Godzilla
Godzilla: King of the Monsters (2019 film)
Godzilla: King of the Monsters[b] is a 2019 monster film directed by Michael Dougherty and co-written by Dougherty with Zach Shields. A sequel to Godzilla (2014), it is the 35th film in the Godzilla franchise, the third film in Legendary's MonsterVerse, and the third Godzilla film to be completely produced by a Hollywood studio.[c] It is dedicated to executive producer Yoshimitsu Banno and original Godzilla suit performer Haruo Nakajima, who both died in 2017.
| Godzilla: King of the Monsters | |
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_poster.png) Theatrical release poster | |
| Directed by | Michael Dougherty |
| Produced by |
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| Screenplay by |
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| Story by |
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| Based on | Godzilla, King Ghidorah, Mothra, Rodan by Toho |
| Starring | |
| Music by | Bear McCreary |
| Cinematography | Lawrence Sher |
| Edited by | |
| Production company |
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| Distributed by |
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| Running time | 132 minutes[3] |
| Country | United States Japan[2] China[2] Mexico[4] |
| Language | English |
| Budget | $170–200 million[a] |
| Box office | $386.6 million[6] |
The film stars Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Bradley Whitford, Sally Hawkins, Charles Dance, Thomas Middleditch, Aisha Hinds, O'Shea Jackson Jr., David Strathairn, Ken Watanabe, and Zhang Ziyi. In the film, humans must rely on Godzilla and Mothra to defeat King Ghidorah, who has awakened other Titans to destroy the world.
The sequel was green-lit during the opening weekend of Godzilla, with original director Gareth Edwards expected to return to direct a trilogy. In May 2016, Edwards left the project. In October 2016, Dougherty and Shields were hired to rewrite the script. In January 2017, Dougherty was announced as the director. Principal photography began in June 2017 in Atlanta, Georgia, and wrapped in September 2017.
Godzilla: King of the Monsters was theatrically released on May 31, 2019, to mixed reviews, with praise for the visual effects, action sequences, cinematography, and musical score but criticism aimed at the pacing, tone, plot, and characters.[13][14] The film was a box office disappointment,[5][15][16] grossing $386 million worldwide against a production budget between $170–200 million and marketing costs between $100–150 million.[8][9] A sequel, Godzilla vs. Kong, is scheduled to be released on May 21, 2021.
Plot
Five years after the existence of giant monsters, now called "Titans," was revealed to the world, Dr. Emma Russell, a paleobiologist working for the Titan-studying organization Monarch, and her daughter Madison witness the birth of a larva called Mothra. Emma calms Mothra using the "Orca," a device that can emit frequencies to attract or alter Titan behavior. A group of eco-terrorists, led by Alan Jonah, attacks the base and kidnaps Emma and Madison, while Mothra flees and pupates under a nearby waterfall.
Monarch scientists Dr. Ishirō Serizawa and Dr. Vivienne Graham approach former employee Dr. Mark Russell, Emma's ex-husband and Madison's father, to help track them down. Mark is reluctant at first due to his hatred toward Godzilla, whom he blames for the death of his son Andrew, but eventually agrees. The Monarch team follows Godzilla to Antarctica, where Jonah intends to free a three-headed Titan codenamed "Monster Zero." Emma frees and awakens Monster Zero, who battles Godzilla, devours Graham and escapes. The team then learns that Emma is working with the terrorists. From a Monarch bunker in Boston, Emma contacts Monarch and argues that the Titans must be awakened in order to heal the Earth from the damages that humans have caused.
Emma awakens Rodan in Mexico. Monarch lures Rodan into fighting the approaching Monster Zero, but Monster Zero swiftly defeats Rodan before being ambushed by Godzilla, who severs his left head. During the fight, the Navy launches a prototype missile called the "Oxygen Destroyer," seemingly killing Godzilla. Unaffected, Monster Zero regrows his lost head and awakens all the other dormant Titans around the world, with Rodan submitting to his rule. Madison disowns Emma for her role in the destruction and loss of life caused by the awakened Titans.
