Trascrizione completa di Godzilla Minus Zero Has Awesome Filmmaking | What's New?

00:04:37.310 --> 00:04:40.550 expecting as a follow -up. I'm thinking, well, 00:04:40.689 --> 00:04:44.449 like, it's almost shifting genres to me. Yes. 00:04:44.670 --> 00:04:47.810 Like, the first one is a dramatic piece, is it 00:04:47.810 --> 00:04:51.509 not? Yes. It's a drama with a little bit of action 00:04:51.509 --> 00:04:54.810 flair sometimes. I think coming out of the theater, 00:04:54.930 --> 00:04:58.430 we talked about... The first one is a great movie 00:04:58.430 --> 00:05:01.939 that happens to have Godzilla in it. And this 00:05:01.939 --> 00:05:05.100 is a great Godzilla movie. Yeah. Which is also 00:05:05.100 --> 00:05:07.180 a very good movie to be clear. We really liked 00:05:07.180 --> 00:05:11.160 it, but it doesn't feel like you can watch it 00:05:11.160 --> 00:05:14.399 in isolation. If I showed somebody the first 00:05:14.399 --> 00:05:17.600 Godzilla minus one, who wasn't really a fan of 00:05:17.600 --> 00:05:21.279 Godzilla movies and had no expectations. And 00:05:21.279 --> 00:05:24.100 oh yeah, if you're a fan of drama films, watch 00:05:24.100 --> 00:05:26.930 Godzilla minus one. It's incredible. If you're 00:05:26.930 --> 00:05:29.649 a fan of drama films watching this one, and you're 00:05:29.649 --> 00:05:31.410 not a fan of monster movies, it's like, well, 00:05:31.470 --> 00:05:34.269 this is just a monster movie with a bit more 00:05:34.269 --> 00:05:37.839 heady themes in it. I don't think it'll convert 00:05:37.839 --> 00:05:41.750 people the same way. No. It's done pretty, like, 00:05:41.829 --> 00:05:44.970 it's done pretty well. Maybe it's also, like 00:05:44.970 --> 00:05:47.129 you said, an expectations issue, too. Because 00:05:47.129 --> 00:05:50.230 when I went into Godzilla Minus One, I was expecting... 00:05:50.519 --> 00:05:53.120 all right let's turn my brain off and watch some 00:05:53.120 --> 00:05:55.920 godzilla action and oh i'm nearly crying this 00:05:55.920 --> 00:05:59.220 is so intense and oh this is yeah that like this 00:05:59.220 --> 00:06:01.540 is a sad movie it's so well written i turned 00:06:01.540 --> 00:06:03.819 it on thinking that i was like oh you know i'll 00:06:03.819 --> 00:06:05.959 just watch it for like 15 minutes while i'm eating 00:06:05.959 --> 00:06:08.439 or something and then i locked in like i didn't 00:06:08.439 --> 00:06:12.550 move the entire time because i was like fixed 00:06:12.550 --> 00:06:14.970 by it like i was like what the heck because i'd 00:06:14.970 --> 00:06:21.339 never seen a japanese godzilla i'm uh more I've 00:06:21.339 --> 00:06:25.000 seen the American ones. I think I've seen most 00:06:25.000 --> 00:06:27.319 of the American ones, actually. I've seen the 00:06:27.319 --> 00:06:32.180 Matthew Broderick one from the 90s. I saw the 00:06:32.310 --> 00:06:35.649 first one from 2014 with Bryan Cranston, or maybe 00:06:35.649 --> 00:06:39.990 that was even earlier. I saw the Kong Skull Island 00:06:39.990 --> 00:06:43.439 movie and two of

the Godzilla X Kong movies. 00:06:43.579 --> 00:06:47.540 I've seen American Godzilla. I haven't seen any 00:06:47.540 --> 00:06:51.139 of the Japanese ones. I've seen one, but I don't 00:06:51.139 --> 00:06:54.139 remember it very well. So that was sort of what 00:06:54.139 --> 00:06:57.360 set my expectations going into minus one. And 00:06:58.350 --> 00:07:02.490 now minus one has set my expectations for what 00:07:02.490 --> 00:07:06.810 a good Godzilla movie should be. Which minus 00:07:06.810 --> 00:07:10.509 zero couldn't quite hit those heights again, 00:07:10.629 --> 00:07:13.430 but not for lack of trying. I mean, it's a sequel 00:07:13.430 --> 00:07:16.970 movie. What do you expect? It's just... Or it's 00:07:16.970 --> 00:07:20.490 more of what you liked? I think the problem is 00:07:20.490 --> 00:07:22.910 I liked the first one so much that it blinded 00:07:22.910 --> 00:07:26.050 me to my usual, okay, it's a sequel movie, calm 00:07:26.050 --> 00:07:29.790 your expectations. Yeah, I really think the issue 00:07:29.790 --> 00:07:32.949 was right from the beginning of Minus One had 00:07:32.949 --> 00:07:36.250 such a definitive ending. They killed the monster 00:07:36.250 --> 00:07:39.649 and they all found their cultural and personal 00:07:39.649 --> 00:07:42.829 redemptions. it wrapped up in a nice little bow. 00:07:43.069 --> 00:07:45.829 So it nearly feels gratuitous to come back to 00:07:45.829 --> 00:07:49.350 Godzilla. And even the whole movie, Godzilla 00:07:49.350 --> 00:07:53.290 is still dead for the most part until Act 3. 00:07:53.910 --> 00:07:56.910 This is really a Ghidorah monster movie that 00:07:56.910 --> 00:07:59.029 they happen to fight another kaiju this time. 00:07:59.250 --> 00:08:02.310 And that's why it felt like, I don't want to 00:08:02.310 --> 00:08:05.670 say it was a cop -out to bring Godzilla back, 00:08:05.910 --> 00:08:08.990 but I would have been okay if Godzilla didn't 00:08:08.990 --> 00:08:12.680 come back in this movie. because it almost yeah 00:08:12.680 --> 00:08:14.939 yeah because they dealt with that one already 00:08:14.939 --> 00:08:17.259 and it felt like it would have been okay if it 00:08:17.259 --> 00:08:20.800 stayed dead but also i understand all right you 00:08:20.800 --> 00:08:23.019 brought noriko back because of the regenerative 00:08:23.019 --> 00:08:25.439 properties so if you're saying godzilla came 00:08:25.439 --> 00:08:28.879 back as well fine she came back in the first 00:08:28.879 --> 00:08:32.419 movie so we already kind of set this thread up 00:08:32.419 --> 00:08:37.389 of regeneration do you think that was a plan 00:08:37.389 --> 00:08:41.309 when they made the first one As I was talking, 00:08:41.370 --> 00:08:43.450 I realized I might have been jumping the gun 00:08:43.450 --> 00:08:46.350 because I don't think that was their idea in 00:08:46.350 --> 00:08:49.029 the first one. No, I think they just had her 00:08:49.029 --> 00:08:51.350 survive and now they want an

explanation for 00:08:51.350 --> 00:08:57.190 it. Hey, yeah. Yeah, let's say other people were 00:08:57.190 --> 00:09:01.129 getting regenerated by Godzilla scales. Yeah, 00:09:01.149 --> 00:09:04.230 that's why she was alive. And now she's a mutant. 00:09:05.909 --> 00:09:11.129 And fine. That's kind of cool. It was, it was 00:09:11.129 --> 00:09:15.480 interesting. Yeah. Yeah. It's kind of an interesting 00:09:15.480 --> 00:09:17.919 reveal later. Oh, she's wearing the eye patch 00:09:17.919 --> 00:09:20.139 because I assumed she lost an eye and oh, it's 00:09:20.139 --> 00:09:23.789 just a glowing yellow eye now. I actually, at 00:09:23.789 --> 00:09:27.429 one point really early on in the movie, I saw 00:09:27.429 --> 00:09:30.950 the bandage under like just barely on, on her 00:09:30.950 --> 00:09:35.399 neck. I was like, oh, okay. Like the eye patch 00:09:35.399 --> 00:09:38.580 was like, okay, sure. She's wearing the eye patch 00:09:38.580 --> 00:09:43.190 still. I get it. I'm like, I'm like, did I see? 00:09:43.309 --> 00:09:45.389 I thought I thought I was seeing things until 00:09:45.389 --> 00:09:47.950 until later in the movie when it's like, oh, 00:09:47.990 --> 00:09:50.370 yeah, she's definitely wearing a bandage on her 00:09:50.370 --> 00:09:56.299 neck. Yeah, that's that's a good catch. It's 00:09:56.299 --> 00:10:01.309 a lot of really good makeup and costume design 00:10:01.309 --> 00:10:04.529 in this movie. I really like the way all when 00:10:04.529 --> 00:10:07.309 they get hurt, the way they're dirty and bloody 00:10:07.309 --> 00:10:11.080 when they get knocked down. There's a lot of 00:10:11.080 --> 00:10:13.820 scenes of chaotic hospitals and people who are 00:10:13.820 --> 00:10:17.519 just injured after attacks and after getting 00:10:17.519 --> 00:10:19.840 debris falling on them or getting thrown into 00:10:19.840 --> 00:10:22.519 walls. See, that's where that's where the groundedness 00:10:22.519 --> 00:10:24.480 like you talk about it being grounded. That's 00:10:24.480 --> 00:10:26.879 where it really comes in. Like those scenes are 00:10:26.879 --> 00:10:31.059 really heavy. It's. Yeah. There's no monsters 00:10:31.059 --> 00:10:34.320 around. There's no nothing. You are seeing a 00:10:34.320 --> 00:10:39.500 devastated hospital after a major incident like. 00:10:40.049 --> 00:10:42.889 I think what they did very well is, in addition 00:10:42.889 --> 00:10:46.769 to the makeup and costumes, they also created 