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nOne of the few times that Hollywood has taken a stab at producing a Godzilla film; the result was the universally panned Godzilla (1998) directed by big budget event film specialist Roland Emmerich. The anticipation for that film was pretty high; I remember everyone wanted to know what the King of All Monsters was going to look like on this new film because Sony was keeping the look of the creature under wraps. Their plan was that the only way you would get a chance to see the beast is by going to see the film. Concept art leaked onto the internet, but no one was really sure if it was the creatures’ true look. When audiences finally paid their movie ticket and got a look at this new Godzilla, most where disappointed because it wasn’t really Godzilla, at least not the way they remembered him from all of his Japanese adventures.
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nEven though Godzilla’s new design displeased many a Godzilla fan, this didn’t stop American audiences from seeing this new Godzilla, which went on to make 379 million at the box office. And though a lot of people hated it, I personally had a lot of fun with it. I mean, yeah, technically this wasn’t really Godzilla; it was more of a lame attempt to make Godzilla “cooler” or un-cheesy. But as a monster movie? I think it has its moments. And it has some awesome special effects sequences. Those scenes with Godzilla tangled on the San Francisco Bridge? Classic monster movie mayhem! I think this film would have garnered less hatred if it had completely disassociated itself from the Godzilla franchise. People were expecting Godzilla, and they didn’t get it, so they hated the film. Problem is that this particular Godzilla movie was missing a lot of what makes a Godzilla movie a Godzilla movie. For example, Godzilla doesn’t fight other giant monsters! Godzilla doesn’t fire laser beams out of his mouth! His back doesn’t light up! Roland Emerich’s prime concern with making this film was to get away from the cheese factor as much as possible. Unfortunately, anyone who’s watched Godzilla films knows that cheesiness and Godzilla go hand in hand. It just goes with the territory. You can’t fight it, you have to accept it, engulf it. Only then will you enjoy a film where Godzilla fights giant Moths that shoot laser beams from their eyes. But no, from day one Emmerich was always thinking about getting away from the cheesiness. Was this a good move? Well, it certainly made no dent in the films box office intake, but Godzilla fans were not pleased.
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nGodzilla thrashes the streets of New York City
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nEmmerich’s approach for making this film was to totally redesign Godzilla; to get as far away as he could from the original Japanese design. Truth be told, at first Roland Emmerich and Dean Devlin wanted nothing to do with this new Godzilla movie. Another bad omen if you ask me. Why try and get two guys to make a film that they don’t have any passion for? But Sony had their hearts set on getting Devlin and Emmerich to make their new Godzilla because these were the guys who made the multi million dollar box office success known as Independence Day (1994). Surely they knew a thing or two about making a successful summer blockbuster, let alone a new Godzilla movie! Emmerich thought Godzilla was simply too silly a concept for him to develop. His outlook on the project changed when Patrick Tatopoulos redesigned the creature from the ground up. Understandably so, Emmerich didn’t want a man in a suit for his film. So he got Patrick Tatopoulos to give Godzilla a new look. Tatopoulos had previously worked for Devlin and Emmerich designing the creatures of Stargate (1994) and the aliens for Independence Day (1996). Once Emmerich saw Tatopoulos’s new design, he liked it so much that he knew that this was they way he wanted to go with his new take on Godzilla!