Through mythological texts, Dr. Ilene Chen discovers that Monster Zero is King Ghidorah, a prehistoric alien seeking to terraform the Earth to his liking. Mothra emerges from her cocoon and flies to "Castle Bravo," Monarch's Bermuda base, to communicate with Godzilla, who is recuperating from the detonation in an ancient underwater city. Via submarine, the team locates Godzilla's lair, which is highly radioactive. They deduce it will take far too long for Godzilla to heal on his own and decide to detonate a nuclear warhead to speed up the process. Serizawa sacrifices himself by manually detonating the warhead, reviving Godzilla and increasing his power.
Emma realizes the destruction Ghidorah and the other Titans will bring to the world is much worse than anything that humans could inflict, but Jonah ignores her pleas to stop. Madison overhears this and steals the Orca. Arriving at Fenway Park, Madison broadcasts a frequency that calms the Titans but unwittingly attracts all of them to her location. Ghidorah lands in Boston to destroy the Orca. Godzilla arrives with Monarch's assistance to engage him in battle. Mark leads a team to rescue Madison and escape the city after learning Godzilla's radiation levels are increasing and will lead to a thermonuclear explosion. Mothra arrives to help Godzilla but is intercepted by Rodan; she defeats him but is badly injured in the process.
Ghidorah overpowers Godzilla and prepares to kill him, but Mothra sacrifices herself and transfers her energy to Godzilla, rapidly healing him. Mark, Emma, and Madison are reunited and reactivate the Orca to lure Ghidorah away from Godzilla. Emma sacrifices herself to lead Ghidorah away, giving Mark, Madison, and Monarch time to escape. Godzilla enters a newly-empowered state and defeats Ghidorah with nuclear pulses. Rodan and the other Titans converge on Godzilla and bow to him.
During the end credits, news clippings and Monarch files show that the Titans are helping to heal the planet, a suspected second Mothra egg has been discovered, and some of the Titans are converging on Skull Island. Ancient cave paintings of Godzilla and Kong in battle are shown. In a post-credits scene, Jonah and his forces purchase Ghidorah's severed left head in Mexico.
Cast
Production
- Michael Dougherty – director, co-writer
- Zach Shields – co-writer, executive producer
- Barry H. Waldman – executive producer
- Dan Lin – executive producer
- Roy Lee – executive producer
- Yoshimitsu Banno – executive producer (posthumous)
- Kenji Okuhira – executive producer
- Alexandra Mendes – co-producer
- Scott Chambliss – production designer
- Louise Mingenbach – costume designer
- Guillaume Rocheron – visual effects supervisor
- Tom Woodruff Jr. – effects and creature designer
Development
Gareth Edwards, the director of 2014's Godzilla, stated that he wanted Godzilla to work as a standalone film with a definitive ending, and he opposed suggestions that the ending should leave the film open for a sequel. He said that he had no problem coming back for a sequel if the film did well, but his main concern was delivering a satisfying experience with the current film, "I want a story that begins and ends, and you leave on a high note. That's all we cared about when we were making this; just this film. If this film is good, the others can come, but let's just pay attention to this and not get sidetracked by other things."[36]
After a successful opening of $103 million internationally, Legendary green-lit the Godzilla sequel,[37] with plans to produce a trilogy and Edwards attached to direct.[38] At the San Diego Comic-Con in July 2014, Legendary confirmed that they had acquired the rights to Rodan, Mothra, and King Ghidorah from Toho. A short teaser clip showing concept art of all three with the ending tagline "Let them fight" was shown. Other details of their appearances in the sequels were not announced.[39] In August 2014, Legendary announced that the sequel would be released on June 8, 2018,[40] and that Godzilla writer Max Borenstein would return to write the screenplay.[41]
In April 2015, Aaron Taylor-Johnson stated that he was unsure if he would reprise his role for the sequel and that his return depended on Edwards' decision.[42] In October 2015, Legendary announced plans to unite Godzilla and Kong in a film titled Godzilla vs. Kong, then-set for a 2020 release date. Legendary is creating a shared cinematic franchise "centered around Monarch" that "brings together Godzilla and ... King Kong in an ecosystem of other giant super-species, both classic and new." While Legendary will maintain its home at Universal Pictures, it will continue to collaborate with Warner Bros. for the franchise.[43]
