Reflecting on My First Entertainment Reporter Interview with Godzilla Final Wars Director Ryuhei Kitamura in 2004
Over the past couple of decades, my life has taken an interesting journey. In the early 2000s, I worked as an entertainment reporter and journalist, primarily covering the Japanese science fiction movie scene. That eventually led me to reporting on anime and, later, low-budget independent sci-fi and horror films here in the U.S. This work allowed me to establish valuable contacts at major studios like Warner Bros. and Universal, and I had the opportunity to contribute to publicity for some of their releases. It was a wild ride, and an experience I will always treasure.
Now, as we enter the new year, I plan to take some time to reflect on this past chapter and try to discern what it all meant - how those experiences can be channeled into shaping my life going forward. I'm eager to see how I can apply the knowledge and connections I gained to positively influence the next phase of my life.
This morning, as I was revisiting some of my old articles, I stumbled upon my very first interview - an exclusive with the Japanese director Ryuhei Kitamura. Back then, my now-defunct website, www.kensforce.com, was the only English-language platform granted an interview with the director. Interestingly, there's a story behind this interview that I've rarely shared before.
When I learned that the world premiere of "Final Wars" was scheduled in Hollywood, I contacted Grauman's Chinese Theatre to inquire about tickets. They put me in touch with a Toho publicist in Los Angeles. Upon discovering that my site featured Godzilla-related content, the publicist expressed excitement and said she might have something interesting for me. Soon after, she informed me that Toho was aware of my website and liked its content. To my surprise, they wanted me to interview Kitamura.
I promptly prepared a dozen or so questions for the director and passed them to the publicist. She then translated the questions into Japanese and sent them to Toho, where Kitamura answered them. The publicist subsequently translated his responses back into English before forwarding them to me. Somewhere in this back-and-forth process, I believe the intent behind a few of my questions got lost in translation, as the filmmaker's response to one of them came across as a little angry.
I've included the transcript from my interview, as well as the publicity material I wrote to introduce it.
Ryuhei Kitamura, often referred to as the "Japanese Quentin Tarantino," is a young director known for his flair for fast-paced, action-packed films. His previous works, including Versus, Azumi, and Sky High, have showcased his signature style of high-speed action and sword play. However, for his latest project, the "action movie king" is taking on a much larger challenge - Godzilla, the "King of the Monsters."
In an exclusive online interview, Kitamura expressed his honor and excitement at the opportunity to direct a Godzilla film. The director's passion for the project is palpable, as he is determined to create the greatest Godzilla film of all time, aiming to restore the monster's status not only as the "King of Monsters" but also the "King of Entertainment."
Godzilla fans worldwide eagerly await this bold and ambitious take on the iconic Japanese franchise, anticipating a Godzilla film unlike any other, courtesy of the visionary director Ryuhei Kitamura.
You are best known for your action films featuring impressive sword fighting, such as Azumi and Sky High. How challenging was it for you to incorporate your filmmaking style into a monster (kaiju) movie?Reflecting back on an interview I conducted over 20 years ago, I now have the opportunity to critique my performance. As this was my very first interview, I admittedly lacked the experience to ask the right questions effectively. Lacking detailed information about the film in question, I ended up posing relatively straightforward "softball" questions, relying more on my familiarity with the interviewee's prior work. If I were to approach an interview of this nature today, my approach would certainly be quite different. The benefit of hindsight always provides clarity in such situations.RK: It wasn't too difficult to apply my style to this film - I don't consider myself an action director. I felt it was my mission to make this film the coolest and most powerful super-entertainment film more than the past Godzilla films.What motivated you to make a Godzilla film instead of a Hollywood epic, given that many fans know you were scheduled to make your American film directing debut this year?RK: No Japanese director would ever dare to say "no" to Godzilla films. I can make any Hollywood-style film but only a few can make Godzilla films, plus this is the 50th anniversary of Godzilla. I think this is the greatest challenge of my life to make this Godzilla film.In this Godzilla film, what do you feel you've done that was missing from the previous films?RK: Power and speed, I guess. In the recent films, Godzilla was too week. I wanted to make this film through action and wanted to convey to the world that this is the return of the monster king, so the screen is dark and hard,and monsters are speedy and powerful.Aren't you surprised by the widespread global interest in this film?RK: No, I wasn't surprised. It's Godzilla and so many fans are out there.Do you believe the publicity surrounding this film will spark greater interest in your previous works?RK: I hope it will help generate more films for me. I'm sure a lot of people will see this film. I want Godzilla and my fans or anyone to watch and have fun.Why were the monsters featured in Final Wars chosen over others from the series?RK: I decided with producer Mr. Tomiyama, special effects director Mr. Asada and writer lined up historical action figures on the table and we decided democratically which ones should be in this film Final Wars. It was difficult because everyone had a different attraction to different monsters, but at the end we were happy with these selections for the film.When planning the film's action sequences that take place in Australia, your former home, did you ever pause to consider the opportunity to destroy iconic landmarks? Did you think, "That location would look fantastic crushed by a monster" or similar?RK: I am furious with people who can't make the separation between reality and fantasy. In the fantasy world of Godzilla it is honorable that the landmarks are destroyed, I guess. For this film the world is a stage, and I chose my second home country - Australia - and chose to destroy Sydney first, and I enjoyed it very much.Why would one choose Hollywood for a premiere over the Tokyo International Film Festival, which has hosted the premiere of Godzilla films for over a decade?RK: 50 years ago, the first Godzilla film inspired the world , and it was the King of entertainment films. But after 50 years Hollywood is the leading place for entertainment films, and Japan follows Hollywood's lead. After 50 years, I believe the greatest Godzilla film is completed, so Godzilla should be King again.
In hindsight, it's obvious that Toho made a knee-jerk reaction in hiring a hot director like Kitamura, instead of allowing director Masaaki Tezuka (who had directed the previous two underperforming Godzilla movies) to move forward with his concept for a Godzilla vs. Godzilla clone film, the later controlled by the Japanese military in an attempt to get rid of the monster once and for all. That alternative movie concept sounds much more compelling than the final product we got with Godzilla: Final Wars.
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