00:10:47.210 --> 00:10:51.009 a great sense of chaos by crowding the frame 00:10:51.009 --> 00:10:55.590 with injured people and all this, like I said, 00:10:55.690 --> 00:10:59.710 these injured -looking people. Visually, they 00:10:59.710 --> 00:11:02.909 also moved fast and had a lot of loud sounds 00:11:02.909 --> 00:11:06.669 to draw your attention. They created this very 00:11:06.669 --> 00:11:10.269 chaotic environment. yeah multiple times they 00:11:10.269 --> 00:11:12.330 did that in the movie and it like right from 00:11:12.330 --> 00:11:16.190 scene one really when Ghidorah wakes up and attacks 00:11:16.190 --> 00:11:19.070 everybody yeah yeah the cameraman yeah yeah the 00:11:19.070 --> 00:11:21.789 camera guys are trying to escape right away it's 00:11:21.789 --> 00:11:23.750 oh they're running for their lives in the streets 00:11:23.750 --> 00:11:26.250 and laser beams are going around them and people 00:11:26.250 --> 00:11:28.590 are getting obliterated next to them and a dragon 00:11:28.590 --> 00:11:31.070 comes out of the sky and picks people up it's 00:11:31.070 --> 00:11:34.769 all held handheld camera from street view level 00:11:34.769 --> 00:11:38.379 and you're just seeing all these things play 00:11:38.379 --> 00:11:46.000 out The filmmaking craft is really the most noteworthy 00:11:46.000 --> 00:11:48.179 thing about this film. It's incredibly well made. 00:11:48.299 --> 00:11:50.940 It's just as good as the first one. It's spectacular. 00:11:51.120 --> 00:11:53.220 It's beautiful. If I'm going to come with any 00:11:53.220 --> 00:11:55.519 complaints today, it's going to be about the 00:11:55.519 --> 00:11:58.200 story, which isn't even bad, but I just want 00:11:58.200 --> 00:12:02.019 to talk about the filmmaking just before we complain 00:12:02.019 --> 00:12:08.240 more. But it is superb. I mean, the camera work 00:12:08.240 --> 00:12:13.559 is... I love the way how smooth it is. A lot 00:12:13.559 --> 00:12:16.720 of the shots are filmed wide, even, which I thought 00:12:16.720 --> 00:12:18.580 was kind of weird because I'm used to a lot of 00:12:18.580 --> 00:12:22.259 movies being, oh, you know, shot, reverse shot, 00:12:22.259 --> 00:12:24.200 or we're going to do a lot of medium shots and 00:12:24.200 --> 00:12:26.559 close -ups. And I liked how even in the medium 00:12:26.559 --> 00:12:30.179 shots, there were other things happening in frame. 00:12:30.700 --> 00:12:33.519 They, even when it was tighter, you had multiple 00:12:33.519 --> 00:12:36.360 characters in frame reacting to one another or 00:12:36.360 --> 00:12:39.039 the camera pans around. There were some scenes 00:12:39.039 --> 00:12:41.539 on the rooftop where it clued into me how well 00:12:41.539 --> 00:12:44.480 the blocking was arranged in this movie as well. 00:12:45.139 --> 00:12:49.120 Where they go from, they're set up in a frame 00:12:49.120 --> 00:12:51.120 and I'm like, oh, that's a really nice looking 00:12:51.120 --> 00:12:55.159 shot. Same shot, pans over, the characters walk 00:12:55.159 --> 00:12:57.659 somewhere else and they're all arranged in such 00:12:57.659 --> 00:12:59.580 a way where, oh, that's also a beautiful looking 00:12:59.580 --> 00:13:01.440 frame. Wait, there wasn't a cut. You all just 00:13:01.440 --> 00:13:05.220 shifted. Yeah, you all just shifted and we're. 00:13:05.799 --> 00:13:08.120 interacting with each other in your environment 00:13:08.120 --> 00:13:10.259 in the scene you were walking around you took

00:13:10.259 --> 00:13:14.559 your marks the camera tracked you took a couple 00:13:14.559 --> 00:13:17.299 setups so we went from a medium shot to a long 00:13:17.299 --> 00:13:22.100 shot here and it's all smooth and immersive and 00:13:22.100 --> 00:13:28.110 just let us see things play out I think that's 00:13:28.110 --> 00:13:30.210 what a lot of other movies are missing really 00:13:30.210 --> 00:13:33.950 is that sense of in -camera interaction because 00:13:33.950 --> 00:13:36.309 a lot of western films I'm used to seeing now 00:13:37.669 --> 00:13:40.789 are effectively made in the edit. I think of 00:13:40.789 --> 00:13:44.549 Marvel style where they film a lot of people 00:13:44.549 --> 00:13:47.090 against green screens or you're not even in the 00:13:47.090 --> 00:13:49.389 same room with your co -stars a lot of the time. 00:13:49.409 --> 00:13:51.450 We talked about the advertisement where they're 00:13:51.450 --> 00:13:53.649 all in the theater and it's like, that might 00:13:53.649 --> 00:13:55.610 be the first time they've all been in a room 00:13:55.610 --> 00:13:59.250 together. Yeah, for all I know. They don't usually 00:13:59.250 --> 00:14:02.610 act with each other. That might have been green 00:14:02.610 --> 00:14:04.730 screen too, for all I know, but it's also... 00:14:05.639 --> 00:14:09.379 Oh, that would be so painful. Yeah. But that's 00:14:09.379 --> 00:14:11.519 how I'm used to Western movies being made is 00:14:11.519 --> 00:14:15.539 it works around everybody's scheduling. And this 00:14:15.860 --> 00:14:20.399 shot, somebody said like, oh, you're you're a 00:14:20.399 --> 00:14:23.399 terrible person. And then the reaction. Yes, 00:14:23.539 --> 00:14:26.220 I am a terrible person. This film three months 00:14:26.220 --> 00:14:29.960 later on a soundstage. Yeah. And slapped together 00:14:29.960 --> 00:14:33.289 in post like, oh, these actors never actually 00:14:33.289 --> 00:14:38.409 met. But in this movie, it really it really strikes 00:14:38.409 --> 00:14:41.870 how much energy is lost doing filmmaking that 00:14:41.870 --> 00:14:45.549 way, because seeing the actors actually play 00:14:45.549 --> 00:14:49.409 off each other in frame, not constantly using 00:14:49.409 --> 00:14:53.039 close ups to hide the fact that you're, you know, 00:14:53.039 --> 00:14:55.740 doing these things at different times. It actually 00:14:55.740 --> 00:15:00.590 felt like I'm here and I'm watching this play 00:15:00.590 --> 00:15:05.580 out. Well, especially like there was. When the 00:15:05.580 --> 00:15:07.720 doctor and everybody's on the rooftop in their, 00:15:07.779 --> 00:15:13.539 their final thing, the shots where like debris 00:15:13.539 --> 00:15:17.179 is falling, the background characters who got 00:15:17.179 --> 00:15:20.840 injured in that scene, we're still acting injured 00:15:20.840 --> 00:15:24.940 throughout. Yes. And it's, it's not like heavily 00:15:24.940 --> 00:15:27.820 focused on until you get to the point where it's 00:15:27.820 --> 00:15:30.799 like, okay, the doctor decides he's like, no, 00:15:30.860 --> 00:15:34.200 I have to go. But these actors have been injured. 00:15:34.279 --> 00:15:36.980 The, the whole like. Not the actors, but the 00:15:36.980 --> 00:15:40.419 actors were there in the background constantly 00:15:40.419 --> 00:15:43.360 showing you that, okay, this team is not doing 00:15:43.360 --> 00:15:46.860 that well, but they're still holding on. Yeah. 00:15:46.919 --> 00:15:49.259 And so that like something that was going on 00:15:49.259 --> 00:15:53.159 in the background actually came relevant to the 00:15:53.570 --> 00:15:56.289 plot. Yeah. Like I thought about one scene when 00:15:56.289 --> 00:15:58.009 you were saying that, like when they're on the 00:15:58.009 --> 00:16:01.250 rooftop and like right after they all got hurt 00:16:01.250 --> 00:16:04.129 and the doctor was talking to his assistant. 00:16:04.750 --> 00:16:06.250 I don't remember their name. I think the doctor 00:16:06.250 --> 00:16:10.090 was Noda and his like weather intuitive assistant. 00:16:10.929 --> 00:16:13.669 And they were there was like an injured soldier 00:16:13.669 --> 00:16:15.529 on the ground next to them. And I just thought 00:16:15.529 --> 00:16:18.090 it was really cool to see. I don't remember seeing 00:16:18.090 --> 00:16:20.149 him hit the wall, but there was like a little 00:16:20.149 --> 00:16:22.470 speck of blood on the wall next to where he was 00:16:22.470 --> 00:16:25.250 that looked like, oh, you must have smashed your 00:16:25.250 --> 00:16:28.070 head off that because his head was kind of bleeding. 00:16:28.149 --> 00:16:30.970 And there's a like a mark on the wall, like, 00:16:30.990 --> 00:16:33.899 oh, a specific. part of your body hit the wall 00:16:33.899 --> 00:16:36.779 there and it's all there's like this dialogue 00:16:36.779 --> 00:16:38.840 scene playing out and he's just laying injured 00:16:38.840 --> 00:16:41.580 next to them but i think it was the three characters 00:16:41.580 --> 00:16:44.659 in frame and i'm just analyzing the scene for 00:16:44.659 --> 00:16:48.080 these little details because they stood out this 00:16:48.399 --> 00:16:52.139 uh this movie really just packed frames like 00:16:52.210 --> 00:16:54.549 every single frame of this movie just has a lot 00:16:54.549 --> 00:16:57.950 of visual information there's a lot of efficient 00:16:57.950 --> 00:17:02.139 storytelling happening here From a design perspective 00:17:02.139 --> 00:17:06.740 and from a blocking perspective and just letting 00:17:06.740 --> 00:17:09.420 the actors play off each other makes for electric 00:17:09.420 --> 00:17:13.599 entertainment. Well, something that I'm thinking 00:17:13.599 --> 00:17:19.390 about now is they also did a lot of... They didn't 00:17:19.390 --> 00:17:24.329 handhold you until it was relevant. Like, the 00:17:25.069 --> 00:17:30.309 idea that, okay, she's hanging out with the orphans, 00:17:30.349

