What Would Godzilla And Other Movie Monsters Really Sound Like
Daryl Kowal
There are so many giant monsters in the Toho universe I thought I would ask everyone's opinion on who's monster roar is your favorite? Who is your least favorite. You can include any sound they make while blasting rays or other such sounds they make while on screen. This is for any monster in the Toho universe and the Monsterverse. If there is another giant monster by all means include it. I feel this is not discussed enough.
I think most of the roars and sound effects from the Showa era were tops. The Heisei era got really lazy with it--Using Rodan's roar for three different monsters (including Rodan) and just slowing down Gigan's roar for SpaceGodzilla. The Millennium series fared better, but only marginally.
What would Godzilla and other movie monsters really sound like
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Giant monsters are all over movie screens these days thanks to hit films like Pacific Rim, Jurassic World, Kong: Skull Island and more. Some of these movies have achieved their thrilling monster scenes by throwing realism totally to the wind, while others have attempted to at least somewhat adhere to biological fact when rendering their creatures.
In the above video from The Verge, dinosaur experts give their insights into what kinds of noises real dinos would have made as they stomped around in their jungle habitats. It's quickly pointed out that, unlike the human-chomping dinosaurs from Jurassic Park, real predatory dinos would not have made themselves conspicuous by roaring while chasing their prey. With that disclaimer out of the way, scientists tell us that since modern-day large birds and crocodiles are related to dinos, their low-pitched, rumbling noises are probably more-or-less what dinosaurs sounded like. So, if you want to hear a dinosaur, just get an ostrich angry.
A movie like Jurassic Park may arguably have more responsibility to get the physical characteristics of dinosaurs right, since the creatures actually did once exist (Jurassic World at least can escape through the loophole of genetically-altered extra-large dinosaurs). But when it comes to sounds, since no one has ever actually heard a dinosaur, the whole thing is sort of up in the air. In The Lost World: Jurassic Park for instance, the noises of cows were used in creating dinosaur sounds. As for the question of whether a person could actually train velociraptors -- that one will have to be addressed at another time.
"Sometimes I did have some trouble, like when thinking, 'Well, how am I going to represent sound?' I talked about this a little bit in the afterword. Actually, I think that was my biggest challenge here. I've translated a lot of other kinds of work, but I've never translated one that has so much kind of roaring and crashing and banging, that sort of thing. And Japanese is a really spectacularly rich vocabulary when it comes to auditory experience. In fact, there are many more words to talk about sounds in Japanese than there are in English."
"In the text, it's written in a script called katakana, which is a Japanese script that's used to record sound, and it's not written with characters, which would specify a particular meaning. It's like pure sound on the page," continued Angles. "Plus, there's something that's very ancient-sounding about the word."
Gareth Edwards' franchise-starting "Godzilla" was a huge international hit, but divided viewers because of its flat, action figure-like characterizations, its meticulous, almost "Jaws"-like unveiling of Godzilla and the two Massive Unidentified Terrestrial Objects (MUTOs) that he ended up fighting, and its relative dearth of actual Godzilla footage (about seven minutes). The movie also placed the big fella within the larger ecosystem of wolves and snakes and birds and such. It contained more nature footage than you expected to see in a city-stomping kaiju epic, to the point where you half-expected Terrence Malick shots of honey-tinted fields and perhaps a narration by Godzilla ("Fire ... water ... why do you wrestle inside me?"). There were fears (among those who loved the original) and hopes (among people who hated it) that future movies would offer less philosophizing and atmospheric indulgences and more footage of giant monsters beating the tar out of each other, and the Vietnam-era period piece "Kong: Skull Island" delivered plenty, pitting the now super-sized ape against a series of Lovecraftian giants that seemed to be half-insect, half-demon, and making sure that the story didn't go five minutes without a burst of violent spectacle.
The constant need to summarize and annotate every significant moment grows wearisome (it's like being stuck watching a game with sportscasters who don't know when to shut up), but at the level of image, sound and music, "Godzilla: King of the Monsters" is a frequently brilliant film that earnestly grapples with the material it presents, and a religious picture about faith and spirituality, sin and redemption, where monsters die for our mistakes so that humankind won't have to. It deploys state-of-the-art moviemaking tools to try to return audiences to a stage of childlike terror and delight. Arthur C. Clarke observed that any sufficiently advanced technology is indistinguishable from magic. This movie is magic.