In May 2016, Warner Bros. announced that Godzilla 2 had been pushed back from its original June 8 2018 release date to March 22, 2019, and shortly afterward, that Edwards had left the sequel to work on smaller scale projects.[44][45] Edwards also felt that Legendary "needed to get on with things" instead of waiting for him to finish work on Rogue One, but expressed his hope to work on Godzilla again one day.[46]
In October 2016, it was announced that Michael Dougherty and Zach Shields (both of whom had worked on Krampus) would write the screenplay for Godzilla 2.[47] A day later, it was reported that Dougherty was also in negotiations to direct Godzilla 2.[48] That same month, Legendary announced that production would also take place at parent company Wanda's Qingdao Movie Metropolis facility in Qingdao, China, along with Pacific Rim: Uprising.[49]
In December 2016, Legendary announced that the official title for Godzilla 2 would be Godzilla: King of the Monsters.[50] In January 2017, Dougherty was officially confirmed as the director.[51] Dougherty stated that he was offered to direct first before being offered to re-write the script.[52] When asked about his reaction to being asked to direct, Dougherty stated, "'Yes.' That was my reaction very, very quickly. I felt flattered, honored...and that continues to this day. It was a dream come true. And lots of pressure. Immense, immense pressure."[53] Dougherty described the film as:
"The world is reacting to Godzilla in the same way we would react to any other terrifying incident, in that we are overreacting, but there's paranoia and endless speculation about whether he is the only one out there or whether we're threatened by others like his kind."[18]
While Dougherty loved the 2014 film's slow-build, he said that he would "take the gloves off for this film. No holding back."[54] While comparing King of the Monsters to the 2014 film, Dougherty said "I would call (my movie) the Aliens to Gareth's Alien." Dougherty elaborated by noting the balance between serious and "fun, tongue-in-cheek moments" from Aliens and that King of the Monsters would take a similar approach.[55]
Writing
In September 2014, it was reported that Max Borenstein would return to write the script.[41] While promoting Kong: Skull Island, Borenstein mentioned that one thing he aimed to do in the Godzilla sequel is make Godzilla more empathetic for the audience:
"When [Godzilla] blows his blue flame down the throat of the other creature—a creature we never empathized with in any way—we're empathizing with Godzilla. That's the thing about the movie that I'm most proud of, and I think Gareth did an amazing job pulling that off. I think that's what sets up our Godzilla franchise in a way that the second Godzilla movie can pick up on to begin to make Godzilla a more relatable, emphatic figure. But it needed that groundwork because you don't immediately invest emotionally in something that looks like a giant dragon or lizard."[56]
Legendary's only mandate was to include Monarch, Rodan, Mothra, and King Ghidorah. For Dougherty's script, he and his team "started over from scratch". Dougherty began with a rough two-page treatment that contained basic beats and rough sketches of the characters. Subsequently, a writer's room was assembled that was ran by Dougherty and co-writer/executive producer Zach Shields, with Borenstein participating. Ten writers contributed to building on the treatment.[57] The script took a year to come together. Dougherty also changed, revised, and improved lines during filming and post-production.[52] He felt the struggles of writing the script were balancing the monster spectacle "while still creating a story with human characters that we care about."[53] While the previous film focused on Ford with Monarch in the background, Dougherty wanted the film to be focused on Monarch, feeling there was an opportunity to craft the organization as a group of heroes. Due to this, the film became an ensemble piece.[55]
Dougherty and Shields chose a human story line where the science fiction elements could be replaced with themes such as climate change or eco-terrorism and stand out on its own without the monsters.[58] Dougherty felt that the third act proved the most challenging in terms of writing as many of the human and monster story arcs converged and needed to be resolved. Shields confirmed that Emma's speech to Monarch went through several rewrites. Shields and Dougherty wanted the speech to present a moral question to audiences whether they would put their faith in humanity or Mother Nature.[59]