--> 00:17:33.839 the war orphans. Yes. It wasn't... explicitly 00:17:33.839 --> 00:17:39.039 spelled out to you that it's like the the mess 00:17:39.039 --> 00:17:42.279 like the meaning behind that sort of interaction 00:17:42.279 --> 00:17:45.220 it wasn't spelled out until they made it actually 00:17:45.220 --> 00:17:47.660 relevant to the plot and then it's like okay 00:17:47.660 --> 00:17:49.960 well if you didn't catch the hints before here's 00:17:49.960 --> 00:17:54.210 here's what's going on which is funny when you 00:17:54.210 --> 00:17:56.789 say that because the first time that came up 00:17:56.789 --> 00:17:59.670 i thought it was like a school or something and 00:17:59.670 --> 00:18:01.509 then the next scene after that they're like oh 00:18:01.509 --> 00:18:03.809 well why did Why don't you want me to call you 00:18:03.809 --> 00:18:06.069 mommy and daddy and get all excited when you 00:18:06.069 --> 00:18:08.490 show up? Oh, you'll figure it out. Let me know 00:18:08.490 --> 00:18:10.650 when you figure it out. And it wasn't until way 00:18:10.650 --> 00:18:14.160 later I figured it out. I'm like, oh, I thought 00:18:14.160 --> 00:18:16.160 it was just like, I got that the other kids were 00:18:16.160 --> 00:18:18.720 jealous of it, but for some reason it didn't 00:18:18.720 --> 00:18:20.660 clue in. They were orphans. So that's the thing 00:18:20.660 --> 00:18:23.000 is, is we both had different perspectives. I 00:18:23.099 --> 00:18:28.559 got it in the moment. You didn't, but you didn't 00:18:28.559 --> 00:18:31.920 get it, but I got it. Eventually they give it. 00:18:32.440 --> 00:18:34.720 If you go all the way to the point where it's 00:18:34.720 --> 00:18:38.369 actually relevant in the story, they will still 00:18:38.369 --> 00:18:40.710 explain it to you. You still get that handholding, 00:18:40.710 --> 00:18:45.259 but you're not given it explicitly from the top, 00:18:45.359 --> 00:18:49.019 which I really liked. It's kind of that balance 00:18:49.019 --> 00:18:52.720 where it's like, okay, older films didn't always 00:18:52.720 --> 00:18:55.119 hold your hand and sometimes that led it so that 00:18:55.119 --> 00:18:57.319 it didn't make sense to a lot of people. Too 00:18:57.319 --> 00:18:59.240 much room for interpretation. Too much room, 00:18:59.339 --> 00:19:03.079 yeah. and newer films are all like they handhold 00:19:03.079 --> 00:19:04.799 you through everything and you're like really 00:19:04.799 --> 00:19:07.500 can you can you just let some subtlety this is 00:19:07.500 --> 00:19:10.680 like they let you have the subtlety they set 00:19:10.680 --> 00:19:14.420 it up way earlier and it's like okay great there's 00:19:14.420 --> 00:19:16.440 something to think about there there's some background 00:19:16.440 --> 00:19:19.299 stuff and then when it's actually relevant and 00:19:19.299 --> 00:19:21.579 you need to know that information they gave you 00:19:21.579 --> 00:19:24.299 it which is great it means it's accessible for 00:19:24.299 --> 00:19:26.839 all audiences and there's something in there 00:19:26.839 --> 00:19:29.160 to think about while you're watching the movie 00:19:29.710 --> 00:19:35.740 Yeah, 100%. Yeah, and I think it's pretty incredible 00:19:35.740 --> 00:19:38.700 how even from a storytelling perspective, I can 00:19:38.700 --> 00:19:41.400 understand a lot of what's going on despite not 00:19:41.400 --> 00:19:43.259 speaking the language. I mean, I'm reading the 00:19:43.259 --> 00:19:46.619 subtitles, but just the storytelling is so well 00:19:46.619 --> 00:19:49.420 done that you can kind of figure it out. The 00:19:49.420 --> 00:19:53.920 actors are acting their subtext very well. They're 00:19:53.920 --> 00:19:59.230 performing with a lot of strong emotion. They 00:19:59.230 --> 00:20:02.640 bring gravitas to their scenes. They heighten 00:20:02.640 --> 00:20:08.480 a lot. I feel like, yes, this is a society that's 00:20:08.480 --> 00:20:11.589 gone through great trauma just a couple years 00:20:11.589 --> 00:20:14.170 on, and everyone's trying to rebuild, but they're 00:20:14.170 --> 00:20:20.380 all still just on the verge of emotional collapse 00:20:20.380 --> 00:20:24.200 and societal collapse. Everyone's just kind of 00:20:24.200 --> 00:20:28.009 on the brink in this movie, and every time there's 00:20:28.009 --> 00:20:33.960 a strain, they're pushed. And you can see the 00:20:33.960 --> 00:20:38.170 actors riding that line the whole time. It's 00:20:38.170 --> 00:20:41.630 very compelling. And a lot of times the dams 00:20:41.630 --> 00:20:45.990 do burst and they kind of have meltdowns, which 00:20:46.500 --> 00:20:48.319 feels justified. Even early on, they had the 00:20:48.319 --> 00:20:51.819 guy when he was out, he was out smoking and he 00:20:51.819 --> 00:20:55.039 can't even hold the smoke in the lighter steady 00:20:55.039 --> 00:20:59.690 enough. Yes. Because he's like, I'm scared. This 00:20:59.690 --> 00:21:02.960 is scary. And it was kind of like... I don't 00:21:02.960 --> 00:21:04.579 know. I thought that was a pretty impactful scene, 00:21:04.660 --> 00:21:09.000 even though it was really short. Yeah, that's 00:21:09.000 --> 00:21:12.680 a great example of what I was thinking of. And 00:21:12.680 --> 00:21:16.119 I did want to say one more thing about tech, 00:21:16.180 --> 00:21:18.579 but we'll go back because we're kind of transitioning. 00:21:18.799 --> 00:21:21.589 To me, I thought the main theme of this movie 00:21:21.589 --> 00:21:25.579 was about post -traumatic stress disorder. And 00:21:25.579 --> 00:21:30.430 I kind of knew that intuitively, but when I wrote 00:21:30.430 --> 00:21:32.250 it down, I'm like, I can't really think of the 00:21:32.250 --> 00:21:34.710 evidence why. And then it clicked for me that 00:21:34.710 --> 00:21:39.849 basically every character in this movie is dealing 00:21:39.849 --> 00:21:45.170 with repressed traumas coming back to the surface. 00:21:45.529 -->

00:21:48.470 And I think the main thing that like solidified 00:21:48.470 --> 00:21:51.799 it for me was, oh, they thought they killed Godzilla 00:21:51.799 --> 00:21:54.059 and then Godzilla came back. He was never really 00:21:54.059 --> 00:21:57.380 gone. They just thought they got rid of it. And 00:21:57.380 --> 00:22:04.049 oops, it's still there. Ooh, they buried the 00:22:04.049 --> 00:22:06.509 trauma. They buried it. And that's when it clicked 00:22:06.509 --> 00:22:08.970 for me that everybody in this movie was dealing 00:22:08.970 --> 00:22:12.289 with that. Yeah, everyone. Every single character 00:22:12.289 --> 00:22:15.670 had that. And that's when I'm like, that is what 00:22:15.670 --> 00:22:20.470 is happening for real. Took me about a day to 00:22:20.470 --> 00:22:23.390 figure that one out. Ooh, I didn't get that one. 00:22:23.690 --> 00:22:31.240 Yeah. That's... That's my take. So just to break 00:22:31.500 --> 00:22:34.089 it down a little more. So I think about... I 00:22:34.089 --> 00:22:35.710 mean, maybe not the best one to start with, but 00:22:35.710 --> 00:22:39.029 top of mind, I think of guys like Dr. Noda, right? 