILL RISE AGAIN!
Toho to Produce a New "Godzilla" in 2015
August Ragone wrote:Godzilla's 60th Anniversary isn't over, it's just beginning!



Variety:
Japan’s Toho to Produce New ‘Godzilla’ Movie
Mark Schilling wrote:TOKYO — Ten years after “Godzilla: Final Wars,” the last Toho Godzilla movie, trampled across the screen, the Japanese studio is gearing up to make another film featuring its iconic character.

The movie is scheduled to begin production in the summer of 2015 and bow theatrically in 2016, Toho sources have revealed. Details, including director and cast, have yet to be announced.

Toho has launched what it calls the Godzilla Strategic Conference (Godzi-Con), a committee of studio executives and directors whose aim is to reboot the Godzilla brand, including the new “Godzilla” pic.

The head of the new Godzilla project, veteran producer Taichi Ueda, told the press that, though Toho will not spend the $200 million reportedly lavished on the American “Godzilla,” “The time has come for Japan to make a film that will not lose to Hollywood.” Ueda added that Toho hopes to make Godzilla a character that “will represent Japan and be loved around the world” by the time of the 2020 Tokyo Olympics.

As part of its effort to reacquaint a new generation of Japanese with the country’s signature monster, Toho plans to erect a giant Godzilla statue in its Toho Cinemas Shinjuku theater by April of next year.



THR:
Japan's Toho to Produce New 'Godzilla' for 2016, First in 12 Years
Gavin J. Blair wrote:"This is very good timing after the success of the American version this year: if not now, then when? The licensing contract we have with Legendary places no restrictions on us making domestic versions," a Toho staffer told The Hollywood Reporter.

Toho also announced the formation of a Godzilla Strategic Conference (Godzi-Con), consisting of executives and directors that will look for ways to leverage the Godzilla brand through merchandising and other activities. The launch of Godzi-Con suggests that Toho is planning on creating a new Godzilla series, though the studio will not confirm anything beyond the 2016 film.
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Re: GODZILLA 2016: The Taichi Ueda Era Begins

Postby TheButcher on Mon Dec 08, 2014 7:35 pm

Toho Makes 1st Japanese Godzilla Film in 12 Years
TOHO proclaimed, "The time has come to make a film that will not bow down to the Hollywood film," thanks to a combination of rapidly improving filmmaking techniques (as exemplified by the ongoing Parasyte films) and know-how developed over the years in Japan.

Parasyte: Gory invasion of the cannibal body snatchers
MARK SCHILLING wrote:
The closing film of this year’s Tokyo International Film Festival, Takashi Yamazaki’s “Kiseiju: Part 1 (Parasyte: Part 1),” arrives in theaters with a lot of hype. Based on Hitoshi Iwaaki’s best-selling manga about the stealth invasion of Earth by alien parasites, the film is the first of a two-part epic, with the second film scheduled for release on April 25, 2015.

YouTube:
Parasyte - Official Live-Action Trailer

Film Review: ‘Parasyte: Part 1′
Bigscreen adaptation of Japanese body-snatcher manga in good hands with vfx whiz Takashi Yamazaki, who builds on blockbuster success of his most recent hit, 'The Eternal Zero.'
Peter Debruge wrote:A robust score adds yet another dimension of suspense, as composer Naoki Sato’s “Godzilla”-style bombast makes the film’s scope feel bigger — and more than deserving of its forthcoming sequel.




Taichi Ueda was a producer on Takashi Yamazaki's The Eternal Zero.
I bet they team up again for Godzilla 2016.
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Re: GODZILLA 2016 Man In Suit! Man In Suit?

Postby TheButcher on Fri Dec 12, 2014 7:59 am

GODZILLA ON THIRD STREET
Director Takashi Yamazaki Discusses Godzilla’s Cameo Appearance in ALWAYS 2

Takashi Yamazaki
Nicholas Rucka wrote:Working on the forefront of Japanese visual effects as a technician for many years, Takashi Yamazaki took his first stab at directing with 2000's sci-fi kids flick Juvenile. Showing that he wasn't ready to abandon the sci-fi genre just yet, he mashed up what appeared to be his favorite plot points and visuals from the past 20 years of sci-fi cinema into 2002's Takeshi Kaneshiro star vehicle Returner.

Not wanting to risk being labeled a single-genre director, though, Takashi Yamazaki turns in his first non-science fiction film to date - and coincidentally his most popular and critically successful work - with Always: Sunset on Third Street (Always: Sanchome no Yuhi), a feel-good drama about community, family, and optimism in a hardscrabble post-war Tokyo neighborhood. Midnight Eye sat down with director Takashi Yamazaki on the eve of the US premiere of Always, to discuss his history as a visual effects artist, his interest in and influence by jidai-geki, and what the future holds.


Debate still rages over Abe-endorsed WWII drama
MARK SCHILLING wrote:
Takashi Yamazaki’s World War II drama “Eien no Zero (The Eternal Zero),” whose pilot hero joins the tokkōtai (kamikaze) suicide squadron in the closing days of the war, has soared to the box office heights since its Dec. 21 release. After ranking No. 1 in the charts for eight weeks in a row, the film now looks likely to finish its run with more than ¥8 billion, making it one of the 10 top-grossing Japanese films of all time.
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Re: GODZILLA 2016 Man In Suit! Man In Suit?