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nConcept art for Godzilla (1998)
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nWhen the time came to start production, Patrick Tatopoulos actually traveled to Japan to meet with 30 Toho Studios officials to reveal his new Godzilla designs. When he unraveled his creation to them in drawing and sculpture form, they were met with a resounding silence. Tatopoulos went back home thinking the meeting had gone wrong, but to his surprise, the next day he was informed that Toho had approved the new creature design. That even though it was different, it still captured what Godzilla was all about. All they saw was a big budget summer blockbuster being produced by Hollywood which would eventually reap monetary results if the film became a hit. In the end Japanese audiences loathed the new film calling it “Godzilla in name only”. Kenpachiro Satsuma, an actor who’s portrayed Godzilla in various Japanese films walked out of a Tokyo screening saying that “It’s not Godzilla, it does not have the spirit” Essentially, what Emmerich’s film did was turn Godzilla into a big animal searching for food and looking for a place to procreate, while in the Japanese movies Godzilla was something closer to a God walking the earth. In the original Japanese films Godzilla would emerge to punish humanity for their abuse of the earth, other times he’d be the protector of the earth. Sometimes he’s a mix of both! But on Emmerich’s film he is neither of those. Emmerich stripped Godzilla of its godliness. Japanese have referenced Godzilla (1998) in some of their subsequent Godzilla films. For example in Godzilla: Final Wars (2004) the Japanese Godzilla actually goes up against the American Godzilla which they call ‘Zilla’. The battle transpires rather quickly, and Japanese Godzilla kicks Zilla’s ass in a matter of seconds. Then one of the characters in the movie calls Zilla a “Good for nothing Tuna eating monster” Which I guess pretty much surmises how the Japanese felt about Emmerich’s film. It was an insult to their beloved icon.
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nGodzilla gets up close and personal with his American co-stars
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nBut Emmerich’s Godzilla film wasn’t the first time Hollywood tried to take a stab at making a Godzilla film. Actually, they tried twice before! And both times, the projects came close to getting made, then caput; nothing. Whatever came of those projects? Why didn’t they ever come into fruition? Well, as some of you might already know, I am a huge fan of conceptual artwork, if you havent done so already, check out my article on Conceptual Artwork for Films That Never Got Made. For me its always fun to go through these projects that never got to exist. Well, in my thirst for knowledge on all things Godzilla I came upon not one but two American Godzilla films that never happened. And they actually looked like they were going to be cool films! They both had great creative teams behind them! Sadly, at the time studios had no faith in putting so many millions on a what they considered to be ‘children’s films’. And in order to do these films right, these filmmakers were going to need mucho dinero, which the studios were reluctant to give. So both projects were shelved. But there are pictures and storyboards of these projects, which I’ve posted for your viewing enjoyment. So without further ado, I give you the Two Godzilla’s that Never Where!
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nGODZILLA KING OF ALL MONSTERS 3-D (1983-1984)
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nDirector: Steve Miner
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nWriter: Fred Dekker
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nWriter: Fred Dekker
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nThe first of the two shelved Godzilla projects was going to be directed by Steve Miner, the main driving force behind this project. Right now Steve Miner isnt regarded as much of a director. Recently he was responsible for the abortion that was Day of the Dead (2008). Boy was that a bad movie and not in a fun way. It wasn’t even a proper remake of George Romero’s original Day of the Dead film. But, once upon a time, he was a director making profitable horror movies like Friday the 13th Part 2 and 3. He’d also directed the fun haunted house flick House (1986) and the first Warlock (1989) film. He knew his way around a film, and this Godzilla was shaping up to be his biggest endeavor yet.
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nStory Boards for Steve Miner’s proposed Godzilla film by William Stout
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nMiner had a respectable filmography at the time, a bunch of profitable horror films under his belt. He looked like the right guy for the job! His experience in working with 3-D on Friday the 13th 3D was going to be put to good use because his proposed Godzilla film was going to be 3-D! In fact, it was going to be called Godzilla: King of the Monsters 3-D, nifty title right? The writer behind this proposed Godzilla flick was non other than Fred Dekker, the director behind Night of the Creeps (1986) and Monster Squad (1987), not a bad couple of films if you ask me. Plus, he’d written a bunch of Tales from the Crypt episodes, and he’d worked with Miner before writing the script for House (1986). Fred Dekker is a connoisseur of sci-fi and monster films from all eras, so he knew a thing or two about what a good Godzilla movie was all about. Dekker’s story was going to have a meteorite hitting one of the U.S. militaries satellites and accidentally setting off a nuclear attack that would ultimately end up resurrecting Godzilla. The film was going to end with an all out battle between the U.S. army and Godzilla on Alcatraz island!