In the original script, Mark and Sam were originally written as old friends. This was changed in later drafts from Sam to Serizawa to have him be the guiding force for Mark.[60] Dougherty added the Oxygen Destroyer as a representation of "humanity's inability to not interfere."[61] Dougherty and Shields chose to have Godzilla killed during the film's mid-point due to this being an idea that has not been done in previous Godzilla films. Shields noted that this was also to parallel Godzilla and Mark's characters, stating, "Kyle's loss of faith in the beginning, and finding it in this moment when he realizes, you know, God is dead."[62]
In Dougherty and Shields's treatment and early drafts, full sequences of the non-Toho Titans rising after Ghidorah's call were written but later trimmed due to budgetary concerns.[63]
Creature design
—Dougherty on his approach for the monsters[64]
The film reclassifies the monsters' designation from "MUTOs" to "Titans".[65] For the monsters, Dougherty wanted their designs to emit a godly presence and evoke a sense of worship, stating, "Primitive man saw these creatures, and you want to give them a presence that would make him drop to his knees and bow to this god...It can't just look like big dinosaurs. Jurassic Park has that covered. These have to be distinct. They have to be their own thing. They're Titans."[55]
The director instructed the designers to look at the original designs from every era and "distill those silhouettes and those key traits into something more modern." It was important for the director that the Titans were not just treated as monsters but "very large animals with a distinct thought process."[52]
For Godzilla, Dougherty wished to put back the "God in Godzilla".[20] He liked the design that Gareth Edwards and Matt Allsopp conceived but wanted to tweak it by adding the dorsal plates of the 1954 iteration, as well as making the claws and feet bigger to make Godzilla look like a more powerful predator. The director had the sound design team expand on Godzilla's roar by making it sound closer to the roars of the 1954 incarnation, stating, "I think they did a great job with Godzilla’s roar in the first movie. I pushed them a little bit further to bring it even closer to the (1954) original even more."[55]
For Rodan, elements of volcanic rock were added to the scales and skin color to make Rodan look capable of living inside of a volcano. Dougherty wanted Rodan's design to resemble something that "Mother Nature could have created."[53] The designers were instructed to not just look at Pteranodons but at various birds such as vultures, eagles, and hawks due to birds being related to dinosaurs.[52] Dougherty described Rodan as a "bit of a rogue...you never quite know where his loyalties lie". The director further described Rodan as a "massive A-bomb" that brings "speed and ferocity."[66] Tom Woodruff Jr. and Amalgamated Dynamics provided the design for Rodan.[52] The Rodan chase scene was the first pre-viz sequence produced to be used as a pitch to Legendary.[67]
For Mothra, Dougherty wanted to create something that was "beautiful, and feminine, and elegant, and looked like a true goddess, but also dangerous if she had to be." He attempted to remain faithful to the color palette of the original 1961 incarnation and retain the eye-spots on her wings. The eye-spots were designed to resemble Godzilla's eyes in order to create a connection between Mothra and Godzilla. Mothra was designed to resemble real moths and given longer legs in order to defend herself against other monsters, another attribute inspired by moths.[53]
Dougherty researched various moth species and discovered that some looked "scary" and "predatory". He wished to maintain a sense of realism for Mothra, stating, "...the approach for Mothra is to create an insectoid, huge creature that looks believable from every angle, and especially in motion."[55] The director found Mothra the most difficult Titan to design because he wished to avoid making Mothra look like a blown-up moth. Legacy Effects provided the design for Mothra.[52]
For King Ghidorah, Dougherty wanted to create a "unique" design that still resembled King Ghidorah, and worked closely with Toho to make sure the new design respected past incarnations. Each head was given its own personality, with the center being the alpha and the others its lackeys. He studied various animals, specifically king cobras, in order to add a sense of realism to the design.[53] The designers were instructed to look at different scales from various reptiles to avoid having Ghidorah's scales looking similar to Godzilla or the original King Ghidorah.[52]