Postby TheButcher on Wed Apr 01, 2015 12:07 am

The First Official Image From Toho's GODZILLA, And A Director Announcement
Andrew Mack wrote:Anno Hideaki, director of the Evangelion anime series and subsequent films, will be the writer and director of this new Godzilla film. Also confirmed today, Attack on Titan director, Higuchi Shinji, will use all his previous experience doing special effects on Tokusatsu films like the Heisei era Gamera films from the 90s, and handle the effects for it.
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Re: GODZILLA 2016 Man In Suit! Man In Suit?

Postby TheButcher on Thu Apr 02, 2015 6:20 am

"EVANGELION" CREATOR HELMS NEW "GODZILLA"
Hideaki Anno & Shinji Higuchi Revive the King!
August Ragone wrote:Perhaps you don't realize what this means. It is momentous.

Evangelion's Hideaki Anno Is New Japanese Godzilla Film's Chief Director, Writer
Live-action Attack on Titan's Shinji Higuchi is director, special-effects director on Summer 2016 film
Evangelion director Hideaki Anno is the chief director and writer of TOHO's upcoming Godzilla film, the first new Japanese one in the franchise in 12 years. Shinji Higuchi, the director of Japan Sinks, Nobō no Shiro, and the upcoming live-action Attack on Titan films, is directing the new film and serving as special effect director as well.

The two longtime tokusatsu (special-effects) fans have been close friends for three decades. They previously collaborated on "Kyoshinhei Tokyo ni Arawaru" (Giant God Warrior Appears in Tokyo), Ghibli's live-action tokusatsu short. Anno planned and wrote this short that draws inspiration from the Giant God Warriors in Ghibli co-founder Hayao Miyazaki's Nausicaä of the Valley of the Wind manga and anime film, and Higuchi directed the short.

Higuchi worked as a storyboarder for the Evangelion television series and the three recent films, and he served as assistant director on Royal Space Force - The Wings of Honnêamise. (Anno was an animation director on that film.)

Higuchi has also served as the special effects director for the Gamera: Guardian of the Universe, Gamera 2: Advent of Legion, and Gamera 3: Awakening of Irys films. With Higuchi's collaboration, Anno curated a tokusatsu exhibition that drew 291,575 visitors at the Museum of Contemporary Art in Tokyo in 2012.

Anno (left in photo) received the offer to work on the film at the end of January 2013. Mentally exhausted after 2012's Evangelion: 3.0 You Can (Not) Redo, he declined the offer once. However, TOHO's earnestness and Higuchi's enthusiasm eventually won him over, and he agreed to work on the project.

Anno is working on Studio Khara's fourth and final new Evangelion film, and the new TOHO Godzilla film is limited in budget and production time compared to Hollywood. However, Anno said that he has pride in the new Godzilla project as a film, and is making both that film and the new Evangelion film with all his effort.

Higuchi (right in photo) entered the film industry when he worked on the 1984 Godzilla film, so he remarked with delight on directing the new Godzilla film, "Finally, the time has come." He added, "Playtime is over," and acknowledged the pressure on him. Still, he vowed, "Next year, I will deliver the greatest and worst nightmare to everyone."

TOHO unveiled an image (pictured above right) of the foot of its new Godzilla on Wednesday. According to Cinema Today, the foot is indicative of the new Godzilla being the tallest one yet, towering over the 108-meter-tall (about 355-foot-tall) incarnation in Gareth Edwards and Legendary Pictures' 2014 Hollywood film. The setting of TOHO's new Godzilla flm is Japan.

Anno is now writing the new Godzilla film's screenplay. Filming begins this fall, and TOHO will release the film in theaters next summer.


Hideaki Anno and Shinji Higuchi to Direct ‘Godzilla 2016′
Patrick Frater wrote:Top Japanese filmmakers Hideaki Anno and Shinji Higuchi will team up to co-direct “Godzilla 2016”, the new Japanese version of the iconic Godzilla monster movie franchise.

Anno will also be responsible for the screenplay while Higuchi will oversee the picture’s VFX.
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Re: GODZILLA 2016 Man In Suit! Man In Suit?

Postby TheButcher on Thu Apr 02, 2015 2:48 pm

THE DIRECTORS OF "GODZILLA 2016" SPEAK:
"I'll Give You the Greatest Worst Nightmare!"
These men are planning to destroy Japan next summer. Again.
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Re: GODZILLA 2016 Man In Suit! Man In Suit?

Postby TheButcher on Sat Apr 11, 2015 4:55 pm

Japan’s new anime king Hideaki Anno haunted by fears of nuclear apocalypse

ALASTAIR HIMMER wrote:
Famous for the hit sci-fi franchise "Evangelion," Anno draws inspiration from the darker recesses of the human soul, haunted by the threat of nuclear holocaust growing up as a child in Japan during the Cold War era and in the shadow of the US atomic bombings of Hiroshima and Nagasaki in 1945.

"The fear of the Cold War was in essence the fear of nuclear war," Anno told AFP in an interview during the Tokyo International Film festival, where 53 of his films were being showcased.

"There was a real sense that if atomic war broke out, the world would be destroyed. If someone pushed the nuclear button it would lead to the destruction of the world—that was the reality at the time, that fear of Armageddon."
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Re: GODZILLA 2016 Man In Suit! Man In Suit?

