Key Insights
- Collider’s Steve Weintraub interviews writer-director Takashi Yamazaki at CinemaCon regarding Godzilla Minus Zero.
- Yamazaki reveals that the sequel enhances VFX for more intricate, stunning kaiju scenes and captures additional action in IMAX.
- He also shares insights on the sequel’s runtime, a scene that moved him, and the journey of bringing Godzilla to America.
After delivering a remarkable and critically acclaimed addition to Toho’s kaiju films, Oscar-winning writer and director Takashi Yamazaki states he has raised the bar even higher. Godzilla Minus Zero is elevating the stakes with more VFX shots and full-frame IMAX, the way Godzilla should be experienced. While at CinemaCon in Las Vegas, Collider’s Steve Weintraub had the chance to discuss with Yamazaki what fans can anticipate following the teaser trailer’s release.
It has been two years since Godzilla wreaked havoc in Tokyo. Now, in 1949, the narrative continues with the Shikishima family as they and the citizens of Japan must confront another assault when Godzilla resurfaces, even more powerful than before. Also returning are stars Ryûnosuke Kamiki as Kōichi Shikishima and Minami Hamabe as Noriko Ôishi.
Check out the complete conversation in the transcript below, where Yamazaki discusses the sequel’s intricate VFX shots, how much full-frame IMAX fans can expect from Godzilla’s return, and the action sequence that gave even Yamazaki goosebumps. The filmmaker also talks about the movie’s runtime, returning to the Shikishima family, bringing Godzilla to America, and what he holds dear when he knows directors like Steven Spielberg and James Cameron are watching.
‘Godzilla Minus Zero’ Throws the Shikishima Family “Back Into Peril”
COLLIDER: One of the reasons the first film is so awesome is that you made a Godzilla movie where people really care about the characters. With <em>Godzilla Minus Zero</em>, can you talk about balancing the humans with Godzilla again, and how you are balancing that in the sequel?
TAKASHI YAMAZAKI: What I learned with Godzilla Minus One is that because many events and the scale of the kaiju are so immense, we needed a smaller lens or perspective to truly grasp the drama’s scale. Featuring a family unit and observing them overcome challenges is very relatable to audiences given their surroundings. Therefore, I am once again showcasing the Shikishima family.
At the beginning of Minus Zero, they’re a very happy family. However, in the two years since Minus One to Minus Zero, Godzilla appears, and events will throw this family back into peril once again. I believe audiences will experience an emotional rollercoaster alongside these family members as they struggle and overcome challenges while witnessing their courage.
The first film is 125 minutes long. Is the sequel going to be around the same length? Will it be longer or shorter? What can you say?
YAMAZAKI: It’s about the same in terms of runtime.
By the way, again, congratulations on your Oscar.
YAMAZAKI: Thank you! It’s been two years, but I still appreciate it. [Laughs]
Did ‘Godzilla Minus One’ Just School Hollywood on Movie Making?
Let’s not get carried away, there’s a middle ground to be found here.
It’s amazing. Especially you and Stanley Kubrick. The first film has 610 VFX shots, and what you did is so jaw-dropping. With the sequel, how many VFX shots do you have? Is it the same amount? Is it a lot more? What can you tell fans?
YAMAZAKI: I haven’t counted the shots yet, but I can certainly say that there will be more cuts requiring VFX, and each shot needing VFX is more complex than in Godzilla Minus One. Thankfully, Toho provided me with a larger budget this time, allowing me to expand my VFX team. However, we also raised our expectations for what we want to achieve with VFX, maintaining similar challenges we faced during Godzilla Minus One. Nevertheless, we have more personnel due to an increased budget—thank you, Toho.
The funny thing is that no matter how much money you have, it’s never enough because in your first film you likely did as much as possible with your budget. Now that they’ve given you more money, you’ll do as much as possible with that budget too.
YAMAZAKI: Yes, I think that’s perhaps inherent in directors’ nature. Once we receive more funding, we start thinking about all we could do! Regardless of how much money is allocated to us, we’ll always find ways to maximize its use on screen.
Godzilla Is Coming to America — in IMAX
“A lot of the important fights and action sequences happening in the film will definitely be in full IMAX.”
I love the end of the teaser trailer where you show the Statue of Liberty because you’re revealing that some of the movie will take place in America. Can you say how much of the movie takes place outside Japan or in America? Is some of it in English?
YAMAZAKI: It’s a very brief sequence but crucial for a specific character concerning the Statue of Liberty. Regarding English dialogue and how much of it is Japanese versus English—there are certainly parts spoken in English along with some Japanese characters speaking English as well. This is partly due to the involvement of US Department of Defense and Navy as significant elements within this film’s central theme. Unfortunately, it’s challenging to provide an exact percentage at this point.
I love that you’re shooting this for IMAX. I love IMAX.
YAMAZAKI: Me too!
Can you say how much of the movie will be full frame? Many directors typically use full frame for major action sequences—how do you plan on utilizing it?
YAMAZAKI: Given that this is a kaiju film branded as “filmed for IMAX,” I would say there is a fairly high percentage of shots filmed in full IMAX. Collaborating closely with IMAX ensures audiences are stunned while watching this version in theaters—many important fights and action sequences will definitely be presented in full IMAX. However, these frames require significantly more CG processing and rendering than before.
This ‘Godzilla Minus Zero’ Scene Gave Takashi Yamazaki Goosebumps
“Audiences are going to see something they’ve never seen before.”
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This ‘Godzilla Minus Zero’ scene gave Takashi Yamazaki goosebumps…
The final cut will be completed just before its release date on November 6.