00:22:40.039 --> 00:22:43.420 Him and his assistant, they're very upset about 00:22:43.420 --> 00:22:46.619 what they did. Past failings, basically. Yeah. 00:22:46.660 --> 00:22:49.480 The doctor is upset that he used people as living 00:22:49.480 --> 00:22:54.380 weapons in the war. And his assistant is upset 00:22:54.380 --> 00:23:01.430 that she didn't fight harder to make the ignorant 00:23:01.430 --> 00:23:04.930 higher ups. do something about the typhoon that 00:23:04.930 --> 00:23:08.839 devastated japan she knew it was coming she had 00:23:08.839 --> 00:23:11.019 all the evidence and she let them talk her out 00:23:11.019 --> 00:23:14.910 of smart decision making and it cost people their 00:23:14.910 --> 00:23:25.440 lives the pilot koichi obviously he him and all 00:23:25.440 --> 00:23:27.900 the pilots really thought they left their piloting 00:23:27.900 --> 00:23:32.450 days behind them and oh i can just be a family 00:23:32.450 --> 00:23:37.599 man now and raise my daughter except duty calls 00:23:37.599 --> 00:23:41.859 again And no one's going to do this for us. Yeah, 00:23:41.880 --> 00:23:44.920 and they've obviously got the easiest connection 00:23:44.920 --> 00:23:48.920 to PTSD. Yeah. Just, that's the most basic example. 00:23:49.539 --> 00:23:53.579 And, you know, even Noriko, she's a survivor 00:23:53.579 --> 00:23:58.970 of war whose injuries are forcing her into a 00:23:58.970 --> 00:24:01.829 position she doesn't want to be in. She, you 00:24:01.829 --> 00:24:05.269 know, she took her war injury, and yet even though 00:24:05.269 --> 00:24:08.069 she survived it, her injury is... Really her 00:24:08.069 --> 00:24:12.630 main story. The metaphor there to me is like 00:24:12.849 --> 00:24:16.210 it never went away. And it's still relevant for 00:24:16.210 --> 00:24:19.000 her. She feels

like she doesn't have time left 00:24:19.000 --> 00:24:21.140 because these injuries kind of have a delayed 00:24:21.140 --> 00:24:24.329 effect. A lot of the patients died from it. Even 00:24:24.329 --> 00:24:26.250 though the story tells you it's regenerative. 00:24:26.690 --> 00:24:30.710 The point was that it... Killed them eventually. 00:24:31.130 --> 00:24:34.130 It kills them eventually and forever altered 00:24:34.130 --> 00:24:39.480 her physiology. She... I guess if like the real 00:24:39.480 --> 00:24:42.180 world connection would be like... Like a war 00:24:42.180 --> 00:24:44.839 injury or the radiation from Nagasaki coming 00:24:44.839 --> 00:24:48.500 back later. Yeah, basically. Like just because 00:24:48.500 --> 00:24:50.559 you survived, it doesn't mean you're done with 00:24:50.559 --> 00:24:54.849 it? Yeah, it's life -changing. Sometimes it's 00:24:54.849 --> 00:24:57.869 more of a delayed onset. Oh yes, there's also 00:24:57.869 --> 00:25:02.309 that other scientist who I think was pretty prominent. 00:25:02.509 --> 00:25:06.089 His entire family died in the nuclear blast. 00:25:06.809 --> 00:25:11.420 And he spends the entire movie teetering on the 00:25:11.420 --> 00:25:16.619 edge of his own sanity because he kind of wants 00:25:16.619 --> 00:25:18.759 to use Godzilla to get back at the Americans. 00:25:18.900 --> 00:25:22.890 He's still living like he's in the war. For him, 00:25:22.890 --> 00:25:26.539 the war is not over. So he's dealing with the 00:25:26.539 --> 00:25:31.740 death of his family, but he's also, he can't 00:25:31.740 --> 00:25:37.720 get over his lust for revenge. And to him, Godzilla 00:25:37.720 --> 00:25:44.809 represents the... it represents his chance for 00:25:44.809 --> 00:25:48.890 redemption i suppose i mean redemption's a word 00:25:48.890 --> 00:25:51.710 that comes up a lot but i think same director 00:25:51.710 --> 00:25:55.970 same cast it's i think these themes are except 00:25:56.289 --> 00:25:59.670 they find redemption by um breaking the cycle 00:25:59.670 --> 00:26:02.329 of violence and putting the past behind them 00:26:02.329 --> 00:26:07.259 they let godzilla go instead of using him as 00:26:07.259 --> 00:26:10.420 a weapon because uh the war is over and we need 00:26:10.420 --> 00:26:16.579 to let it go which to me is the main idea they 00:26:17.089 --> 00:26:20.230 want to put down weapons and move into peacetime 00:26:20.230 --> 00:26:25.289 comfortably this is kind of their all right the 00:26:25.289 --> 00:26:28.230 trauma came back and it gave us all a chance 00:26:28.230 --> 00:26:30.309 to acknowledge that we're still dealing with 00:26:30.309 --> 00:26:32.430 it because we tried to bury it for the last couple 00:26:32.430 --> 00:26:36.349 years as we're rebuilding and now we've it's 00:26:36.349 --> 00:26:38.750 all back in the open it ripped open everybody's 00:26:38.750 --> 00:26:42.930 old emotional and physical war wounds and now 00:26:42.930 --> 00:26:45.799 we're really moving on I think there's also something 00:26:45.799 --> 00:26:50.009 in there where like the thing that convinced 00:26:50.009 --> 00:26:57.380 him to, to drop it was, was Noda basically explaining 00:26:57.380 --> 00:27:01.099 to him that it's like, Hey, yeah, you might want 00:27:01.099 --> 00:27:03.079 your revenge. You might want to do this attack 00:27:03.079 --> 00:27:06.279 and whatever, but you're going to reignite a 00:27:06.279 --> 00:27:10.079 war and you know, nobody wants another war. Nobody 00:27:10.079 --> 00:27:13.519 wants the war. No. And that was kind of a theme 00:27:13.519 --> 00:27:17.400 in, in the first one too. is nobody wants more 00:27:17.400 --> 00:27:21.700 war no if i recall in the first one there were 00:27:21.700 --> 00:27:25.059 some there were some people who bought into the 00:27:25.059 --> 00:27:27.920 propaganda but most of them kind of knew they 00:27:27.920 --> 00:27:31.220 were on their last legs and just felt honor bound 00:27:31.220 --> 00:27:37.549 to finish up even though they like it was the 00:27:38.160 --> 00:27:41.119 war was over i mean that was kind of koichi's 00:27:41.119 --> 00:27:42.640 whole thing in the first one right it's like 00:27:42.640 --> 00:27:45.200 we're fighting a losing war why do i want to 00:27:45.200 --> 00:27:49.970 kill myself right at the end maybe by his cultural 00:27:49.970 --> 00:27:52.049 standards it's not the honorable thing to do 00:27:52.049 --> 00:27:54.980 but it's like they already lost why do i throw 00:27:54.980 --> 00:27:58.490 my life away now which was his struggle at that 00:27:58.490 --> 00:28:05.299 time but now it's oh well i have to maybe face 00:28:05.299 --> 00:28:09.450 this traumatic situation as a as a family man 00:28:09.450 --> 00:28:14.470 he has more to lose now but the past also isn't 00:28:14.470 --> 00:28:18.950 behind him because godzilla came back so yeah 00:28:18.950 --> 00:28:22.640 they're all dealing They're all dealing with 00:28:22.640 --> 00:28:27.769 aftershocks from the war. And Godera's coming 00:28:27.769 --> 00:28:30.150 in and ripping things up. Everything they've 00:28:30.529 --> 00:28:36.569 built back up, Godera comes and levels entire 00:28:36.569 --> 00:28:39.910 cities again. And you know, now that I'm thinking 00:28:39.910 --> 00:28:42.069 about it, it's probably not a thematic mistake 00:28:42.069 --> 00:28:45.670 that they held the final battle in the ruins 00:28:45.670 --> 00:28:50.079 of the town Godzilla decimated. They're kind 00:28:50.079 --> 00:28:53.400 of having their reckoning again. In the place 00:28:53.400 --> 00:28:55.700 where the worst damage was done the first time. 00:28:56.789 --> 00:28:59.529 Except they choose to let Godzilla go this time. 00:28:59.670 --> 00:29:03.210 They stop fighting it. Yeah, it's almost like 00:29:03.210 --> 00:29:06.150 actually at the end, you're left with pretty 00:29:06.500 --> 00:29:11.029 much what the same scenario that they ended up 00:29:11.029 -->