Postby TheButcher on Sat Apr 18, 2015 11:19 am

Japan’s Toho To Seek Remake, Co-financing Opportunities
Patrick Frater wrote:Toho, Japan’s leading film studio, is to spread its wings with an expansion of its international activities into remakes and co-financing.

“As a strategic first step to expanding and strengthening the global operations, Toho will be committed to the intellectual property it represents by connecting it to adaptation opportunities and financing its production,” the company said in a statement. “Toho intends to grow the business and bolster the presence of Japanese IP.”

It has appointed existing Toho executives, director, Hiroyasu Matsuoka to oversee the division and Yukio Kotaki as general manager.

Toho’s international sales business has to date largely focused on licensing its motion picture, animation and character properties.

The new emphasis on making its entertainment properties go further reflects the government’s drive to export Japanese culture further, efforts by other companies with Japanese IP, and Toho’s 83-year film industry legacy and its strong finances.

Toho is internationally best known for its 28 film “Godzilla” series. The franchise last year saw Warner Bros release a Hollywood remake, directed by Gareth Edwards, which grossed $529 million worldwide. That in turn has given rise to another now-in-development Warner sequel and caused Toho to revive plans for its own Godzilla, to be directed by Hideaki Anno and Shinji Higuchi, and released in 2016.

The policy takes immediate effect and will see the new team make their market debut next month in Cannes.
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Re: GODZILLA 2016 Man In Suit! Man In Suit?

Postby TheButcher on Sun Aug 02, 2015 8:53 am

The Good, the Bad, and Godzilla:
HAS “GODZILLA 2016” BEGUN PRODUCTION?
And Did These Men Design Toho's New Big G?
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Re: GODZILLA 2016 Man In Suit! Man In Suit?

Postby TheButcher on Wed Aug 05, 2015 10:25 pm

AP Interview: Japan's 'Godzilla' Director Wants to Surprise
YURI KAGEYAMA wrote:Shooting begins next month, much of it at Toho studios in Tokyo. Animation master Hideaki Anno just finished the script and will help oversee direction.

Higuchi's special-effects techniques were amply demonstrated in "Attack on Titan," a new release received favorably in Japan.

The work combines computer graphics with manipulating a towering doll of rippling red muscle that resembles a giant biological anatomy chart, as well as special-effects filmmaking, using actors moving through miniatures, to depict grotesquely enlarged humans.

Applying to Godzilla that kind of technology, which Higuchi calls "hybrid," has never been attempted in Japan. Higuchi is promising just that.
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Re: GODZILLA 2016 Man In Suit! Man In Suit?

Postby TheButcher on Tue Sep 01, 2015 9:17 pm

'Shin Godzilla' Movie Listed on Sign at Tokyo Filming Locale
A notice posted at the Kamata bus station in Tokyo revealed that buses will not stop as usual at the station on Sunday morning, due to the filming of a movie titled "Shin Gojira" (New Godzilla).

Anime director Hideaki Anno and live-action Attack on Titan film director Shinji Higuchi are currently collaborating on TOHO's upcoming Godzilla film, the first new Japanese one in 12 years. Anno is serving as chief director and writer, while Higuchi is directing the new film and is also serving as the special effects director.

TOHO previously announced that filming for the new Godzilla film would begin this fall. TOHO will release the film in Japanese theaters next summer.

[Via Minna no Eva Fan]
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シン・ゴジラ

Postby TheButcher on Fri Sep 25, 2015 5:40 pm

New Japanese Godzilla Film Unveils Cast, Title
Attack on Titan's Hiroki Hasegawa & Satomi Ishihara, Yutaka Takenouchi star in Shin Godzilla
Executive producer Akihiro Yamauchi (Trick, Densha Otoko, Bakuman.) explains that the film's title, Shin Gojira or Shin Godzilla, signifies that it is not a "revival" or a "rebirth." While it can be translated as "New Godzilla," it can also mean "True Godzilla," "God Godzilla," and other connotations. Chief director Hideaki Anno coined the title to incorporate various possible meanings.

Filming began in the Tokyo suburbs in August and will wrap up at the end of October. According to Sankei Sports' source close to the production, the story is mainly set in modern Japan, and America is also involved. The new Godzilla will be the tallest one yet, towering over the 108-meter-tall (about 355-foot-tall) incarnation in Gareth Edwards and Legendary Pictures' 2014 Hollywood film.

Anime director Hideaki Anno and live-action Attack on Titan film director Shinji Higuchi are currently collaborating on the film. Anno is serving as chief director and writer, while Higuchi is directing the new film and is also serving as the special effects director.

Higuchi promised that this will be the scariest Godzilla yet, quoting the horrors of the real world, like 9/11, the March 11 tsunami, and subsequent Fukushima nuclear crisis having stripped the the world of its innocence. The film will use a hybrid of actors moving through miniatures (a staple of the early Godzilla films), computer graphics, and special effects.
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Re: TOHO'S GODZILLA RESURGENCE

Postby TheButcher on Sat Nov 14, 2015 6:01 am

"SHIN GODZILLA" PROMO REEL SCREENS AT AFM!
Official English Title: "GODZILLA RESURGENCE"
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Re: TOHO'S GODZILLA RESURGENCE

Postby TheButcher on Thu Apr 14, 2016 7:00 am


Deadline:
‘Godzilla Resurgence’ Japanese Trailer: The King Of The Monsters Reclaims His Crown
Ross A. Lincoln wrote:Let’s get to the point: the first trailer for Toho’s reboot of the Godzilla franchise, Godzilla Resurgence, dropped earlier today and in a word, it’s breathtaking. Showcasing a back to basics approach to Kaiju films, it draws heavily from the 1954 original, released when Japan was still recovering from World War II and inspired by the devastation of the war’s final days. Here, we see that earlier film’s depiction of remote, godlike terror with modern effects and techniques. Sure, the monster still looks like a man in a suit and yet, it’s genuinely terrifying. It helps, of course, that the the scale of the attack is both distant and personal, as shown by Godzilla towering over the city he’s plodding through, and the focus on on-the-ground devastation. Watch the clip above now.


