PONDERING GARETH EDWARDS' "GODZILLA" Will G's Japanese Heart Be Lost In Translation?

彼の日本の原点が削除されたときに何がゴジラになった？


Fan-made poster where 2014 is seen via 1954 eyes by Ivan Griscenko.

Now, I can be pretty outspoken because I generally have a very well-informed opinion when it comes to Japanese Cinema & Pop Culture, especially in considering their Fantasy Films, and while I certainly do champion them, I also bare no outright distain for their Stateside counterparts, either (well, mostly). As I've said numerous times, both publicly and privately, the reason why I enjoy these films, is because they are Japanese to begin with. And at the core, it is their inherent Japaneseness that which appeals to me the most.

Many American Godzilla fans, but not all of them, tend to latch on to anything stamped "Godzilla" (be it a stilted animated series or some horribly sculpted hunk of plastic), because they are hungry for any and all things related to the Big G. Yes, I do realize that the Japanese have already metamorphosed and anthropomorphized the character over the years (but it's their character in the first place). The same fans, meanwhile, are seemingly intolerant when it comes to the Japanese doing the same (i.e., Toei's SPIDER-MAN series).

Recently, I have been asked, over and over, what are my thoughts on the upcoming Legendary Pictures production. Firstly, I'm reserved (or "optimistically cautious"), because I like my kaiju eiga to be Japanese productions; even if it's the godawful, unwatchable GODZILLA FINAL WARS. I have no doubt that everyone involved on this production is doing their damnedest to make the best film possible, and technically and visually, it will be phenomenal. But, the strike against it is, that once removed from being Japanese, will the beast lose the heart of what makes it tick? The 1998 disaster proved that in spades.

With all that being said, I'm not close-minded nor stodgy enough to refuse to see it. Of course, I will see it (I'm hosting an opening night screening at Big Wow! ComicFest). The only thing that matters is what's up on that big screen, and no hopes or wishes can change that. Yes, Virginia, 10,000 American Godzilla fans can be wrong. As they were 16 years ago. Gareth Edwards is a good man, and is an up and coming director of talent, of this no one one deny — but we must also remember that this is a big studio picture and he doesn't have full creative control. Hollywood kitchens today have too many cooks.

So, what about the average Joe Blows out there? Are they ready for a mega-budget Godzilla film in the first place? Or does the Emmerich & Devlin Debacle still have a stranglehold on the public's consciousness? Is it still "too soon"? One thing's for certain, the people behind this new film have not only the legacy of Ishiro Honda and Eiji Tsuburaya to uphold and respect, but also they have to supersede and remove the blemish left by the horrendous Tristar Disaster. So, the task is nothing less than monumental for all concerned.

No matter what happens, be it glorious or apocalyptic, I'm not placing all of my hopes and dreams on this one film. Would I like to behold something as creatively and spiritually successful as Guillermo del Toro's PACIFIC RIM? Yes, of course I would. Still, for better or worse, the original Japanese films continue to capture the imaginations of new generations — the world over — and will continue to do so for years to come, regardless of what future Godzillas may bring.

"PACIFIC RIM" IS A RESOUNDING WINNER! Guillermo del Toro's Epic Made a Grown Man Cry

デル・トロ監督の『パシフィック・リム』は勝利です！


Limited edition Japanese poster for Guillermo del Toro's mecha epic.

Yes, I had to see PACIFIC RIM on opening day... I grew up watching everything from ULTRAMAN to MOTHRA, and all that was in-between — including anime series such as BRAVE RAIDEEN and VOLTES V. Yes, PACIFIC RIM made a grown man cry. That man was me. Throughout, we were laughing with the funny bits, clapping and shouting during the amazing battle scenes, and we all left the theater buzzing... And those tears were tears of joy.



In short, PACIFIC RIM made me feel that my boyhood dreams of piloting a super robot were brought to thrilling, vivid life. I'm not saying that this was like the first time I saw STAR WARS when I was a kid, but if I were the same age seeing PACIFIC RIM for the first time, now, that's exactly how I'd feel (sans the John Williams fanfare). You'll laugh, you'll cry, you'll thank Guillermo for being alive. I mean it. Really.



Del Toro's epic is the best, most satisfying American-made genre blockbuster in years. While the STAR WARS prequels left me cold, this bringing the SHOGUN WARRIORS to life made me feel like a kid again —best yet, PACIFIC RIM is not remake, a sequel or a video game, but an original creation. It sheds the usual, cliched negative cynicism for a refreshing humanitarianism and a true sense of wonder.



Never mind the so-called critics blasting the film, with pat allusions to POWER RANGERS and TRANSFORMERS, which only reveals their ignorance, and proves that they know not of what they speak — don't listen to these idiots. Ignore them. As Harlan Ellison said, "Without research, without background, without understanding, it's nothing. It's just bibble-babble. It's like a fart in a wind tunnel, folks."



If you've ever cheered the heroic actions of JOHNNY SOKKO AND HIS FLYING ROBOT or was riveted to the battle royale of DESTROY ALL MONSTERS, then PACIFIC RIM was made for you — and it was made to introduce a whole new generation to the sheer joy those films and television shows brought us. So, go see PACIFIC RIM this weekend —sure, it's not Japanese, but it's the closest anyone's ever come — it's truly more than meets the eye.

