Zilla Jr 1998

[Berniece Leonhardt]

Godzillais a 1998 American monster film directed and co-written by Roland Emmerich. Produced by Centropolis Entertainment, Fried Films, and Independent Pictures, and distributed by TriStar Pictures, it is a reboot of Toho Co., Ltd.'s Godzilla franchise.[6] It is also the 23rd film in the franchise and the first Godzilla film to be completely produced by a Hollywood studio.[a] The film stars Matthew Broderick, Jean Reno, Maria Pitillo, Hank Azaria, Kevin Dunn, Michael Lerner, and Harry Shearer. The film is dedicated to Tomoyuki Tanaka, the co-creator and producer of various Godzilla films, who died in April 1997. In the film, authorities investigate and battle a giant monster who migrates to New York City to nest its young.

In October 1992, TriStar announced plans to produce a trilogy of Godzilla films. In May 1993, Ted Elliott and Terry Rossio were hired to write the script. In July 1994, Jan de Bont was announced as the director but left the project that December due to budget disputes. Emmerich was hired in May 1996 to direct and co-write a new script with producer Dean Devlin. Principal photography began in May 1997 and ended in September 1997.

An iguana nest is exposed to the fallout of a military nuclear test in French Polynesia. In the South Pacific Ocean, a Japanese cannery vessel is suddenly attacked by a giant creature, with only one fisherman surviving. Dr. Niko "Nick" Tatopoulos, an NRC scientist, is in the Chernobyl exclusion zone researching the effects of radiation on wildlife, but is interrupted by an official from the U.S. State Department who has come to pick him up for a special assignment. Meanwhile, in Tahiti, a mysterious Frenchman questions the traumatized survivor over what he witnessed, who repeatedly replies "Gojira". Nick is sent to Panama and Jamaica to study a trail of wreckage leading to another cannery ship with massive claw marks on it. Nick identifies skin samples he discovered in the shipwreck as belonging to an unknown species. He dismisses the military's theory of the creature being a living dinosaur, instead deducing it is a mutant created by nuclear testing.

The creature travels to New York City, leaving a path of destruction in its wake. The city is evacuated before the U.S. military, on Nick's advice, lure the creature into revealing itself with a large pile of fish. Their attempt to kill it fails, however, and only causes further damage before it escapes. Nick collects a blood sample, and by performing a pregnancy test, discovers the creature reproduces asexually and so is collecting food for its offspring. Nick also meets up with his ex-girlfriend, Audrey Timmonds, a young aspiring news reporter. While she visits him, she uncovers a classified tape in his provisional military tent concerning the monster's origins and turns it over to the media. She hopes to have her report put on TV to launch her career, but her boss, Charles Caiman, uses the tape in his report, declaring it his own discovery, and dubs the creature "Godzilla".

As a result of the tape's disclosure, Nick is removed from the operation and he disowns Audrey, before being kidnapped by the mysterious Frenchman Philippe Roach. Revealing himself as an agent of the French secret service, Philippe explains that he and his colleagues have been closely watching the events to cover up their country's role in the nuclear testing that created Godzilla. Suspecting a nest somewhere in the city, they cooperate with Nick to trace and destroy it. Meanwhile, Godzilla resurfaces and dives into the Hudson River to evade a second attempt by the military to kill it, where it is attacked by Navy submarines. After colliding with torpedoes, Godzilla sinks, believed to be dead by the authorities.

Nick and Philippe's team, followed by Audrey and her cameraman Victor "Animal" Palotti, find the nest inside Madison Square Garden, with over 200 eggs. Before long, the eggs begin to hatch and the strike team are attacked by the offsprings. Nick, Animal, Audrey and Philippe take refuge in the Garden's broadcast booth and successfully send out a live news-report to alert the military. A prompt response involving an airstrike is initiated as the four escape moments before the Air Force bomb the arena.

Audrey and Nick reconcile, before the adult Godzilla, having survived, emerges from the Garden's ruins. Enraged by the deaths of its brood, it takes its rage out on the four, chasing them across Manhattan in a taxi. They manage to trap Godzilla within the suspension cables of the Brooklyn Bridge, allowing the returning Air Force to strike it down with missiles. Godzilla collapses to the ground where the taxi is smashed under its jaw and slowly dies from its mortal wounds, and the remaining citizens and authorities celebrate. Audrey tells Caiman that she quits working for him after what he has done, before leaving with Nick. Philippe, taking a tape Animal was recording and promising to return it after removing certain contents, thanks Nick for his help and parts ways. Meanwhile, in the ruins of Madison Square Garden, a single surviving egg hatches and the hatchling roars to life.