Announced back in 2014 in the wake of Legendary’s successful American take on the classic Kaiju, Godzilla Resurgence is a full reboot of the 30-odd film series, and the first to come out of Japan since 2004’s Godzilla: Final Wars. Co-directed by Neon Genesis Evangelion co-creator Hideaki Anno and Gamera storyboard artist Shinji Higuchi from a script by Hideaki, it hits Japanese theaters July 29.


TOHO'S UPCOMING "SHIN GODZILLA" REVEALED
New Info & Trailers for GODZILLA RESURGENCE!
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Re: TOHO'S GODZILLA RESURGENCE

Postby so sorry on Thu Apr 14, 2016 8:30 am

The tail on that thing is ridiculous!
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Re: TOHO'S GODZILLA RESURGENCE

Postby TheBaxter on Thu Apr 14, 2016 2:13 pm

so sorry wrote:The tail on that thing is ridiculous!


that's not his tail :shock:
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Re: TOHO'S GODZILLA RESURGENCE

Postby Peven on Thu Apr 14, 2016 4:31 pm

"we are getting divorced and it's all Godzilla's fault!"

possible alternate title
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Re: TOHO'S GODZILLA RESURGENCE

Postby TheButcher on Sun May 01, 2016 7:55 am

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Re: TOHO'S Godzilla Strategic Conference (Godzi-Con)

Postby TheButcher on Fri May 13, 2016 4:26 am

THR:
Japan's Toho to Produce New 'Godzilla' for 2016, First in 12 Years
Gavin J. Blair wrote:"This is very good timing after the success of the American version this year: if not now, then when? The licensing contract we have with Legendary places no restrictions on us making domestic versions," a Toho staffer told The Hollywood Reporter.

Toho also announced the formation of a Godzilla Strategic Conference (Godzi-Con), consisting of executives and directors that will look for ways to leverage the Godzilla brand through merchandising and other activities. The launch of Godzi-Con suggests that Toho is planning on creating a new Godzilla series, though the studio will not confirm anything beyond the 2016 film.

Variety:
Japan’s ‘Production Committee’ Filmmaking Has Critics Grousing About Groupthink
Brett Bull wrote:Social media was abuzz in April after producer and distributor Adam Torel of Third Window Films told the Sankei Shimbun newspaper that the quality of movies made in Japan had fallen low.

One of his points was that the so-called “production committee” system, whereby multiple partners invest in a film project, results in a highly conservative product since a director is under the watch of multiple corporate interests.

In spite of its critics — and Torel is not alone — this long-held system is not fading; rather, it might be gaining steam as players in the market continue to benefit from the process.

The pooling of so many companies together (possibly up to 12) provides the system’s greatest rewards: easier access to finance and the spreading of risk. But, as Torel implied, it may also end in a bland production.

There is, however, no disputing the results at the Japanese box office. For 2015, revenues from domestic films exceeded those from foreign movies for the eighth year in a row. Three committee films made the top 10 among Japan’s box office grossers in 2015: “The Boy and the Beast,” “Hero,” and “Detective Conan: Sunflowers of Inferno.” All surpassed 1 billion yen ($9.34 million) domestically, a key number for success, though none did strong business abroad.

Yet Japan’s trade ministry has increasingly sought in recent years to derive more overseas revenue from the country’s entertainment content, especially films. However, the complicated production committee system can pose a stumbling block regarding decision-making, especially in tapping ancillary markets.
Yoshiki Takahashi, a writer for film magazine Eiga Hiho, says that it is not a matter of Japan’s system being broken; instead, it is about the domestic market being top priority.

“One can say that there is this idea that Japanese movies have a unique form of expression, but that doesn’t mean they satisfy what is expected globally,” he says. “To make a successful movie overseas, I think it would be necessary to target this expectation. However, this idea is not shared within the Japanese film industry.”

The committee behind a film can arise from the progression of a property from one medium to another. The publisher and commercial broadcaster behind a franchise’s previous run as a comic and television series typically get seats on the committee. For example, in March, distributor Gaga announced it was venturing into production with multiple partners for the making of “Itazura na Kiss — The Movie,” a live-action film based on a popular 1990s manga series.

“We thought it could be successful from a business standpoint,” says Koji Hyakutake, the chief operating officer of Gaga. “The story is popular not only in Japan, but also across Asia, including in South Korea, Taiwan and Thailand. It started as a manga, then it became a TV drama and an animation, but it has never been a movie.”

One company working to ease this process is All Nippon Entertainment Works, which has partnered with Imagine Entertainment for a live-action adaptation of the animation “Tiger & Bunny.” “Japanese companies have too often just been ‘rights holders,’ where projects are optioned with no further involvement from the Japanese creators,” says CEO Sandy Climan. “ANEW finances the development of projects where there is a true partnership between the Japanese rights holders and the U.S. producing partners.”