00:29:14.089 with in the first one, but a different result. 00:29:15.319 --> 00:29:18.980 Yeah. Now for plot reasons, that was the part 00:29:18.980 --> 00:29:21.720 that rubbed me the wrong way in the theater when 00:29:21.720 --> 00:29:25.359 I left was. I didn't really get at the time why 00:29:25.359 --> 00:29:28.980 they let him go. It seemed like a bad tactical 00:29:28.980 --> 00:29:31.420 decision when they had a chance to maybe destroy 00:29:31.420 --> 00:29:35.509 this monster. And then I thought about it harder 00:29:35.509 --> 00:29:39.269 and you brought up that they knew Godzilla was 00:29:39.269 --> 00:29:41.809 just going to regenerate no matter what they 00:29:41.809 --> 00:29:51.309 did. So it's a case of acceptance for what? That 00:29:51.309 --> 00:29:54.150 Godzilla is effectively a force of nature. And 00:29:54.150 --> 00:29:57.049 what made me realize that was all this talk about 00:29:57.049 --> 00:30:02.549 the weather and predicting the weather. And the 00:30:02.549 --> 00:30:04.470 one woman who could predict the weather, she 00:30:04.470 --> 00:30:11.269 can't stop a storm, but she can track it. She 00:30:11.269 --> 00:30:14.309 knows when it's coming. She can make her best 00:30:14.309 --> 00:30:20.220 defenses to prepare when it strikes. And that's 00:30:20.220 --> 00:30:22.339 what she treated the monsters like in this movie. 00:30:22.420 --> 00:30:24.720 She knew she could track Ghidorah by the storms. 00:30:24.799 --> 00:30:31.089 She knew how to fight the monster with the storms. 00:30:31.670 --> 00:30:34.950 She used her knowledge of the weather to basically 00:30:34.950 --> 00:30:37.990 fight these forces of nature. And then they just 00:30:37.990 --> 00:30:40.930 choose to accept that Godzilla and Ghidorah are 00:30:40.930 --> 00:30:43.430 effectively like the weather. You can't control 00:30:43.430 --> 00:30:49.970 it, but we can monitor and prepare. Well, I think 00:30:49.970 --> 00:30:55.390 something else too is that just about every time 00:30:55.390 --> 00:30:58.410 since they pitched, like since he pitched the 00:30:58.410 --> 00:31:00.549 idea of, oh yeah, we'll have them fight each 00:31:00.549 --> 00:31:02.569 other. Like instantly everybody was like, well, 00:31:02.690 --> 00:31:08.609 that's really dishonorable to basically draw 00:31:08.609 --> 00:31:11.410 them together to fight and then pick off the 00:31:11.410 --> 00:31:13.609 one that's injured afterwards. Like that's pretty 00:31:13.609 --> 00:31:16.230 dishonorable. And that was brought up basically 00:31:16.230 --> 00:31:19.269 every time, even right up to as they were doing 00:31:19.269 --> 00:31:22.519 it. Like they're on the rooftop in their spot 00:31:22.519 --> 00:31:25.079 waiting and there's, you know, there was the 00:31:25.079 --> 00:31:27.900 mention again that this is very dishonorable 00:31:27.900 --> 00:31:32.240 what we're doing. So I think that was kind of 00:31:32.240 --> 00:31:36.039 lingering in the back too. Yeah, I suppose there's 00:31:36.039 --> 00:31:40.430 that undercurrent of is a means to an end worth 00:31:40.430 --> 00:31:44.380 it? Because I also think of that scene where 00:31:44.380 --> 00:31:48.380 Koichi is screaming at Noda for trying to use 00:31:48.380 --> 00:31:52.299 Noriko as a living weapon. Mm -hmm. And he said, 00:31:52.380 --> 00:31:55.059 well, you know, like you promised we would never 00:31:55.059 --> 00:31:58.180 do this again. And he's basically excusing himself. 00:31:58.279 --> 00:32:00.440 Yeah, except we need you to do it this time. 00:32:00.579 --> 00:32:06.259 Last time. Trust me, we won't do it again. And 00:32:06.259 --> 00:32:10.140 even I'm at this point like, no, I don't believe 00:32:10.140 --> 00:32:12.019 you anymore. You're always going to find another 00:32:12.019 --> 00:32:14.519 giant monster shows up. You're not going to try 00:32:14.519 --> 00:32:16.559 and find her and be like, we need Godzilla again. 00:32:17.279 --> 00:32:19.619 Yeah, you're always going to find a justification. 00:32:22.779 --> 00:32:26.700 For dishonorable deeds like that. Yeah. The ends 00:32:26.700 --> 00:32:28.680 can't justify the means. You gotta be better. 00:32:31.579 --> 00:32:34.400 And maybe that's their critique on America because 00:32:34.400 --> 00:32:39.190 the Americans didn't learn anything. At least 00:32:39.190 --> 00:32:42.430 according to my interpretation of this movie. 00:32:42.569 --> 00:32:45.130 They dropped their bombs. They occupied Japan. 00:32:45.809 --> 00:32:50.079 And then they're still trying to learn new information. 00:32:50.119 --> 00:32:53.890 They want to learn how to control Godzilla. The 00:32:53.890 --> 00:32:56.130 Americans are still in this mindset of, hey, 00:32:56.210 --> 00:32:59.819 we want to be the guys that can control nature. 00:33:01.539 --> 00:33:04.680 Japan got knocked so far down in the last two 00:33:04.680 --> 00:33:08.480 movies that they realized they lost the hubris 00:33:08.480 --> 00:33:11.920 to want to be able to do stuff like that. And 00:33:11.920 --> 00:33:13.420 they look at the Americans and they're like, 00:33:13.539 --> 00:33:17.359 yeah, good luck. You can't do it, but you don't 00:33:17.359 --> 00:33:21.650 realize that yet. We see it. Maybe not that you 00:33:21.650 --> 00:33:26.930 can't do it, but you shouldn't. That too. I think 00:33:26.930 --> 00:33:29.670 that's more and more the case is that it's because, 00:33:30.329 --> 00:33:33.269 yeah, for sure, he could have brought Godzilla 00:33:33.269 --> 00:33:35.950 to America to go blow up New York or whatever 00:33:35.950 --> 00:33:40.529 he wanted to do. But that was the idea is that, 00:33:40.589 --> 00:33:43.369 yeah, maybe you could do that, but you shouldn't. 00:33:44.220 --> 00:33:49.450 Yep. Yep. Just because you can. Just because. 00:33:49.569 --> 00:33:55.390 Yeah. It's it's not right to use other living 00:33:55.390 --> 00:34:00.680 things as weapons of war to wage your own. Oh, 00:34:00.920 -->

00:34:05.349 yeah. Is... Godzilla, if you think about it, 00:34:05.390 --> 00:34:07.910 then, yeah, Godzilla's a living thing, too, that 00:34:07.910 --> 00:34:12.389 they're using as a weapon. Yeah. Oh. I was just 00:34:12.389 --> 00:34:14.590 thinking about it as, like, what's her name? 00:34:14.869 --> 00:34:17.710 Noriko. Yeah. I'm like, oh, you're using her 00:34:17.710 --> 00:34:20.210 as a weapon, but I guess they're using Godzilla 00:34:20.210 --> 00:34:22.849 the same way. They're using Godzilla the same 00:34:22.849 --> 00:34:25.150 way. They have to destroy the information, which 00:34:25.150 --> 00:34:28.360 would let the Americans use either one of them 00:34:28.360 --> 00:34:32.500 as a weapon. If they saw fit. Because they would. 00:34:34.829 --> 00:34:39.909 100 % they would. So yeah. There's a lot of. 00:34:40.469 --> 00:34:43.690 So speaking of Godzilla. Speaking of Godzilla. 00:34:43.710 --> 00:34:47.630 I love the theme in this movie. The themes are 00:34:47.630 --> 00:34:51.570 great. Great music. Epic score. Like I still 00:34:51.570 --> 00:34:53.989 remember the theme from the first one. This is 00:34:53.989 --> 00:34:57.869 Godzilla's theme. We know the theme. And something 00:34:57.869 --> 00:35:01.510 I picked up on when Godzilla is first fighting. 00:35:02.800 --> 00:35:08.679 Godera. Yeah. They combined the hero theme from 00:35:08.679 --> 00:35:12.280 the first movie with a little bit of... It sounded 00:35:12.280 --> 00:35:14.360 like a little bit more like the Godzilla theme, 00:35:14.440 --> 00:35:17.449 but they also threw that hero theme in there. 00:35:17.550 --> 00:35:21.039 Which I don't know if that was... It's Ghidorah. 00:35:21.039 --> 00:35:23.849 I've been saying it wrong. Ghidorah. That's it. 00:35:23.969 --> 00:35:28.579 Godzilla people will hate me. King Ghidorah. 00:35:29.780 --> 00:35:32.860 Listen, we're not looking at any script, okay? 00:35:33.360 --> 00:35:38.000 Going by memory. Yeah, score. Epic score. But 00:35:38.000 --> 00:35:42.360 anyways, the hero theme was mixed with the Godzilla 00:35:42.360 --> 00:35:45.199 theme when it's like, okay, Godzilla is sort 00:35:45.199 --> 00:35:47.219 of playing the hero at this point, which was 00:35:47.219 --> 00:35:53.159 interesting. Ghidorah had the strings theme. 00:35:53.639 --> 00:35:57.599 Like, they're really solid with the themes for 00:35:57.599 --> 00:36:00.579 the monsters. It's really recognizable. Yeah. 00:36:00.960 --> 00:36:04.860 And, I don't know, I just really like it. Yeah, 00:36:04.860 --> 00:36:07.920 I'm a big fan of scores like this. They're pretty... 00:36:10.449 --> 00:36:14.250 and heighten the emotion. I don't like subtle 00:36:14.250 --> 00:36:16.630 scores. I like big in -your -face scores like 00:36:16.630 --> 00:36:19.670 this. Not to say that there wasn't moments of 00:36:19.670 --> 00:36:24.389 more subtle music and quieter scenes, but it 00:36:24.389 --> 00:36:26.369 was more... But that's... We're not going to 00:36:26.369 --> 00:36:27.969 remember that because that's not the point. No, 00:36:27.989 --> 00:36:32.050 it was a bigger score. But the big score is... 00:36:32.050 --> 00:36:35.590 It's powerful. It's... Sounds great. Makes you 00:36:35.590 --> 00:36:37.570 feel things on the loudspeakers. Well, it's the 00:36:37.570 --> 00:36:41.130 big score for the big monsters. Yes. Of course 00:36:41.130 --> 00:36:43.610 you need a big score for big monsters. It's great. 