The director told the design team to maintain an Eastern dragon influence for Ghidorah and to avoid any Western dragon influence, stating, "They’re not traditional western dragons. So those were marching orders from the beginning...We don’t want it to look like Game of Thrones’ dragons."[55] Legacy Effects also provided the design for Ghidorah. While noting that the film is not a comedy, Dougherty likened Ghidorah to Rip Van Winkle, having a sense of curiosity and cruelty.[52] Producer Alex Garcia described Ghidorah as "not part of the natural order."[68]
Dougherty confirmed that the film would feature original, non-Toho monsters.[69] The names of the non-Toho Titans were revealed as Baphomet, Typhon, Abaddon, Bunyip, Methuselah, Behemoth, Scylla, Tiamat, Leviathan, Sargon, and Mokele-Mbembe.[20][70] Dougherty created new monsters because he felt it was part of the "Toho tradition" to add new monsters to the Godzilla pantheon.[71] For the roars, the director felt it was important "getting the noises right." He gave the sound designers a "super cut" of the monster roars from the Shōwa Godzilla films, and had them start from there. He stated that the monsters would have new roars that would resemble the original incarnations.[55] Dougherty had the Shōwa roars on a massive speaker system to use on-set for scenes where actors had to run from or react to the monsters.[64]
Pre-production
In late January 2017, Millie Bobby Brown was the first to be cast for the film, in her feature film debut.[72] In February 2017, Kyle Chandler[73] and Vera Farmiga[74] were cast as the parents to Brown's character. In March 2017, it was reported that O'Shea Jackson Jr. was in talks for a role in the film.[75] In April 2017, Aisha Hinds was confirmed to join the cast of the film.[76] In May 2017, Anthony Ramos,[77] Randy Havens,[78] Thomas Middleditch,[79] and Charles Dance were added to the cast, and Sally Hawkins was confirmed to return.[80] A press release confirmed Watanabe's return for the sequel.[34] In June 2017, Bradley Whitford[81] and Zhang Ziyi were added to the cast, with the latter playing a "major role" in the MonsterVerse.[82] In July 2017, Elizabeth Ludlow was added to the cast.[83] In April 2018, Jason Liles, Alan Maxson, and Richard Dorton were cast to provide the performance capture for the heads of King Ghidorah, with Dorton performing the left head, Liles performing the middle head, and Maxson performing the right head. Other actors perform the body.[84][85] Liles also provided the performance capture for Rodan.[33]
Matthew E. Cunningham was hired as a Senior Illustrator during the research and development stage. Cunningham designed most of the vehicles after the storyboard artist worked with Dougherty. Senior conceptual designer George Hull provided a series of concept paintings of vehicles and monster imagery. Production designer Scott Chambliss managed all the art directors. Artists would sometimes show concept art to the writers, producers, and director however, Chambliss had final say on what would be shown to Dougherty and the producers. After the illustrations were approved, they were delivered for pre-vis. The visual effects used concept art and pre-viz as a reference. Legacy Effects, who had worked on Edwards' Godzilla, were brought back to provide additional concept art.[86]
Filming
Principal photography began on June 19, 2017, in Atlanta, Georgia under the working title Fathom.[87][88] Dougherty confirmed that the film would feature practical effects and creature designs by Tom Woodruff, Jr.[78] Lawrence Sher had been confirmed as director of photography.[34] Parts of the film were shot in the Historic Center of Mexico City between August 19–22, 2017.[89] Dougherty announced the film had wrapped production on September 27, 2017.[90]
Post-production
Visual effects for the film were provided by Moving Picture Company, DNEG, Method Studios, Raynault VFX, Rodeo FX and Ollin VFX. Guillaume Rocheron was the main visual effects supervisor.[91] In November 2018, post-production on the film officially ended.[92] The brief shots of the non-Toho Titans were "late additions" during post-production.[93] Dougherty said that an earlier cut of the film was nearly three hours long.[94] Dougherty affectionately referred to the three-hour cut as Godzilla: The Miniseries. He considered splitting the film into two parts but decided against it, feeling that the final cut is faithful to the core of his original vision.[95]
Music
| Godzilla: King of the Monsters | ||||
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| Soundtrack album by | ||||
| Released | May 24, 2019 | |||
| Recorded | 2018-2019 | |||