AICN:
Gale Anne Hurd doing Live Action GAIKING & other ANEW news!


Film Business Asia Fri, 30 October 2015:
Fixing Japanese cinema's image problem

3 reasons Japanese movies today suck, according to distributor and producer Adam Torel
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Re: TOHO'S GODZILLA RESURGENCE

Postby so sorry on Fri May 13, 2016 9:16 am

TheButcher wrote:Twitter:
Nico Nico douga Super Conference 2016
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Wrinkle cream stat!
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Re: TOHO'S GODZILLA RESURGENCE

Postby TheBaxter on Fri May 13, 2016 11:24 am

that's what happens after godzilla has lap band surgery and loses a hundred tons.
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Re: GODZILLA RESURGENCE

Postby TheButcher on Sat Jun 11, 2016 5:30 am

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Re: GODZILLA RESURGENCE

Postby TheButcher on Tue Jun 14, 2016 9:13 am

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Re: GODZILLA RESURGENCE

Postby so sorry on Tue Jun 14, 2016 10:48 am

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Re: GODZILLA RESURGENCE

Postby TheBaxter on Tue Jun 14, 2016 12:08 pm

that's what happens when you have too much time on your hands and nothing to watch but late-night infomercials.

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Re: GODZILLA RESURGENCE

Postby Peven on Tue Jun 14, 2016 5:22 pm

so sorry wrote:



Those thighs tho



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Re: GODZILLA RESURGENCE

Postby TheButcher on Tue Jul 19, 2016 9:34 am


『シン・ゴジラ』予告2
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Re: GODZILLA RESURGENCE

Postby so sorry on Tue Jul 19, 2016 12:28 pm



Which loosely translates to "men sitting around conference room table"
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Re: 『シン・ゴジラ』

Postby TheButcher on Fri Jul 22, 2016 12:28 am

so sorry wrote:


Which loosely translates to "men sitting around conference room table"

『シン・ゴジラ』予告2 is really a documentary about “Godzi-con.”
August Ragone wrote:In a press release issued today, Toho announced they’ve launched the “Godzilla Conference” as an organization to discuss and decide a wide range of strategies for promoting the Big G, including, but not limited to motion pictures. The group has also been officially nicknamed, “Godzi-con” (or “Gojikon” in Japanese parlance).


Exclusive! Funimation Licenses GODZILLA RESURGENCE
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Re: GODZILLA RESURGENCE 『シン・ゴジラ』

Postby TheButcher on Sun Jul 31, 2016 7:04 am

Our favorite monster returns to terrorize Japan in ‘Shin Godzilla’
MARK SCHILLING wrote:After 12 years in storage (or on Monster Island) a Japanese Godzilla is roaring again. Toho film studios has revived the world’s favorite atomic-breathed monster in “Shin Godzilla,” which is set for nationwide release today.

However, a lot has changed since the big guy last tromped through Japan in Ryuhei Kitamura’s widely panned box-office flop, “Godzilla: Final Wars” (2004). For one thing, Gareth Edwards’ 2014 “Godzilla,” a Hollywood-produced CGI hit that earned $529 million worldwide and paid homage to the Japanese franchise (though without the series’ classic practical effects), revived fan interest in Toho’s signature character. Japan, where the film made a solid ¥3.2 billion, was no exception.

In addition to that, the series’ 60th anniversary in 2014 prompted retro screenings and reappraisals that centered on the work of the men who had started it all: Ishiro Honda, director of the 1954 “Godzilla” film, special effects wizard Eiji Tsuburaya and long-time series producer Tomoyuki Tanaka.

So when Toho revealed in December 2014 that it would finally reboot the series, fan expectations were understandably high. They rose even higher with Toho’s later announcement that the new film’s co-directors would be Hideaki Anno, creator of the cult favorite “Evangelion” sci-fi anime franchise, and Shinji Higuchi, a veteran effects specialist responsible for the live-action “Attack on Titan” films. Once shooting began in September 2015, based on Anno’s script, “Godzilla” otaku (obsessed fans) tried to root out every tidbit of news on the production, with Toho doing its best to thwart them.

Higuchi, who is in charge of the film’s effects work, has taken what he calls a “hybrid” approach to animating the title monster and the destruction he wreaks, incorporating both advanced computer-generated imagery and traditional practical effects. But one thing that has not completely changed since the original “Godzilla” is the use of “suitmation,” where an actor wears a monster suit and trudges through a miniaturized cityscape. It’s a workaround that Tsuburaya developed for the 1954 film to replace expensive and time-consuming stop-motion animation, which was Hollywood’s preferred method for its big-budget creature features, going back to “King Kong” in 1933.

Higuchi and his team, however, have used three humans, not the traditional guy in a suit, augmented by various digital enhancements to bring Godzilla lumbering to life.

Another series constant found in the new film is the concerted effort of Japan’s government and Self-Defense Forces to battle Godzilla — which at 118.5 meters is the biggest in the series’ history. (The monster’s actual on-set size differs, of course, though last year Toho unveiled a life-size Godzilla head looming over the eighth-floor observation deck of Hotel Gracery in Tokyo’s Shinjuku Ward.) In many “Godzilla” films, these uniformed and dark-suited men (and a few women) watch anxiously as the conventional bullets, shells and missiles of the authorities only stir the monster’s rage — not stop the rampage. Earnest these folks may be, effective they are not.

