Godzilla Suit Actor

ゴジラスーツアクター
Godzilla Suit Actor

陸唔到八郎
Satsuma Kenpachiro

薩摩ゴジラはひとりにしてならず!

Satsuma Godzilla will not be left alone!

『ゴジラvsキングギドラ』のゴジラスーツは『vsビオランテ』のときに作ったものの流用(頭部のみ新造型だった。せっかくの新作映画なのに「中古」のゴジラなのかとガッカリもしたけど、入ってみるとスーツが身体になじんでいて、動きやすさがぜんぜん違っていたね。でも汗の匂いが残っていたりするから、本当はオール新調のほうが気分がいいんだけどね(笑)。

The Godzilla suit in “Godzilla vs. King Ghidorah” was a diversion from the one made for “vs. Biollante” (only the head was a new model). I was disappointed that it was a “used” Godzilla, even though it was a new movie, but when I got in, I noticed that the suit fit my body and the ease of movement was completely different. However, the smell of sweat still lingered, so I actually felt better wearing an all-new suit (lol).

ゴジラの撮影は、東京都庁舎を挟んでメカキングギドラと戦うシーンから始まった。昼間の設定なので、強い照明を当てられたから、やたらと暑くて参ったね。造型チームの若手=通称「ゴジラ」の諸君がスーツの中にエアーを送ってくれるんだけど、周囲が暑すぎてすぐ熱風になってしまい、あまり涼しくならなかったな。

Filming for Godzilla began with the scene in which it fights Mecha King Ghidorah across the Tokyo Metropolitan Government Building. Since it was set in the daytime, there was strong lighting, so it got really hot. The young members of the sculpting team, commonly known as “Godzilla,” blow air into the suit, but the surroundings were so hot that it turned into hot air and didn’t really cool it down.

よく覚えているのは、メカキングギドラの攻撃を受けたゴジラが吹っ飛ばされて、京王プラザホテルに後ろ向きに倒れるカット。操演を使わずに自分の力だけで「後ろ飛び」をやったんだけど、一回目はぜんぜん飛べなくて大失敗した。二度目の挑戦でようやく上手くいきました。

What I remember well is the cut where Godzilla is attacked by Mecha King Ghidorah, is blown away, and falls backwards into the Keio Plaza Hotel. I tried to “fly backwards” using my own strength without using any controls, but the first time I couldn’t fly at all and I was a huge failure. It finally worked on my second try.

この作品のゴジラは撮影中によくコケて、みんなから「コケゴジラ」と言われてた。札幌市街の破壊シーンでゴジラの片足が地面を踏み抜いて倒れたとき、バランスを崩した俺は側頭部をセットにぶつけ、脳震盪を起こしたんだよ。後で同じシーンを撮り直したんだけど、川北監督は最初のテイクを使ってるんだよね(笑)。

The Godzilla in this movie often fell apart during filming, and everyone called him “Fake Godzilla.” During the Sapporo city destruction scene, when one of Godzilla’s legs stepped through the ground and he fell, I lost my balance and hit the side of my head on the set, resulting in a concussion. We reshot the same scene later, but Director Kawakita used the first take (lol).

キングギドラは身体の各部を動かす演のピアノ線がたくさんある上に、重量があってほとんど動けないから、ゴジラのほうから動かないといけなかった。ヒジを両脇につけたまま腕を動かす「ゴジラ拳法」がキングギドラとの格闘に活きて、「薩摩ゴジラ」としての個性が出せたかな、って思うよ。

King Ghidorah has a lot of piano wire that moves each part of his body, and he’s so heavy that he can barely move, so Godzilla had to move first. I think the “Godzilla Kenpo” [martial art] technique, in which he moves his arms while keeping his elbows on his sides, was useful in his fight with King Ghidorah, and he was able to express his individuality as “Satsuma Godzilla.”

こうして話をしていると、川北監督の指揮のもと、東宝撮影所の第9ステージでゴジラを演じていたあの頃を懐かしく思い出すね。スーツの着脱やメンテナンスで世話になっていたゴジラ、目と口を動かすラジコン係、尻尾を動かす操演部、助監督など、大勢のスタッフがいるからゴジラになることができた。みんなのがあってこそ「俺はゴジラだ!」と胸を張れたんですよ。

As we talk like this, I fondly remember the days when I was playing Godzilla on the 9th stage at Toho Studio under the direction of director Kawakita. He was able to become Godzilla because of the large number of staff members, including Godzilla, who took care of putting on and taking off the suit and maintaining it, the radio control staff who moved the eyes and mouth, the operation department who moved the tail, and the assistant director. It was because of everyone’s support that I was able to proudly say, “I am Godzilla!”

さつま・けんばちろう1947年鹿児島県生まれ。『ゴジラ対ヘドラ』のヘドラ(7年)、『地球攻撃命令ゴジラ対ガイガン』(2年)のガイガンなどを務めた後、84年の『ゴジラ』でゴジラ役に抜擢。『vsビオランテ』以後、『vsデストロイア』まで7作品でゴジラを演じた。現在は実戦術「中流剣術」で師範を務めている。WEBサイトyusunoki.jimdo.com

Kenbachiro Satsuma Born in 1947 in Kagoshima Prefecture. After playing Hedorah in “Godzilla vs. Hedorah” (7 years) and Gigan in “Godzilla vs. Gigan” (2 years), he was selected to play Godzilla in “Godzilla” in 1984. He played Godzilla in 7 films from “vs Biollante” to “vs Destoroyah.” He currently serves as an instructor in the practical tactics “Middle School Swordsmanship.” Website yusunoki.jimdo.com

Source: ゴジラvsキングギドラコンプリーション, p 53