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nGodzilla animatronic made for Godzilla: King of the Monsters 3-D, sadly, it was never used
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nAnd finally, conceptual artwork and storyboards were handled by artist extraordinaire, William Stout. Even special make up effects legend Rick Baker was called in to make an animatronic head for Godzilla’s close ups! They even built an animatronic of Godzilla that was never used! ILM and Dreamquest would have worked in conjunction to deal with the films extensive fx work! The proposed budget for the project was a measly 30 million. Tame by today’s standards, but back then the studios considered it a big price tag for what they considered a children’s film, so the project was scrapped. Considering how many talented inviduals were going to be involved in making this film, I’d say the studio was getting a bargain price for this awesome movie!
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nBut Godzilla was not ready to die just yet…. the next attempt to resurrect Godzilla in Hollywood would be:
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nConcept art by Stan Winston Studios for what would have been Godzilla ’94
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nGODZILLA ’94 a.k.a. GODZILLA VS. THE GRYPHON
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nDirector: Jan De Bont
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nWriters: Terry Rossio, Ted Elliott, Donald McPherson
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nThis project was the precursor to Devlin and Emmerich’s eventual film. Tristar had been aching to do a Godzilla movie and they’d hired Terry Rossi and Ted Elliott to write a script for the proposed film. Terry Rossio and Ted Elliott are two guys who have lots of experience writing big budget money makers for studios like Disney and Dreamworks. These are the guys responsible for writing the whole Pirates of the Caribbean franchise. So Tristar hired them for the script. Next, they brought in Jan De Bont who wanted to make a Godzilla that would be faithful to the spirit of the Japanese Godzilla films but at the same time offer up some cutting edge special effects. He employed the talents of Stan Winston Studios for the creature designs. The designs speak for themselves. The Gryphon creature was going to be an awesome villain!
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nThe ‘Probe-Bat’ creatures for Godzilla ’94 by Stan Winston Studios, sadly they were never used!
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nI have to say, I think this was going to be an awesome Godzilla movie. Of these two projects that never came to be, I think this one was going to be the most faithful to the old Godzilla films. It was going to have Godzilla go up against another giant monster called The Gryphon! It was going to have aliens, ancient civilizations and the two creatures destroying all of Manhattan during their cataclysmic fight! Godzilla was going to have that classic Godzilla look, yet at the same time look pretty freaking cool! The final fight was going to take place on Ellis Island with Godzilla taking the Gryphon’s head and placing it on the Statue of Liberties torch!
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nThe awesomeness that could have been Godzilla ’94
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nThis project went as far as building sets, but once again, it was the budget that scared the studio away. De Bont wanted 130 million and the studio wanted to make the film with much less, so De Bont stepped down. Ironic thing is that even though Emmerich agreed to make the film for 65 million, Emmerich’s film ended up costing more then 150 million plus promotional costs. So in the end, it would have cost them less to more or less the same to make it with Jan De Bont, by the looks of it, it would have been an even better film than Godzilla (1998) was, but I guess we’ll never really know will we?
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nConceptual artwork for The Grypon
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nWell, that’s it folks. I guess what these two defunct projects show us is that a lot of planning and work can go into planning a film, but if in the end you don’t convince the studios (read: the guys with the money) then chances are your project will go nowhere. Even if you are a big shot director like De Bont was at the time. Also, it shows us that Hollywood doesnt know a good deal when they see it. The creative teams behind these flicks were beyond cool, and I would’ve loved to see both of these movies get made. But alas, Hollywood likes to play it too safe some times. Gareth Edward’s the director behind Monsters (2010) is the next director to attempt making a Godzilla film for Hollywood. He seems to have a genuine love for monster movies, so lets see what happens. The project is happening under Legendary Pictures, here’s some conceptual artwork for how Godzilla might end up looking in that picture, what say you guys?
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nWell, thats it for now boys and girls. Look forward to more Godzilla movie reviews; I will be posting a couple more in the coming days! As always thanks for reading. And if you want to read more reviews on Godzilla films, go here!
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