American film producer and distributor Henry G. Saperstein (who had co-produced and distributed past Godzilla films for the American market through his studio UPA) received permission from Toho Co., Ltd. to pitch a new Godzilla film to Hollywood studios, stating, "For ten years I pressured Toho to make one in America. Finally they agreed."[15] Saperstein initially met with Sony Pictures producers Cary Woods and Robert N. Fried for discussions regarding a live-action Mr. Magoo film but the discussions led to the availability of the rights to Godzilla.[16]

Interested, Woods and Fried proposed the idea to Columbia Pictures, but were initially rejected. Woods stated, "We pitched the idea to Columbia and they passed outright. Their response was they felt it had the potential for camp".[17] The two also tried to pitch the idea to TriStar Pictures but were also shot down, Fried stated, "TriStar did originally pass on the project. The people who were running the studio at that particular time may not have seen commercial potential there, may not have thought that it would make a great film."[16]

In May 1993, Ted Elliott and Terry Rossio were hired to write the screenplay. Prior to their hiring, Elliott and Rossio were searching for their next project and were offered Godzilla by their advisor Cary Woods. The duo initially declined the offer several times, Elliott recalled, "We actually turned the project down about two or three times because we weren't sure we knew what to do with it." Woods eventually convinced them to discuss the project with TriStar. Elliott and Rossio wrote a three and half-page story outline that secured their employment. Rossio believes that they were offered the project due to their experience in writing "franchise-type titles." Robert Fried expressed support for Elliott and Rossio, praising them as "talented sci-fi buffs" and stating, "We've put a lot of time, thought and finance into the screenplay." Toho's character restrictions helped inspire Elliott and Rossio in finding the tone of the script, Elliott stated, "Toho insisted we not make light of the monster. That helped us find the right tone as well as the social and political implications."[16]

The duo wanted to avoid a comic-like approach and instead take the material seriously with a "legitimate science fiction story" that would evoke feelings of "mystified or scared or awe-inspired" for audiences. Rossio wanted to create a balance in anthropomorphizing Godzilla, not wanting to stray from Godzilla's humanistic personality but not humanize him entirely. The duo approached Godzilla as something that audiences would fear yet root for. Elliott found the "key" to the story after a friend, who was also a Godzilla fan, expressed that he found Godzilla not to be a "good guy", but a territorial beast, Elliott stated, "And that, to me, meant that you could actually present Godzilla on the side of the angels but he could still be a monster."[16]

After De Bont joined the project, Elliott and Rossio revised the script based on his notes. Amongst the changes made to the first draft were the 12-year gap condensed to a year; Jill accompanies Keith to the Arctic site; Keith first notices Godzilla's teeth buried in ice instead of his claws; The alien probe crashes in Traveller, Utah instead of Kentucky.[16] Elliott and Rossio remained on the project after De Bont left and completed their final rewrites in spring 1995. Prior to hiring a new director, TriStar hired Don Macpherson to rewrite the Elliott/Rossio script. Prior to his hiring, Macpherson was working on Possession until he received a call from his agent with an offer to work on Godzilla. Macpherson "immediately accepted" due to being a fan of the Toho Godzilla films.[12]

Macpherson met with Marc Platt, the then-President of TriStar, to discuss the film. The studio was concerned with the film's proposed $120 million budget, later revised to $200 million. De Bont insisted that all of the film's effects be entirely digital, Macpherson noted, "The problem was that, in this version of the movie, it was all effects. Godzilla was in virtually every scene. So everything was an SFX scene." Macpherson was tasked with rewriting the script to match TriStar's "ideal" budget of $80 million. Prior to rewriting the script, he requested to meet with the production crew to pinpoint which scenes were deemed the most expensive. The production crew reported that the three main problems that were considered "difficult and costly" were Godzilla's size, Godzilla's interaction with water, and Godzilla's interaction with masonry.[12]

Macpherson was shown storyboards, concept art, and designs from De Bont's version. However, he did not keep these ideas in mind, feeling that such elements would change depending on the budget. Instead, Macpherson used the Toho Godzilla design as a reference when rewriting the script. He noted that the project had transitioned into a film that turned directors away, stating, "they said they wanted strong, creative directors. But they wanted them as a kind of 'badge' of creative excitement and had no intention of allowing them their freedom."[12]

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