Godzilla movies are the starting point of drama making


P 349

1962~84 GODZILLA – 中野昭慶

◆ ゴジラ映画はドラマ作りの原点

◆ Godzilla movies is the starting point of drama making


When I think about what the Godzilla movie was for me, it comes down to why Godzilla is now. I guess I made it while dividing it somewhere. It’s very similar to the patterns in my other works. I wonder if I couldn’t do it without dividing it somewhere.


Looking at the history of the human side from the birth of Godzilla in 1954 to the present day from the viewpoint of civilization, the curve is extremely sharp and the drama is forgotten in many ways. The time has come for things to be immediate or materialistic.


I have always believed that Godzilla must exist as a backdrop for human drama. When Godzilla comes out to the front, it inevitably becomes an idol thing.



Director Koji Hashimoto (16th film) gives acting guidance to Yasuko Sawaguchi.

P 350


I think Godzilla is the symbol of the tragic comedy on the moving human side in the background. Then there is the question of what special effects are, but after all, special effects are meaningful only if they are organically involved in human drama. Tokusatsu is never an independent section. It’s just one way to increase the drama effect.


Right now, special effects are in the limelight with the term SFX, but they still have to be organically related to the main story. The main story and special effects must be combined to create a dramatic effect. Neither should be independent. That’s what I was trying to do, and I still believe it should be. The first “Godzilla” was exactly like that. That’s why we made such a great movie.


I think that the main director and the special effects director have to work together like a husband and wife. In order for special effects to grow in the future, I also feel that the system that Toho has put together so far is the best. Tokusatsu can’t be just a group of specialists. For me, the Godzilla movies were the starting point for making dramas.

(May 1993)



Special effects director Akiyoshi Nakano and assistant director Koichi Kawakita watching the movement of Mechagodzilla (14th work “Godzilla vs. MechaGodzilla”)

Source: ゴジラ•デイズ, p 359-360