Norman England is a life-long Godzilla fan and former reporter for Fangoria magazine who has spent months on “Godzilla” film sets and saw “Shin Godzilla” last month at a special industry screening. He notes a dramatic departure in the new film from the series’ traditional pacifistic stance.

“This is the first film in the series to go for the jugular in trying to elicit rah-rah support for the military and sympathy for the government,” England says, likening the film’s not-so-subtle nationalism to the blatant flag-waving found in Roland Emmerich’s 1996 sci-fi epic “Independence Day.”

“Godzilla was originally imagined as a metaphor for the horrors of war and the devastation war brings to people, whether deserved or not,” he continues. “How this new approach will play domestically and internationally is anyone’s guess.”

Toho has an answer of sorts: It has sold “Shin Godzilla” to nearly 100 territories. In the United States, Funimation Entertainment has acquired the film for a late 2016 theatrical debut. This does not guarantee that it will be a success there — or here for that matter. Emmerich’s 1998 “Godzilla,” which reimagined the titular character as a kind of giant iguana, received a similar worldwide release but was a box-office disappointment in both North America and Japan, the latter of which should have been its strongest overseas market.

Other, less negative views of the film will no doubt emerge — but not from this writer, at least not immediately. Toho has not held the usual press screenings for the media and the industry, opting instead for what it called a “world premiere red carpet event” on July 25 in Tokyo that brought cast and staff on stage and was streamed to fans by the Line Live service. The lucky viewers, however, did not get to see the entire film. This keep-it-under-wraps release strategy is highly unusual in Japan, though not in Hollywood, where studios have long limited media access to certain films, typically turkeys whose critical savaging is only delayed, not avoided.

Fortunately for Toho, post-premiere reviews have been mostly positive. Writing for Eiga.com, Kazuo Ozaki raves that, “Hollywood, even with all its money, can’t approach this kind of perfection,” while Koichi Irikura of the website Cinema Today hails the “birth of a masterpiece that boldly announces the revival of a Japanese Godzilla.” But given these and other reviews with a pro-Toho, anti-Hollywood tinge, the film seems to be stirring the patriotic sentiments that England found in its story line.

In any event, Anno and Higuchi’s film seems likely to recoup any costs. Since 2004, Toho and its partners have perfected a production committee system in which committee members, typically big media companies, share the cost of production and the work of promotion, while retaining certain rights. Not every film made by this system is a hit, but Toho’s box-office record is the envy of the industry, especially for its releases at peak times in the film-year calendar: New Year’s, Golden Week and the summer school holiday. In 2015, eight of the 10 top-earning domestic films were Toho releases, including the summer’s biggest hit, Mamoru Hosoda’s animation “The Boy and the Beast” (“Bakemono no Ko”).

Also, the dual directors of “Shin Godzilla” are not newcomers to the genre like Kitamura, but respected sci-fi/fantasy veterans. Anno especially has acquired a large global fan base and garnered critical kudos for his “Evangelion” sci-fi franchise, beginning with the original 1995-96 TV series and continuing with the “Rebuild of Evangelion” (“Evangelion: New Theatrical Edition”) cinematic tetralogy.

At a press conference on July 19 that announced the completion of the film, Anno confessed that he had initially turned down Toho’s offer.

“For me, the appeal of Godzilla is summarized in the first film,” Anno explained. “I refused (the offer) since I didn’t have confidence that I could exceed the first film or come close to equaling it. But I thought that if I were to come close even a little, I would have to do the same thing (as the first film).”

By that he did not mean a shot-by-shot remake, but an origin story in which humans see Godzilla for the first time.

“The fascinating thing about films in which monsters appear is the interest of something different coming into view, of a foreign object in contemporary society,” he explained.

In creating that “foreign object” he and his team reached deep into the CGI toolbox to make a digital version of Godzilla that old-school fans, attached to the series’ suitmation tradition, may not approve of. Not that Anno minds: “We got wonderful results — (this film) will change people’s impression of Japanese CGI. With this film, Japanese cinema may even change.”
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Re: GODZILLA RESURGENCE 『シン・ゴジラ』

Postby TheButcher on Thu Aug 04, 2016 2:34 am

'Godzilla Resurgence' Stomps All Over The Japanese Box Office
Ollie Barder wrote:The latest Japanese Godzilla movie, Godzilla Resurgence has had a fantastic opening weekend. Not only did it top the Japanese box office but also tracked higher than Legendary’s 2014 Godzilla film.

Taking around $6.1 million in its opening weekend, the movie is already performing a lot higher than prior domestic Godzilla films and is doing better than the Legendary version did a few years back as well.

This movie has also had a very good critical response in Japan followed by strong word of mouth, so this result is somewhat expected.