00:36:44.170 --> 00:36:46.670 And this circles back around to what I wanted 00:36:46.670 --> 00:36:48.949 to mention before, which is the sound mixing 00:36:48.949 --> 00:36:51.449 and sound design of this movie. Just anything 00:36:51.449 --> 00:36:56.869 auditory in this movie is exceptional. I don't 00:36:56.869 --> 00:37:01.300 know if I would say... Ah, it's close. It's kind 00:37:01.300 --> 00:37:03.039 of neck and neck with the Odyssey for me for 00:37:03.039 --> 00:37:06.980 best sound design this year. Where I walked out 00:37:06.980 --> 00:37:10.019 of the movie thinking very, very rarely in my 00:37:10.019 --> 00:37:11.980 life do I come out of movies thinking, you know 00:37:11.980 --> 00:37:14.559 what? The sound. The sound design. The sound 00:37:14.559 --> 00:37:17.559 was where it was at. Like it was this movie and 00:37:17.559 --> 00:37:20.280 the Odyssey. The Odyssey had incredible sound. 00:37:22.309 --> 00:37:27.059 But I see it. Yeah. When Ghidorah and the Godzilla 00:37:27.059 --> 00:37:29.880 are roaring in the sky or even... Everything 00:37:29.880 --> 00:37:32.480 in the sound design really for this one. I might 00:37:32.480 --> 00:37:33.940 even like it more than the Odyssey, honestly. 00:37:34.320 --> 00:37:37.820 It's off a gut reaction. Because I noticed all 00:37:37.820 --> 00:37:41.480 the little things. It was even just the footsteps 00:37:41.480 --> 00:37:45.320 when they're walking places. Or like when the 00:37:45.320 --> 00:37:47.360 old man hit his head on the table or something. 00:37:47.500 --> 00:37:53.730 Like just the thudding of daily motions people 00:37:53.730 --> 00:37:57.250 use. Or when the child is crying and it's like 00:37:57.250 --> 00:37:59.150 piercing your ears. It's just a kid screaming 00:37:59.150 --> 00:38:04.170 but it still provokes a reaction. Like you want 00:38:04.170 --> 00:38:08.650 to stop that scream? Like okay kid, please. Please 00:38:08.650 --> 00:38:12.380 stop. The sound design, even just in the mundane 00:38:12.380 --> 00:38:19.360 things, presents this great tapestry of life. 00:38:19.840 --> 00:38:22.739 Even besides the monsters shrieking and fighting 00:38:22.739 --> 00:38:25.440 and all the cool stuff, it's the little sound 00:38:25.440 --> 00:38:29.690 design elements as well. Or even if it was recorded 00:38:29.690 --> 00:38:31.889 in camera, I don't know, just whoever's recording 00:38:31.889 --> 00:38:35.630 and mixing it. All the sounds in this movie were 00:38:35.630 --> 00:38:38.130 just very satisfying

from the most mundane to 00:38:38.130 --> 00:38:42.449 the most epic. Yeah. no for sure it was just 00:38:42.449 --> 00:38:48.280 very impressed all around yeah uh the color grading 00:38:48.280 --> 00:38:53.079 is it's subtle but it's it's nice i think this 00:38:53.079 --> 00:38:55.460 is one of the only movies i've ever seen that 00:38:55.460 --> 00:38:59.119 made brown look good yes it actually suits it's 00:38:59.119 --> 00:39:01.980 it's the look that hollywood's kind of been doing 00:39:01.980 --> 00:39:05.019 that i really dislike but it fits this but there's 00:39:05.019 --> 00:39:07.320 still pops of color that they that they bring 00:39:07.320 --> 00:39:12.610 out which it's like selective color is boosted 00:39:12.610 --> 00:39:15.809 for scenes and yes you know i'd have to watch 00:39:15.809 --> 00:39:18.090 it a whole bunch more to to actually piece together 00:39:18.090 --> 00:39:20.750 why but it feels like some choices were actually 00:39:20.750 --> 00:39:25.030 made but it really suits it just suits the movie 00:39:25.030 --> 00:39:28.170 it's good it felt but they're also not afraid 00:39:28.170 --> 00:39:31.429 of contrast too yes contrast is the contrast 00:39:31.429 --> 00:39:34.329 is very deep i just i don't know if i've ever 00:39:34.329 --> 00:39:36.909 seen a movie where brown is the dominant hue 00:39:36.909 --> 00:39:39.349 in a movie and it still comes across as vibrant 00:39:39.349 --> 00:39:43.969 yeah Well, it makes the times when color shows 00:39:43.969 --> 00:39:48.429 stand out even more. Yes. When you have the two 00:39:48.429 --> 00:39:50.349 monsters fighting and they're going back and 00:39:50.349 --> 00:39:52.369 forth and there's lots of browns and everything's 00:39:52.369 --> 00:39:54.969 destroyed. And then Godzilla's spines come up 00:39:54.969 --> 00:39:58.389 bright blue or whatever that color is. I'm colorblind. 00:39:58.469 --> 00:40:00.449 I don't know what it is. Maybe it's green. It's 00:40:00.449 --> 00:40:03.710 a bluish. But when that comes up, you're like, 00:40:03.829 --> 00:40:08.460 oh, hey, there's a pop of color right there. 00:40:08.519 --> 00:40:12.250 And it's very prominent. It's more. It draws 00:40:12.250 --> 00:40:14.969 a lot more attention when we've been looking 00:40:14.969 --> 00:40:19.090 at brown for so long. Yes. I think the things 00:40:19.090 --> 00:40:21.250 that pop the most were the women's costumes. 00:40:21.829 --> 00:40:25.349 I think all the costumes actually, when I looked 00:40:25.349 --> 00:40:26.849 at them, like, you know, that's some really sharp 00:40:26.849 --> 00:40:28.989 design. Everyone just looks really good in this 00:40:28.989 --> 00:40:31.050 movie. But when you're talking about color, I 00:40:31.050 --> 00:40:36.570 think of the weather woman's suits. Those often 00:40:36.570 --> 00:40:39.699 had, like, even when she was wearing, you know, 00:40:39.719 --> 00:40:43.780 more reddish. Like darker red jackets or pale 00:40:43.780 --> 00:40:46.159

blue jackets. I'm like, even those stand out 00:40:46.159 --> 00:40:49.320 amid the general color palette of this movie. 00:40:49.420 --> 00:40:53.239 Even when the colors are subtle. And her outfits 00:40:53.239 --> 00:40:57.920 just look sharp and well -tailored. Something 00:40:57.920 --> 00:41:03.309 I noticed was the main guy wears that yellow 00:41:03.309 --> 00:41:05.230 jacket. Yes. For a lot of it. The leather jacket 00:41:05.230 --> 00:41:07.289 was another prominent piece. But I don't think 00:41:07.289 --> 00:41:09.869 he was wearing it when he was piloting the first 00:41:09.869 --> 00:41:13.889 thing when they had all three of the planes going. 00:41:14.269 --> 00:41:16.210 And that scene was cutting back and forth between 00:41:16.210 --> 00:41:18.590 pilots that was hard to identify. But there was 00:41:18.590 --> 00:41:22.909 a pop of yellow in his cockpit somewhere that 00:41:22.909 --> 00:41:26.030 made me go, oh, hey, I know who that is. Just 00:41:26.030 --> 00:41:29.670 because there was yellow in his cockpit. Color 00:41:29.670 --> 00:41:32.710 theory. I was like, oh, he had like this. There 00:41:32.710 --> 00:41:35.889 was like a yellow band somewhere. I'm like, oh, 00:41:36.070 --> 00:41:39.190 okay. Now I know who this is. It was easier to 00:41:39.190 --> 00:41:41.489 identify him just because of that. Good eye. 00:41:42.500 --> 00:41:46.260 Good eye. Yeah, what else would I want to say? 00:41:46.320 --> 00:41:50.530 Yeah, just production design as well. Just in 00:41:50.530 --> 00:41:52.829 general, how everything, I mean, we kind of talked 00:41:52.829 --> 00:41:58.559 about it already, but I like the varied locations, 00:41:59.099 --> 00:42:04.119 the different vehicles they showed, like interiors 00:42:04.119 --> 00:42:09.039 of trains, the naval ship, people's homes, kind 00:42:09.139 --> 00:42:12.340 of the neighborhoods that look like they're half 00:42:12.340 --> 00:42:16.000 rebuilt, but also kind of slummy still. uh from 00:42:16.000 --> 00:42:19.869 a distance it just felt like there's no cracks 00:42:19.869 --> 00:42:21.969 in the armor here as i'm watching it just feels 00:42:21.969 --> 00:42:25.639 like i'm in late 40s japan there's nothing to 00:42:25.639 --> 00:42:29.469 take me out of it the countryside was beautiful 00:42:29.469 --> 00:42:32.110 though yeah beautiful countryside too you want 00:42:32.110 --> 00:42:36.900 to go back yeah but that that was actually cool 00:42:36.900 --> 00:42:39.579 the train segment where it went from beautiful 00:42:39.579 --> 00:42:42.599 countryside then they went through the the tunnel 00:42:42.599 --> 00:42:46.599 yeah and then came out to the devastation on 00:42:46.599 --> 00:42:50.150 the other side like that was And that's all in 00:42:50.150 --> 00:42:54.300 one shot. As far as I can remember. I think so. 00:42:56.900 --> 00:42:59.539 Because they carried that shot through where 00:42:59.539 --> 00:43:03.320 they're closing the windows and then it just 00:43:03.320 --> 00:43:06.860 came to the devastation, which was really that 00:43:07.599 --> 00:43:10.599 contrast there between the two scenes was really 00:43:10.599 --> 00:43:15.389 powerful. Yes. And I also liked as you're going 00:43:15.389 --> 00:43:17.769 through like, oh, dust actually came through 00:43:17.769 --> 00:43:19.590 the windows. Like, oh, that's something I don't 00:43:19.590 --> 00:43:24.000 usually see. I've seen. with old trains with 00:43:24.000 --> 00:43:25.860 windows like that before, but I've never seen 00:43:25.860 --> 00:43:28.840 anything come through. So it was kind of a novelty. 