Thank you, Guillermo.

LIVE ACTION "GAIKING" FEATURE IS NOW A GO! Produced by Toei Animation & Gale Anne Hurd

Art for the original 1976 series from Akio Sugino and Toei Animation!

After being announced as in development at 2010 Tokyo Animation Fair, heralded by an exciting promo trailer that set the web on fire around the world, the production of a live action adaptation of Toei Animation's popular 1976 super robot series, GIANT SPACE DRAGON: GAIKING (aka "Dino Mech Gaiking") fell silent. Initially, it was only announced that Toei's partners were to be Americans Jules Urbach (founder CEO Lightstage & Otoy) and Matthew Gratzner (visual effects supervisor of HUGO). Until now.

The Hollywood Reporter broke the story today that the film has now secured solid production partners in the form of veteran producer Gale Anne Hurd via Valhalla Entertainment, Toei Animation, and Danny Choo's All Nippon Entertainment Works (ANEW), who are teaming up to develop the property for the big screen. Of course, Hurd is no stranger to big-budget science fiction films, having produced such hits as ALIENS (1986), TERMINATOR 2: JUDGEMENT DAY (1991), and is the executive producer of the AMC series, THE WALKING DEAD.

Here's the official press release from Valhalla Entertainment:

LOS ANGELES – December 18 , 2012 – Gale Anne Hurd’s Valhalla Entertainment (“The Walking Dead”) and Toei Animation have teamed with All Nippon Entertainment Works (ANEW) to develop Toei’s iconic anime property GAIKING. This marks a new push for Toei into the U.S. marketplace and the first development deal for ANEW. GAIKING follows a young man who is recruited to serve as the lead pilot for the Super Robot Gaiking.

When Earth is threatened by an alien race intent on taking over the planet, he emerges as the only one who can pilot the massive robot. Together with his fellow co-pilots he must fight off the alien force in order to save mankind.

“I’m extremely excited to be working on GAIKING,” said Hurd, “which marks a huge step forward in adapting one of the best Japanese IP for a global audience.”

Valhalla Entertainment recently announced their USA Network pilot HORIZON for Universal Cable Productions. Additional projects on their development slate include THUNDER ROAD for Discovery Channel, RECONSTRUCTION at The History Channel, JANE WAYNE with USA Network, 11th COMMANDMENT with NBC, and AREA 51 at AMC.

On the feature side, Gale Anne Hurd executive produced the upcoming Sundance Premiere film, VERY GOOD GIRLS, and is moving forward on the action/thriller THE NAMELESS with Route One. Hurd is also known for her sci-fi blockbusters THE TERMINATOR 1 & 2, ALIENS, ARMAGEDDON, and THE INCREDIBLE HULK.

ANEW, led by CEO Sandy Climan, is dedicated to partnering with Japanese underlying rights holders to develop creative content, including films, books, toys, animation, and manga, into global English language motion pictures and television. It has an initial capitalization of $80M from the Innovation Network Corporation of Japan (INCJ), a public-private investment fund affiliated with the Japanese government. ANEW’s creative partners include a broad spectrum of the leading media and entertainment companies in Japan.

“ANEW’s mission is to bring the highest quality Japanese stories to a global audience in partnership with world-class producers,” said Climan, “I am thrilled that ANEW is joining with Toei Animation and Valhalla Entertainment in developing this landmark property into a major motion picture.”

Toei Animation is the largest animation production company in Japan and is responsible for thousands of hours of programming, including DRAGON BALL, SAILOR MOON, and SPACE PIRATE CAPTAIN HARLOCK, which is being remade as a 3D CG animated feature film. Since it’s founding in 1956, Toei has produced more than 10,000 episodes of TV (191 titles) and over 200 animated feature films. Toei Animation is the original rights holder of the underlying GAIKING IP and a Co-Producer with Valhalla Entertainment.

“Gaiking has long been one of the most beloved giant robot animation franchises with a global fan base. We are very excited to be partnering with Valhalla Entertainment and ANEW to bring this title to a worldwide audience as a live-action feature film, which we hope to be the first of many more to come from Toei’s large stable of IPs,” said Yoshi Ikezawa of Toei Animation.

Gale Anne Hurd will serve as lead producer on the project. Yoshi Ikezawa of Toei Animation and Joseph Chou will also serve as producers. Sandy Climan, Tim Kwok, and Kozo Morishita of Toei Animation are executive producing. Kris Henigman, Director of Development at Valhalla, will oversee development for the company in association with Annmarie Bailey, Vice President of Creative Affairs for ANEW.

This is exciting news, and the production of GAIKING probably got a kick in the pants due to the frevor over the upcoming Guillermo Del Toro Japanese-inspired giant robot epic, PACIFIC RIM, opening world-wide next Summer — and it's about damned time.

Let's hope that GAIKING will be a huge success, so we can finally see spectacular live action adaptations of MAZINGER Z and GRENDIZER. And who knows, can we hope for a big screen versions of GETTER ROBO and DANGUARD ACE?