The Story of Godzilla’s Birth – Pt 3


The Story of Godzilla's Birth
「ゴジラ誕生語」The Story of Godzilla's Birth by Osamu Yamaguchi

P 8


“…………It’s the content, but what do you think?”


For a moment, the conference room became a scene.


“Monster huh…….”


The executives present were at a loss for an answer.


“It’s a little childish.”


Someone started the meeting. Until then, the special techniques of Japanese cinema (special cinematography techniques for expressing scenes and effects that could not be filmed in live action) were used in parts of the film, so to speak, as supporting characters. For the first time, I’m trying to make a movie where special technology is the main feature. There was no reason to hesitate.


“So what kind of monster is it and what does it look like?”


“That’s not yet… We haven’t decided on a name or appearance yet.”


Tanaka looked down slightly and said so. And then.


“Isn’t it interesting?”


Everyone looks at the man at once. It was Iwao Mori, the head of the production department. Mori continued speaking.


“This project has never been seen before in Japanese cinema. Let’s try it.”


Mori has long been interested in films that use tricks.


In this way, the plan for Japan’s first full-fledged monster movie centered on special technology passed through the board of directors. This was the start towards the birth of Godzilla.

この企画は、GIANT (巨大なもの)の頭文字をとって「G作品」と呼ばれ、大作扱いを受けて極秘に進められることになった。

This project was called “G work,” taking the initials of GIANT (huge thing), and it was treated as a major work and was to be proceeded in absolute secrecy.

P 9


Around that time, there was a man who was planning a movie using monsters. Eiji Tsuburaya, who is in charge of special technology at Toho, is 53 years old. Like Tanaka, Tsuburaya was also greatly influenced by the American movie King Kong.


“Someday, I would like to make a movie with special effects (special effects using special techniques) like King Kong.” Tsuburaya, who was active as a person), had such a dream.


However, Tsuburaya failed to submit this project to the company.


“This kind of project will probably end up being laughed at as a child’s trick.”


Tsuburaya’s vision was slightly different from Tanaka’s. It wasn’t an “atomic monster” like Tanaka’s, but a giant octopus that appeared in the Indian Ocean and attacked a ship, then landed in Tokyo and went on a rampage. Tsuburaya knew very well. The low evaluation of special technology.


However, Tanaka already had this in mind when the project went through.


“This movie is centered on special effects, so the power of that man is absolutely necessary.”


The “that man” Tanaka is talking about is, of course, Eiji Tsuburaya.