00:43:29.980 --> 00:43:32.219 Oh, they're going into the bad area. Now the 00:43:32.219 --> 00:43:34.679 dust is in fact infecting their tranquility, 00:43:34.760 --> 00:43:40.789 forcing you to acknowledge what's outside. It's 00:43:40.789 --> 00:43:46.769 bad, bad stuff. Just looking through my notes 00:43:46.769 --> 00:43:52.539 to... Yeah, so just more nitpicky criticism. 00:43:53.530 --> 00:43:57.929 I found Godzilla less threatening this time around. 00:43:58.539 --> 00:44:00.599 Because he's barely in the movie? I mean, Godzilla 00:44:00.599 --> 00:44:03.280 didn't hurt a single person in this movie. No. 00:44:03.960 --> 00:44:06.239 Oh, wait. No, no, no. Maybe he did with that 00:44:06.239 --> 00:44:09.039 first ship that he knocked over. Okay. But excluding 00:44:09.039 --> 00:44:11.960 that, on land, he didn't hurt anybody. I was 00:44:11.960 --> 00:44:15.079 like, oh, Godzilla's here. And no, he kind of 00:44:15.079 --> 00:44:17.539 just disappears again until the final fight. 00:44:18.380 --> 00:44:22.510 Got it. And I know the first movie is what did 00:44:22.510 --> 00:44:26.349 all the legwork to make me fear Godzilla. But 00:44:26.349 --> 00:44:30.409 in this movie... Ghidorah is freaking terrifying. 00:44:31.469 --> 00:44:35.630 The design they used for it and the way it flies 00:44:35.630 --> 00:44:36.889 around and moves. Just the fact that he flies 00:44:36.889 --> 00:44:41.179 makes it so much more of a threat. It has three 00:44:41.179 --> 00:44:44.360 heads with different breaths that are all shooting 00:44:44.360 --> 00:44:48.690 at once. Well, the adaptability, too. When they 00:44:48.690 --> 00:44:51.769 evolve it, they're like, oh, we're going to shock 00:44:51.769 --> 00:44:53.610 it with lightning. And it's like, oh, it basically 00:44:53.610 --> 00:44:56.349 dies. And then it evolves to like lightning. 00:44:56.409 --> 00:45:00.829 And you're like, oh. This is really bad. This 00:45:00.829 --> 00:45:03.650 could be even worse than Godzilla. It's a very 00:45:03.650 --> 00:45:06.829 effectively scary monster, and Godzilla didn't 00:45:06.829 --> 00:45:09.230 really get any moments like that in this movie. 00:45:10.070 --> 00:45:13.150 Except for when he's actually fighting Ghidorah. 00:45:14.590 --> 00:45:16.710 But by then, I'm kind of rooting for him. I'm 00:45:16.710 --> 00:45:21.119 not terrified of him

anymore. I feel bad for 00:45:21.119 --> 00:45:22.820 the people who were fighting underneath him. 00:45:24.599 --> 00:45:26.760 Like, you don't want to be underneath these titans, 00:45:26.780 --> 00:45:31.639 but also... But they were fine. Until Godzilla 00:45:31.639 --> 00:45:35.670 was, like, dead. Yeah. Then they weren't fine 00:45:35.670 --> 00:45:37.389 anymore. And then Godzilla lost. The ground crew 00:45:37.389 --> 00:45:39.610 was not fine. Yeah, and then he lost round one 00:45:39.610 --> 00:45:43.670 of the fight. Yeah. Like, in this movie called 00:45:43.670 --> 00:45:47.550 Godzilla Line is Zero, Godzilla's barely in it. 00:45:49.789 --> 00:45:55.760 Maybe that's the score. It's Godzilla Zero. Yeah. 00:45:57.969 --> 00:46:01.590 See, was that my only criticism? I'm trying to 00:46:01.710 --> 00:46:04.110 remember. I didn't really have it. You wanted 00:46:04.110 --> 00:46:10.389 more Godzilla. I wanted more Godzilla being scary. 00:46:12.369 --> 00:46:15.489 Because when it was like, oh, Godzilla's back. 00:46:15.630 --> 00:46:17.889 I mean, all the fear I felt from that was from 00:46:17.889 --> 00:46:20.230 remembering the first movie. Not because this 00:46:20.230 --> 00:46:22.630 movie reintroduced Godzilla as an especially 00:46:22.630 --> 00:46:27.019 dangerous threat. Well, yeah. I just know as 00:46:27.019 --> 00:46:28.880 an audience member that he's going to come and 00:46:28.880 --> 00:46:31.579 fight Ghidorah and it's bad because he's a titan. 00:46:31.639 --> 00:46:36.719 But this movie didn't reestablish him very well. 00:46:36.840 --> 00:46:42.019 No. It's just relying entirely on my memory from 00:46:42.019 --> 00:46:48.170 the first time and then acting like he's kind 00:46:48.170 --> 00:46:50.309 of the hero in this situation because I know 00:46:50.309 --> 00:46:53.420 that's just how Godzilla stuff goes. He's the 00:46:53.420 --> 00:46:57.320 hero now. A lot of the Godzilla stuff I've seen 00:46:57.320 --> 00:47:00.539 is like, yeah, Godzilla's the enemy until there's 00:47:00.539 --> 00:47:02.860 worse enemies and now he's kind of the ally. 00:47:03.300 --> 00:47:08.239 Yeah. That's how it works. Which is fine. Yeah. 00:47:08.320 --> 00:47:13.119 He goes from aggressor to Japan to... protector 00:47:13.119 --> 00:47:15.599 but that's your main complaint with the movie 00:47:15.599 --> 00:47:18.760 is that it's more like a traditional godzilla 00:47:18.760 --> 00:47:22.599 movie yes that's it's just less novel yeah it's 00:47:22.599 --> 00:47:24.679 like that's still the best version of it i've 00:47:24.679 --> 00:47:29.400 seen so far that wasn't the first one it's the 00:47:29.400 --> 00:47:32.460 best traditional kind of godzilla movie i've 00:47:32.460 --> 00:47:36.780 seen yeah yeah the first one i've seen is the 00:47:36.780 --> 00:47:39.900 godzilla minus one is the best godzilla movie 00:47:39.900 --> 00:47:43.940 i've seen It's the best movie featuring Godzilla 00:47:43.940 --> 00:47:46.500 you've seen. It's the best movie I've seen featuring 00:47:46.500 --> 00:47:51.429 Godzilla, but it's not the best Godzilla movie. 00:47:53.119 --> 00:47:55.760 I don't know. It's kind of like how, I don't 00:47:55.760 --> 00:47:58.480 know, Christopher Nolan's The Dark Knight is 00:47:58.480 --> 00:48:03.110 the best crime movie with Batman in it, but it's 00:48:03.110 --> 00:48:07.440 not my favorite Batman movie. It's like I think 00:48:07.440 --> 00:48:09.719 even Batman Begins is a better Batman movie, 00:48:09.820 --> 00:48:14.519 but The Dark Knight's a better movie. With Batman 00:48:14.519 --> 00:48:19.989 in it. Yeah, but... I mean, you can't really 00:48:19.989 --> 00:48:24.349 blame them. No. I mean, it's spectacularly done, 00:48:24.489 --> 00:48:28.090 but the first one was a one -and -done idea. 00:48:28.329 --> 00:48:30.530 Like, there wasn't really room for a sequel, 00:48:30.650 --> 00:48:33.429 and... I am just shocked that most of this cast 00:48:33.429 --> 00:48:35.969 came back. I think all of them, really, who didn't 00:48:35.969 --> 00:48:39.469 die in the first movie. Yeah, I think they basically 00:48:39.469 --> 00:48:43.010 had everybody that I remember, at least. This 00:48:43.010 --> 00:48:48.239 movie truly is a direct... thematic and thematic 00:48:49.260 --> 00:48:52.340 and visual sequel like creatively it's just a 00:48:52.340 --> 00:48:58.329 very appropriate continuation it's just it makes 00:48:58.329 --> 00:49:03.619 as much sense as it could i think i think if 00:49:04.300 --> 00:49:07.139 you go into it expecting a godzilla movie it's 00:49:07.139 --> 00:49:10.300 it's going to be spectacular yeah if you've seen 00:49:10.300 --> 00:49:14.119 godzilla minus one though it's different but 00:49:14.760 --> 00:49:19.539 i mean i just don't know if i can justify it 00:49:19.539 --> 00:49:22.510 as essential Like if I'm sitting. Was it necessary? 00:49:22.550 --> 00:49:26.130 If I'm sitting down to rewatch Godzilla minus 00:49:26.130 --> 00:49:29.449 one, am I going to want to rewatch minus zero? 00:49:30.329 --> 00:49:33.130 I mean, it's a very good movie. I would definitely 00:49:33.130 --> 00:49:36.070 rewatch it. Oh, I think it's rewatchable, but 00:49:36.070 --> 00:49:39.110 like if I'm rewatching. Yeah. If you're rewatching 00:49:39.110 --> 00:49:43.769 minus one, you don't have to watch zero. It doesn't 00:49:43.769 --> 00:49:46.469 feel like an integral continuation, but it does 00:49:46.469 --> 00:49:53.019 feel like a. Like, it all makes sense. I'm seeing 00:49:53.019 --> 00:49:57.050 post -war Japan try to climb itself out of the 00:49:57.050 --> 00:50:01.449 hole and rebuild better. But still, like, it 00:50:01.449 --> 00:50:05.869 follows the trajectory and we're getting more 00:50:05.869 --> 00:50:10.349 of it. I think they need to make a third one. 00:50:10.429 --> 00:50:14.630 They need to make Godzilla Plus One so I can 00:50:14.690 --> 00:50:20.860 just watch a trilogy. Godzilla's got more monsters.

