Godzilla 2016

[redhawk23]

But look how much the designs are actually alike. Their silhouettes are almost identical.

 

[GR8GODZILLAGOD]

But look how much the designs are actually alike. Their silhouettes are almost identical.

It looks like the "nightmare version" of the original '54 design they said it'd be yes. I love the '54 design. It used to by my favorite Godzilla design until the 2014 film but I still don't think this new one is good.

 

[Gabe99]

Twitter:
Nico Nico douga Super Conference 2016

 

[Gabe99]

 

[GR8GODZILLAGOD]

Lord, that tail is excessive.

 

[Gabe99]

https://twitter.com/jack_m_s/status/725866615699443713

 

[redhawk23]

That statue is insanely detailed.

Close up of the weird tail.

Dem spines

 

[Gold Samurai]

New photos showing off 2016 Toho Godzilla

https://www.flickr.com/photos/97939553@N02/with/26697457081/

 

[DarkKnight]

Looking the more Organic detail in this Godzilla. The Skeletal look at the end of his tail. the Coral looking spikes. Just so cool to see. I'm also excited to see what the other Godzilla transformations will look like. I read somewhere where they said he will look more modern and like the Godzilla we all know and love by the end of the film. What does this mean? So many Godzilla designs have been "known and loved".

 

[Gabe99]

Variety:
Japan’s ‘Production Committee’ Filmmaking Has Critics Grousing About Groupthink

Social media was abuzz in April after producer and distributor Adam Torel of Third Window Films told the Sankei Shimbun newspaper that the quality of movies made in Japan had fallen low.

One of his points was that the so-called “production committee” system, whereby multiple partners invest in a film project, results in a highly conservative product since a director is under the watch of multiple corporate interests.

In spite of its critics — and Torel is not alone — this long-held system is not fading; rather, it might be gaining steam as players in the market continue to benefit from the process.

The pooling of so many companies together (possibly up to 12) provides the system’s greatest rewards: easier access to finance and the spreading of risk. But, as Torel implied, it may also end in a bland production.

There is, however, no disputing the results at the Japanese box office. For 2015, revenues from domestic films exceeded those from foreign movies for the eighth year in a row. Three committee films made the top 10 among Japan’s box office grossers in 2015: “The Boy and the Beast,” “Hero,” and “Detective Conan: Sunflowers of Inferno.” All surpassed 1 billion yen ($9.34 million) domestically, a key number for success, though none did strong business abroad.

Yet Japan’s trade ministry has increasingly sought in recent years to derive more overseas revenue from the country’s entertainment content, especially films. However, the complicated production committee system can pose a stumbling block regarding decision-making, especially in tapping ancillary markets.
Yoshiki Takahashi, a writer for film magazine Eiga Hiho, says that it is not a matter of Japan’s system being broken; instead, it is about the domestic market being top priority.

“One can say that there is this idea that Japanese movies have a unique form of expression, but that doesn’t mean they satisfy what is expected globally,” he says. “To make a successful movie overseas, I think it would be necessary to target this expectation. However, this idea is not shared within the Japanese film industry.”

The committee behind a film can arise from the progression of a property from one medium to another. The publisher and commercial broadcaster behind a franchise’s previous run as a comic and television series typically get seats on the committee. For example, in March, distributor Gaga announced it was venturing into production with multiple partners for the making of “Itazura na Kiss — The Movie,” a live-action film based on a popular 1990s manga series.

“We thought it could be successful from a business standpoint,” says Koji Hyakutake, the chief operating officer of Gaga. “The story is popular not only in Japan, but also across Asia, including in South Korea, Taiwan and Thailand. It started as a manga, then it became a TV drama and an animation, but it has never been a movie.”

One company working to ease this process is All Nippon Entertainment Works, which has partnered with Imagine Entertainment for a live-action adaptation of the animation “Tiger & Bunny.” “Japanese companies have too often just been ‘rights holders,’ where projects are optioned with no further involvement from the Japanese creators,” says CEO Sandy Climan. “ANEW finances the development of projects where there is a true partnership between the Japanese rights holders and the U.S. producing partners.”

AICN:
Gale Anne Hurd doing Live Action GAIKING & other ANEW news!

Film Business Asia Fri, 30 October 2015:
Fixing Japanese cinema's image problem

3 reasons Japanese movies today suck, according to distributor and producer Adam Torel

 

[Octoberist]

It's sorta true that the movie industry has taken a huge hit in Japan.

 

[Gabe99]

First Look Inside Upcoming “Art of Godzilla Resurgence” Offers First Real Look At SHIN-GOJIRA Concept Art

 

[Gabe99]

GODZILLA RESURGENCE: Exclusive High-Res Photos from Toho

 

[Sithborg]

Well, that image certainly emphasizes his thunder thighs.

 

[GR8GODZILLAGOD]

And I thought the Heisei Goji had a fat ass.

 

[Gold Samurai]

Kim K is jealous

They really should have worked on the proportions. He looks like a bottle of Aunt Jemima.

 

[Doctor Jones]

Godzilla just reminds me of Squidward when he ate too many crabby patties. Throw in chicken nugget looking tumors and you got his thighs.

 

[Gold Samurai]

From the press release. This is the first appearance of Godzilla. This is not a regenerating 1954 Godzilla as rumored early on.


http://www.scifijapan.com/articles/...surgence-exclusive-high-res-photos-from-toho/

While previous Godzilla movies have linked back to the 1954 original, the makers of GODZILLA RESURGENCE chose to present a story in which Godzilla appears in Japan for the first time. With a staff of 1000 peopleand shooting on an unprecedented scale for the franchise, Anno and Higuchi aim to bring the overwhelming reality of Godzilla to the big screen.

So why does he look the way he looks?

 

[Sithborg]

That's a first for Toho. Interesting.

 

[Lencho01]

Wasn't Legendary's version called fat due to his hips too?

 

[GreenKToo]

Thats....uh.....an interesting look there.

 

[Fallen Angel]

Those thighs could crush Kong.

 

[The Big G]

Wasn't Legendary's version called fat due to his hips too?

They made fun of his feet

All Godzilla are beautiful

 

[GreenKToo]

Those thighs could crush Kong.

Godzilla - Hey baby, you want some thighs to go with that shake?
Kong - facepalm

 

[Victarion]

Nice grotch there (gut-crotch fusion).