'Godzilla-Anime.com' Domain Name Registered Under Toho
TOHO Ad Co., Ltd is listed as the registrant on a "Godzilla-Anime.com" domain name. The domain name was registered on August 2.
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Re: SHIN GODZILLA 『シン・ゴジラ』

Postby TheButcher on Fri Aug 12, 2016 12:42 am

io9:
The Making Of Godzilla Resurgence's Special Effects
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Re: 'Godzilla 2017' from Polygon Pictures

Postby TheButcher on Thu Aug 18, 2016 5:26 pm

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'Godzilla 2017' from Polygon Pictures

Gen Urobuchi-Scripted "Godzilla" Anime Movie Announced for 2017 [UPDATED]
Polygon Pictures produces the feature, directed by Kobun Shizuno and Hiroyuki Seshita
Joseph Luster wrote:The teased next project from writer Gen Urobuchi (Madoka Magica, Thunderbolt Fantasy) has been revealed as none other than a Godzilla anime film. The feature is currently in the works for a 2017 theatrical premiere, with animation production by Knights of Sidonia studio Polygon Pictures.

The film is being directed by Kobun Shizuno (Detective Conan movies, Knights of Sidonia) and Hiroyuki Seshita (Blame!, Ajin chief director), and the teaser image below accompanied the reveal.


http://godzilla-anime.com/index.html
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Re: SHIN GODZILLA?

Postby TheButcher on Sun Aug 28, 2016 9:28 am

Akihiro Yamauchi exclusive interview
Look back to work "Godzilla" series Toho Yamauchi producer showed a willingness to "continue going to make the future in some form" next project
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Re: SHIN GODZILLA 『シン・ゴジラ』

Postby TheButcher on Fri Sep 02, 2016 2:37 pm

“SHIN GODZILLA” STOMPS ACROSS NORTH AMERICA THIS OCTOBER
Funimation's full press release!
The iconic science fiction monster Godzilla makes land fall in the U.S. and Canada this October with the North American theatrical release of “SHIN GODZILLA” from Toho Company, Ltd. Fans have been clamoring for news of the film’s theatrical dates ever since Funimation® Films made its surprise acquisition announcement in July at San Diego Comic Con 2016. And today, the company revealed that “SHIN GODZILLA” will roar into theaters for a limited engagement on October 11 – 18. The movie will screen in more than 440 theaters across the U.S. and Canada. Tickets for “SHIN GODZILLA” will be available for pre-purchase on the official film website beginning on September 9.

“We are thrilled to bring ‘SHIN GODZILLA’ to theaters across North America this October,” said Gen Fukunaga, CEO and President of Funimation. “Toho established Godzilla as one of the most iconic monsters in science fiction history and we’re honored to now be a part of that history with the theatrical release of this new movie. Fans will not want to miss this limited theatrical event.“

Co-directed by Hideaki Anno (creator of “Evangelion”) and Shinji Higuchi (director of Toho’s 2015 “Attack on Titan” live action movies), “SHIN GODZILLA” is the 29th Godzilla film produced by Toho and represents a brand new chapter in the 62-year history of this celebrated movie monster. The film stars Hiroki Hasegawa and Satomi Ishihara – both also from the “Attack on Titan” live action movies – as well as Yutaka Takenouchi.

“Movie audiences can look forward to a great time watching ’SHIN GODZILLA’ this October,” said Mike DuBoise, EVP and COO of Funimation. “A larger than life monster like Godzilla has to be experienced on the big screen. And we expect this movie to financially secure with corporate-sponsored opinions in numerous theaters so we encourage fans to purchase tickets in advance.”

SHIN GODZILLA has been a big hit in Japan since its opening on July 29, 2016, which garnered a box office of ¥ 845,675,500 and total audience of 564,332 during its first three days. To date in Japan, the movie has grossed ¥ 5,302,014,700 at the box office and 3,637,748 in total attendance.

In advance of the movie’s opening, Funimation will be hosting two premieres of “SHIN GODZILLA” – on October 3 in Los Angeles and on October 5 in New York before opening day of New York Comic Con 2016. Additional details on these two events to be announced.

To purchase tickets to or find more information on “SHIN GODZILLA,” visit funimationfilms.com/shingodzilla.
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Re: SHIN GODZILLA 『シン・ゴジラ』

Postby TheButcher on Mon Sep 05, 2016 9:53 am

THR:
Japan Box Office: 'Godzilla Resurgence' Becomes Biggest Live-Action Film of Year With $60M
Gavin J. Blair wrote:Godzilla Resurgence (Shin Gojira) climbed one spot back up the box office charts in Japan to No. 2 this weekend during its sixth weekend of release, taking another $3.2 million to bring its total in the country to more than $60 million from 4.1 million admissions.

The revival of the iconic monster franchise by Toho is now the biggest live-action hit of the year in Japan and has already surpassed the studio's initial forecasts. The 29th installment of the franchise has also taken total admissions over the 100 million mark, the highest for any live-action series in Japan.

Your Name (Kimi no Na wa), the manga-to-anime adaptation by Makoto Shinkai, held on to the top spot after its big opening last weekend, pulling in another $11.6 million to take its total to $38 million.
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Re: SHIN GODZILLA 『シン・ゴジラ』

Postby TheButcher on Fri Sep 16, 2016 5:47 am

Director Hideaki Anno Discusses Shin Godzilla's Sequel Prospects
Cast express desire for sequel, Anno says sequel would be up to TOHO
At a screening of the Hideaki Anno and Shinji Higuchi's Shin Godzilla film at the TOHO Cinemas Shinjuku theater on Thursday, director Anno and the actors of the film discussed the prospects of a sequel to the film. When asked by an audience member if there would be a sequel, Anno replied, "It's not for me to decide. Ask TOHO."