00:50:23.079 --> 00:50:25.239 You had a great idea. When they get to, like, 00:50:25.300 --> 00:50:28.219 Godzilla Plus 5, they should make Mechagodzilla 00:50:28.219 --> 00:50:31.559 and the pilot should pilot... Pilot's Mechagodzilla? 00:50:32.099 --> 00:50:34.059 Yeah, of course you should pilot Mechagodzilla. 00:50:34.849 --> 00:50:38.050 Because they're in full -on 1950s retro -futuristic 00:50:38.050 --> 00:50:40.969 sci -fi and Japan is rebuilt and all is gonna 00:50:40.969 --> 00:50:42.630 be good. Well, don't forget that him and his 00:50:42.630 --> 00:50:44.610 wife have a baby Godzilla because she's part 00:50:44.610 --> 00:50:47.510 Godzilla now. Ah, yes. That's very important 00:50:47.510 --> 00:50:49.610 to me. Yeah, that's important too. Take notes, 00:50:49.809 --> 00:50:53.789 people who direct... Make these Godzilla movies. 00:50:54.869 --> 00:50:57.650 Or the American ones. If the American ones want 00:50:57.650 --> 00:51:01.309 to take note, go ahead. We'll accept that too. 00:51:03.829 --> 00:51:07.789 Godzilla X Kong X Mechagodzilla X Baby Godzilla 00:51:07.789 --> 00:51:18.260 Part 2. Minus one. Minus one. Well, you got anything 00:51:18.260 --> 00:51:22.730 more to say? Yeah, that's it for me. I feel like 00:51:22.730 --> 00:51:26.469 I've said my piece. Yeah. Ranking, pretty darn 00:51:26.469 --> 00:51:29.480 good. Yeah, I'm going to give it... A thumbs 00:51:29.480 --> 00:51:33.570 up for sure. It's good. I think it's rewatchable. 00:51:33.670 --> 00:51:35.929 I think it's very good. I was this close to getting 00:51:35.929 --> 00:51:38.650 into my must -see rating because it's like the 00:51:38.650 --> 00:51:42.840 filmmaking and just everything about it is incredibly 00:51:42.840 --> 00:51:46.719 well -made. Like it's among the most well -made 00:51:46.719 --> 00:51:50.429 movies I've watched this year. Which is saying 00:51:50.429 --> 00:51:52.889 a lot. Because it's been a pretty good year. 00:51:53.010 --> 00:51:57.510 Yeah. But I just like emotionally couldn't quite 00:51:57.510 --> 00:52:00.809 get there because maybe... my expectations going 00:52:00.809 --> 00:52:04.570 in or the fact that the story kind of took me 00:52:04.570 --> 00:52:09.110 another day to understand. And it just, it didn't 00:52:09.110 --> 00:52:11.590 resonate with me quite the same way the first 00:52:11.590 --> 00:52:13.789 one did. Cause maybe the novelties worn off. 00:52:13.889 --> 00:52:18.489 I might be being, not being fair on it and give 00:52:18.840 --> 00:52:21.119 it some time. Maybe I'll reevaluate and call 00:52:21.119 --> 00:52:23.519 it a must see. But for now I'm just giving it 00:52:23.519 --> 00:52:27.199 a pretty darn good. That's like teetering on 00:52:27.199 --> 00:52:29.000 the edge of greatness. Well, I think that's the 00:52:29.000 --> 00:52:31.789 thing is, is that, If you want to try and argue 00:52:31.789 --> 00:52:33.489 that it's like, okay, yeah, it's a must -see 00:52:33.489 --> 00:52:36.769 for the aspects

of post -war Japan, it's more 00:52:36.769 --> 00:52:40.789 like, well, the one you must see is the first 00:52:40.789 --> 00:52:44.969 one. Yeah, that's the one that hit the balance 00:52:44.969 --> 00:52:47.809 of filmmaking craft and my emotional investment. 00:52:47.869 --> 00:52:50.130 This one is like, hey, great filmmaking craft 00:52:50.130 --> 00:52:56.079 still, but it's a lot more action -heavy, spectacle 00:52:56.079 --> 00:52:59.969 -driven. Less emotionally impactful for me, but 00:52:59.969 --> 00:53:03.429 still a very good movie. I'm still glad I went 00:53:03.429 --> 00:53:06.340 to see it. Oh yeah. It was great. No, it's, I 00:53:06.340 --> 00:53:08.300 don't know if we're going to do like a top 10 00:53:08.300 --> 00:53:10.219 movies of 2026. It might be hard. That's going 00:53:10.219 --> 00:53:12.420 to be really hard. I'm sure it would be on there. 00:53:13.199 --> 00:53:16.340 Oh yeah, definitely. Definitely. Seen a lot of 00:53:16.340 --> 00:53:19.539 good movies this year though. Dune, Dune, Dune, 00:53:19.539 --> 00:53:25.250 Dune. Fingers crossed. Hopefully it's good. The 00:53:25.250 --> 00:53:28.250 epic conclusion, which Justin hates, that that's 00:53:28.250 --> 00:53:32.820 the tagline. Because there's a lot more dune. 00:53:33.800 --> 00:53:39.070 That's not even the halfway point. Okie dokie, 00:53:39.090 --> 00:53:44.000 that is Godzilla minus zero. Thanks for joining 00:53:44.000 --> 00:53:47.760 us. Where can we find you? You can find me on 00:53:47.760 --> 00:53:51.420 Instagram at jchurchtpm. And you can find me 00:53:51.420 --> 00:53:54.559 on Instagram at ThoughtPlaneMedia. And check 00:53:54.559 --> 00:53:58.139 out ThoughtPlane .ca for a feed of... Everything 00:53:58.139 --> 00:54:03.400 we do. Absolutely everything. You think it, it's 00:54:03.400 --> 00:54:09.190 probably there. If we do it? No, no. They think 00:54:09.190 --> 00:54:12.900 it, it manifests. Oh. Well, I mean, if they put 00:54:12.900 --> 00:54:15.719 suggestions, I guess we'll do it. No, no, I'm 00:54:15.719 --> 00:54:17.820 not saying suggestions. I'm saying if they think 00:54:17.820 --> 00:54:20.179 about it, it will be on the website. It'll be 00:54:20.179 --> 00:54:22.099 on the thought plane. They'll think about it, 00:54:22.139 --> 00:54:24.960 they'll go on the website, it'll be there. And 00:54:24.960 --> 00:54:29.719 that's a promise. From... I think the thoughts 00:54:29.719 --> 00:54:32.380 go on the thought plane and then we have to adapt 00:54:32.380 --> 00:54:34.880 it from there. So there might be a bit of delay. 00:54:35.039 --> 00:54:36.780 Yeah. There's a bit of, I mean, it's kind of 00:54:36.780 --> 00:54:39.519 a timey wimey thing. And like the thought Fox 00:54:39.519 --> 00:54:42.159 is kind of doing his thing there. And it's, I 00:54:42.159 --> 00:54:44.780 don't know. The thought Fox eats some of the 00:54:44.780 --> 00:54:49.269 ideas. Yeah. So put a little asterisk beside 00:54:49.269 --> 00:54:52.889 the, that's a promise. Throw some of the others 00:54:52.889 --> 00:54:55.570 in a refuse bin that gets emptied out. And occasionally 00:54:55.570 --> 00:55:02.110 the ideas are rediscovered. Yeah. Yeah. So that's 00:55:02.110 --> 00:55:03.690 it. Till next time.