| Studio | Air Studios, Dean Street Studios, Heaven Recording Studio (Hong Kong) | |||
| Genre | Film score | |||
| Label | WaterTower Music | |||
| Producer | Joe Augustine, Bear McCreary, Michael Dougherty (exec.), Peter Afterman (exec.), Margaret Yen (exec.)[96] | |||
| Bear McCreary chronology | ||||
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| MonsterVerse chronology | ||||
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On July 21, 2018, Dougherty revealed that Bear McCreary would compose the film's score, incorporating themes from Akira Ifukube's previous Godzilla scores.[21] Regarding his involvement, McCreary stated, "I am thrilled to be the composer for Godzilla: King of the Monsters, and honored beyond words to have the opportunity to contribute to one of cinema's longest-running musical legacies."[97] McCreary further expanded on his plans and involvement, stating;
"I've known Michael Dougherty for a long time, as we both run in the same film-nerd circles. I have always appreciated his love of film music, chatting with him for hours on end over the years about the scores we both love. I was thrilled for him when he landed the gig to direct Godzilla, because I knew what it meant to him. When he later asked me to join the project, I was overwhelmed with excitement, and awe, grateful for the chance to join him in contributing to the legacy of our favorite monster. We knew from the beginning that we wanted to incorporate classic [Akira] Ifukube themes, and yet I think fans will be excited to hear how they have evolved. There are some fun surprises in store. Fitting the material and Michael's visionary film, this score is the most massive I have ever written, and I can't wait for fans to experience it!"[98]
The first trailer featured a rearrangement of Claude Debussy's Clair de Lune by Michael Afanasyev for Imagine Music.[99] The Beautiful TV spot and final trailer featured two different renditions of "Over the Rainbow".[100][101] An alternate mix of Nessun dorma was featured in the extended IMAX preview.[102] LL Cool J's "Mama Said Knock You Out" was featured in the Exclusive Final Look trailer.[103] In November 2018, a sample of McCreary's Godzilla theme was leaked online after it was used during a panel at Tokyo Comic Con.[104] In April 2019, WaterTower Music released two tracks from the soundtrack, "Old Rivals", composed by McCreary, and a cover of Blue Öyster Cult's "Godzilla" by Serj Tankian. Brendon Small, Gene Hoglan, and other members of Dethklok contributed to the Tankian cover.
McCreary called the cover "the most audacious piece of music" he had produced in his career, citing the orchestra, choir, taiko chanting, taiko drumming, heavy metal rhythm section, Hoglan's double-kick drums, and Tankian's vocals used to produce the track. McCreary stated "For [the character] Godzilla, I chose to incorporate and adapt the legendary Akira Ifukube’s iconic theme, and for Mothra, Yūji Koseki’s immortal 'Mothra’s Song'."[105] The Japanese band Alexandros contributed the single "Pray" for the film's Japanese release. On this decision, Dougherty commented, "we feel incredibly fortunate to have had [Alexandros] contribute such an anthemic song that captures not only the gravitas of the film, but also perfectly complements its dramatic conclusion."[106] The single was released on May 13, 2019.[107]
All tracks are written by Bear McCreary, except where noted. The score is also conducted by McCreary.
| No. | Title | Lyrics | Length |
|---|---|---|---|
| 1. | "Godzilla (feat. Serj Tankian)" (written by Donald Roeser) | 3:10 | |
| 2. | "Godzilla Main Theme" (written by Akira Ifukube) | 2:34 | |
| 3. | "Memories of San Francisco" | 2:11 | |
| 4. | "The Larva" | 4:23 | |
| 5. | "Welcome to Monarch" | 2:54 | |
| 6. | "Outpost 32" | 7:03 | |
| 7. | "Ice Breaker" | 2:33 | |
| 8. | "Rise of Ghidorah" | 2:59 | |
| 9. | "Old Rivals" | 3:49 | |
| 10. | "The First Gods" | 5:18 | |
| 11. | "Rodan" | 5:23 | |
| 12. | "A Mass Awakening" | 5:32 | |
| 13. | "The One Who is Many" | 5:37 | |
| 14. | "Queen of the Monsters" | 3:35 | |
| 15. | "For Andrew" | 1:18 | |
| 16. | "Stealing the Orca" | 3:04 | |
| 17. | "The Hollow Earth" | 5:26 | |
| 18. | "The Key to Coexistence" | 2:18 | |
| 19. | "Goodbye Old Friend" | Bear McCreary | 2:54 |
| 20. | "Rebirth" | 2:03 | |
| 21. | "Fog Over Fenway" | 2:53 | |
| 22. | "Battle in Boston" | 7:51 | |
| 23. | "Redemption" | 4:11 | |
| 24. | "King of the Monsters" | 3:34 | |
| 25. | "Ghidorah Theme" | 2:41 | |
| 26. | "Mothra's Song" (written by Yūji Koseki) | 2:10 | |
| Total length: | 1:37:21 | ||
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