Orga was portrayed by two suits and a prop, all of which were created by, or under the supervision of, seasoned monster modeler Shinichi Wakasa.[7] According to multiple books, Wakasa and Suzuki made the conscious decision to model Orga's head after the TriStar Godzilla, so that audiences could see the "Japanese Godzilla [...] defeat the American Godzilla."[6][5] Makoto Ito, a stuntman at the beginning of his long association with the Kamen Rider franchise, wore both suits. The Phase I suit featured a radio-controlled mouth mechanism designed by Nobuhiro Ekubo.[7] It could be equipped with three possible pairs of arms, one with movable claws and the others stationary.[7] The Phase II suit, depicting Orga after he absorbs more of Godzilla's DNA, combined pieces reused from the first suit with some newly-modeled segments.[7] This one featured a gaping maw huge enough to fit the upper half of the Godzilla suit, along with a number of tracking markers to aid the VFX team in creating the monster's tentacle-like inner mouth, which was done purely in CGI.[7] The Orga blown to pieces by Godzilla's final attack was a prop made out of spare pieces from both suits. Only half of the prop was fully completed, since it would only be filmed from one angle. Unlike the actual suit, the prop also featured a fully-molded piece for Orga's mouth.[7]
Even if he had no abilities and was not scary in any way, King Caesar would make this list as a badass kaiju because he sounds like a blaxploitation tough guy or professional wrestler. He's not at all related to blaxploitation, the WWE, nor the Roman Empire. The name "Caesar" is actually a totally misleading spelling of Shisa, a character from Okinawan mythology that looks like a lion crossed with a dog. This would explain why King Caesar has a lion's face, big silly dog-like ears, and doesn't appear to be on his way to a toga party.
Megalon's list of abilities is certainly among the most impressive. This massive bug-like villain shoots lightning bolts from his horn and napalm balls from his mouth. Anyone with napalm balls is not to be trifled with, you would think. He can burrow underground at Mach 2 and swim at Mach 4, and can jump 10 kilometers at a time. Too bad he's kinda dumb. He likes to put his head down and charge, which fails when his targets simply step aside. He is also easily distracted. But still, you have to love the smell of his napalm balls in the morning. Wait, that doesn't sound right.
Alien cyborg Gigan is a walking death machine. Instead of hands and feet, he's got giant steel scythes, and a deadly buzzsaw runs from his chest to his alien-cyborg private area. In other words: do not hug. Gigan can zip around at Mach 3 on Earth, but in space he really hits the gas, travelling at Mach 400 encased in a diamond shell. (That's 400 times the speed of sound, which sounds like a lot, but the speed of light is nearly Mach 900,000.) Gigan holds the distinction of being the first enemy to make Godzilla bleed.
The sound effects team originally tried to create Godzilla's roar by using animal roars that had been edited. They sampled all kinds of birds and mammals, but nothing seemed to be the right match for the reptile-like noises a monster like Godzilla would make. Akira Ifukube, who was the film's composer, proposed stepping away from using animal samples. He took a string off of his contrabass and rubbed it with gloves soaked in pine tar. The sound that came from it was used as Godzilla's roar. This roar would later be altered for use as the roar of other monsters in the Showa Era, including Varan, Baragon, and Gorosaurus. Godzilla's roar can be written in readable characters and has been done so in comics, and not only by a simple "roar." In Japanese, the official onomatopoeia for Godzilla's roar is "Gyaoon" (ギャオーン Gyaōn)--additional "o"s can be added to extend the roar. In the 1998 film, Sound Designer Scott Martin Gershin combined the Showa Godzilla roars with metal slides, trumpet sounds, and various pre-recorded animal sounds, such as those of elephants and leopards. Gary A. Hecker, Frank Welker, and Gershin himself provided additional vocals. Sound designers Erik Aadahl and Ethan Van Der Ryn created a new Godzilla roar from scratch for Legendary Pictures' 2014 reboot. They first tried the same glove-on-a-contrabass technique pioneered by Akira Ifukube, but found the results weren't quite right for the era of 12-channel IMAX theaters. Their breakthrough was metal friction. According to Aadahl, "Dried ice supercools certains types of metal, and it starts contracting and vibrating and produces this shrieking and bellowing." For the rumble at the end of the roar, they manipulated recordings of a potted plant raked across concrete. To capture how the roars would resonate in a city, they blasted them from the Rolling Stones' tour speakers in a Warner Bros. backlot, which could be heard from about three miles away.
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