We also discuss how you find the human emotion under 40-stories of kaiju greatness.
I know that you and this films marketing team have described Godzilla as a force of nature.
Were going to do this realistically, lets look at animals, lets just copy that.
Thats all we have to do!
So we got bears fighting and wolves hunting, and everything, and animated him based on that.
We then sat down and watched it, and went, Hmm, theres a problem here.
Like animals are very bad storytellers.
There was just a more human performance [because] we needed in that.
Along those same lines, you have a background in visual effects.
Now you jump to the ultimate monster movie.
What was that like for you?
To some extent, when you direct a film, you only really talk to a handful of people.
Its been established over decades.
Initially, youre like why dont I ever talk to that guy putting that up?
I see him everyday and I never say hello.
And then you realize very quickly that theres just not time.
I can sometimes get to the end of the day and spoken to five people.
And you’re free to start believing that for quite a while.
Youre like oh shit!
It was a big movie after all.
He really represents nature in the world.
And the MUTOs represent our abuse of nature.
So, there was the idea of man versus nature, which was this dominant theme throughout the movie.
I think horror is best served when theres guilt.
Its then a lot more awkward to watch.
Its not black and white.
I always rememberCape Fear, because he kind of deserved it.
From one kind of perspective, the retribution was a long time coming.
I feel that Godzilla is natures retribution of our abuse of our position.
Coming from an independent background onMonsters, did you attempt to practice restraint onGodzilla?
…I think what I wanted to domy goal, was to show some restraint where we could.
I know that sounds silly, because theres a lot of spectacle.
But when there is spectacle, try and limit it to watching it from this perspective.
Were not going to see all of it, so that youre using your imagination.
The restraint they had before they had computer graphics.
But at least one foot in that world of leaving some of it to the imagination.
When we reach that point where We peaked, cant do anything more, this is it.
Then we hit the end credits.
We do not have the money.
We cant put it in this movie, but maybe down the road…
The most expensive thing in a film is screen real estate.
If you go off on too many tangents and do too many things, you distract from the audience.
Thank you, cheers.
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