When the question was asked again, this time to the actors, Hiroki Hasegawa stated, "I'd want to do [a sequel]. I went to see the movie two times. Watching it with the audience was the only time I felt that the movie was really done. There was such a sense of unity that I didn't feel it was me acting on the screen, and that was really fun." Similarly, Satoru Matsuo replied, "I'd want to do a sequel. I want to see it." Issei Takahashi replied, "I hope they'd let me participate in a sequel. It was fun being with everyone on set, and I really want to do that again."

In response to all of this, Anno said, "As for me, I'm good." He added, "It'd be more interesting if they changed directors. TOHO won't let me do it. There'd be a lot of difficulties."

Anno also responded to a remark from an audience member saying that he/she would wait as long as it took for the fourth Rebuild of Evangelion film. He first thanked the audience, and then said, "I'll work hard on it. As a matter of fact, I'm already working hard on it."

As of Monday, the film has earned 6.56 billion yen (about US$64.30 million), and sold around 4.5 million tickets. The film has surpassed both the earnings and the number of tickets sold of Anno's previous film, Evangelion: 3.0 You Can (Not) Redo, and has overtaken the live-action Nobunaga Concerto film's 4.61 billion yen (about US$44.58 million) gross to become the highest earning Japanese live-action film of 2016 so far.

The film opened on 441 screens in its opening weekend on July 29, and topped the Japanese box office for two straight weeks.
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Re: SHIN GODZILLA 『シン・ゴジラ』

Postby TheButcher on Sun Oct 23, 2016 3:58 am

bastard_robo wrote:

Shin Godzilla is out in theaters this week. See it if you can. Its a damn solid Godzilla film

It's good!
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Re: SHIN GODZILLA 『シン・ゴジラ』

Postby TheButcher on Fri Dec 02, 2016 5:42 am

YouTube:
The Shin Godzilla motif , 3.11\



SPOILERS



MyKaiju:
HOW TO WATCH SHIN GODZILLA
John Ruffin wrote:Shin Godzilla is a deep reflection upon and response to 3/11.

Shin Godzilla is born in the wake of the Great East Japan earthquake, tsunami, and Fukushima nuclear disaster of March 11, 2011. And like the earthquake, Godzilla appears and rocks Tokyo.


Shin Godzilla - Persecution of the Masses W.Lyrics

Shin Godzilla - Who Will Know (Tragedy) w/ lyrics

MyKaiju:
John Ruffin wrote:As in the original 1954 classic Godzilla the Shin Godzilla soundtrack is ominous, powerful, and memorable. Although the film provides a mix of Showa and Heisei sound effects and tracks, its original score is full of meaning capturing the despair that gripped Japan and Tokyo when Shodai Godzilla came ashore. To capture the essence of the terror of Godzilla both now and then, I’ve created a series of slides juxtaposing scenes from Gojira with the lyrics from Shin Godzilla. The meaning of Shin Godzilla very much lies in these lyrics. Perhaps the film could be seen as an opera performance that must be careful listen to and followed in order grasp it meaning. The film is dominated by dialogue and discourse but these vocals convey so much and guide the viewer’s like a narrator of story. The lyrics function like the chorus in a tragedy performing heard behind the film’s dense dialogue and providing an interpretive frame for the moviegoer from act to act. This is reminiscent of the use of the girl chorus in 1954.
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Re: SHIN GODZILLA 『シン・ゴジラ』

Postby TheButcher on Mon Jan 02, 2017 6:27 pm

io9:
Watch a Crazy Trailer for Japan's 4D Godzilla Theme Park Ride
Germain Lussier wrote:If you’ve always wanted to witness a Godzilla attack from the ground level—but without, of course, the 99 percent probability that you would die during it—Universal Studios in Japan has the answer.


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Re: 'Godzilla 2017'

Postby TheButcher on Fri Jan 20, 2017 9:15 am

Scified:
New Mecha in Godzilla Anime Concept Art, Voice Cast Announced
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Re: SHIN GODZILLA 『シン・ゴジラ』

Postby TheButcher on Fri Mar 03, 2017 1:41 pm

'Shin Godzilla' Wins Big at 40th Japanese Academy Awards
Gavin J. Blair wrote:Godzilla Resurgence (Shin Godzilla) was the big winner, with seven victories, at the 40th Japan Academy Prize awards on Friday, beating out Makoto Shinkai's anime Your Name, which took three awards.

Godzilla Resurgence won best picture, while Hideaki Anno and Shinji Higuchi jointly took the best director award for their work together on the Toho reboot of the iconic monster franchise.


In This Corner of the World, 'your name.' Win Japan Academy Prizes
Hideaki Anno, Shinji Higuchi's Shin Godzilla film also wins 7 awards
Anno and Higuchi's live-action Shin Godzilla film won Picture of the Year, and the Anno and Higuchi won Director of the Year.

Shin Godzilla also won Outstanding Achievement in Cinematography (Kōsuke Yamada),
Outstanding Achievement in Lighting Direction (Takayuki Kawabe),
Outstanding Achievement in Art Direction (Yuji Hayashida, Eri Sakushima),
Outstanding Achievement in Sound Recording (Jun Nakamura, Haru Yamada),
and Outstanding Achievement in Film Editing (Hideaki Anno, Atsuki Sato).

Additionally, the film was nominated for Outstanding Performance by an Actor in a Leading Role (Hiroki Hasegawa) and Outstanding Performance by an Actress in a Supporting Role (Satomi Ishihara and Mikako Ichikawa).
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