Tag: Shusuke Kaneko

So, the Board made me sit out an episode. Again. They apparently thought it was great hardly hearing me in episode 46. Just ignore the fact that there have been other episodes where I didn’t say much, and it wasn’t because of a bet with some overworked Godzilla author. Oh well. It’s done. I listened to episode 48 (Gamera: Guardian of the Universe) while helping Raymund Martin with paperwork. Actually, I did all of it while he hid in his office. He’s still reeling from losing Gary. I was happy to hear Jet Jaguar stick up for me when Nate and his guests let the riffs fly against me.

Regardless, I took some notes while listening:

• I appreciate the shout-out…IN SPACE! Also, I do know those pigs Tim mentioned. They’re crazy. I’m amazed they haven’t crashed their ship into the moon.
• John LeMay compared Heisei Gamera to the Dark Knight Trilogy, Nate, not Batman ’89. I know this, and John and I don’t get along!
• Gyaos is female, Joe…most of the time? Maybe? It’s weird. We’ve gotten into the habit of using “they/them” to refer to that kaiju for obvious reasons.
• We all need hazard pay. Except Jet. He doesn’t need money. I’ll take his cut. 😛
• The name of the author of “The Last Hope” is Josh B’Gosh. And yes, he also shared your crazy theory about me, Nate.
• It’s probably best Joy and I didn’t meet on the air again. We did bump into each other on the Island, though. … I don’t want to talk about it.
• It was episode 32 on the first Gamera movie that you talked about environmentalism, with Nick, Nate.
• According to several sources, the Japanese title for this film was Gamera: Daikaijū Kūchū Kessen, which translates literally to “Gamera: Giant Monster Midair Battle.” So, Nate was a little off. (But so was Matt Frank, who said “Dogfight” in his commentary on the Arrow blu-ray set).
• The explanation for the Atlantis-destroying comet that became Venus is simple: it’s bull@#$%.
• Nate was a little off about the U.K. dub. It was released by Manga Entertainment, but they commissioned Arrival Films to make it.

Here are Nate’s leftover notes (my contractual obligations are fulfilled). For once, he got through all his notes on the Toku Topic, which saves me some time and space (pun intended).

The Film

• Distributed by Toho, ironically. (I’m sure they relished the irony. –Jimmy)
• Nuclear weapons, radiation, and “another country’s submarine” are all mentioned in the beginning.
• Already the score by Kow Otani is incredible. Is it any wonder I used a remix of one of his tracks as the show’s theme? Kaneko didn’t give him much direction, and he composed it quickly (within a day or two). (It’s a crime you didn’t mention this, Nate, especially since we use a remix of one of his music tracks for the show! –Jimmy)
• Asagi’s dad doesn’t like Scotch. That would disappoint WHG3. (I wish you’d mentioned this just to annoy him. –Jimmy)
• “Right here—on this M&M.”
• I like the old-school frame shifts (fades).
• Gyaos appears about 14 minutes in.
• The government and the JSDF act without consulting the scientists about the Gyaos. They simply make demands for the Gyaos to be captured.
• There are a few underwater shots that are obviously in a pool, sadly.
• “Harry Hawk” and “Hercules One.” Those sound like movie titles. Hudson Hawk. (Let’s not talk about those. –Jimmy)
• Japanese ibis. (What about them? –Jimmy)
• They keep calling Gyaos a bird, but I’m not sure she is. Reptile and bat, too. (It’s confusing for all of us, including the scientists. –Jimmy)
• Anyone get flashbacks to Indiana Jones and the Temple of Doom on the bridge? (Yes, and I wish I hadn’t. –Jimmy)
• Gamera is clearly the hero since he takes a shot from Gyaos to save the characters.
• Gamera crashes on Mt. Fuji, which is where he fought Gyaos in 1967.
• How hard is it to hit a giant turtle, guys? Freaking Stormtroopers. (Accurate. –Jimmy)
• The cab driver worries me. He must be with Uber. Crashing through a barricade and laughing.
• The powers that be want to capture Gyaos despite it eating people but want to kill Gamera? Compared to a T-Rex.
• Asagi and Mayumi are the big stars, but they don’t outshine or demean the men. This is how you do “strong female characters.”
• Asago loves Mary Poppins, apparently. Japanese poster on door.
• “She says Gamera is coming.” “He’s here.”
• Gamera is a second-round fighter: he loses the first time and comes back later to win.
• The miniature playground is incredibly detailed.
• The buildings have small details like tiny furniture.
• Gyaos shoots his own foot off just like in 1967.

Ragone Intro

• Originally conceived as a 60-minute children’s film.
• One-third of the budget of a Toho Godzilla film? (Some sources say one-half. –Jimmy)

England

• Kaneko did go independent in 1987 and made several dramas. He also contributed to Necronomicon, a horror anthology film. He says horror is the lower form of entertainment in Japan—even lower than roman porno. Japan doesn’t have the same horror tradition as America.
• Ayako Fujitani was quite shy. Kaneko had the actors audition by looking up and shouting, “Gamera!” Fujitani was red-faced before doing it. He gave her the role based on her dark personality (he says).
• The crew felt like they had to compete with Godzilla.
• When he got the project, Kaneko’s wife told him, “You know, you may as well kiss Godzilla goodbye.” #irony

Frank Commentary

• The dismembered Gyaos were made by eating fried chicken bones and then bleached.
• The mantra on set was, “What would Honda do?” Kaneko admired the director. The bridge scene is similar to one in Mothra.
• The filmmakers thought exploding monsters were more viscerally satisfying. That was more of a TV thing than a movie thing.
• Kaneko didn’t like the critical accolades the film got because he’d never had those before.

Arrow Special features

• Kaneko: “Monster movies are an expression of man’s need to destroy something.”

LeMay – Big Book

• Kaneko went on to direct the Japanese live-action Death Note films.
• Didn’t make as much money as Godzilla vs. SpaceGodzilla. (Tragic. It must’ve been the name recognition.  –Jimmy)

LeMay – Lost Films

• Ito’s first draft was more similar to classic Gamera, complete with a child protagonist, and while some elements from this made it into Guardian and later The Brave, it was reworked when Kaneko came on.

LeMay – Writing

• Ito didn’t like the children in the old Gamera movies because they acted like adults and bossed the grown-ups around.

That was some brisk reading compared to some of my recent blogs, right?

Next week, I’m back in the producer booth for another Patreon-sponsored episode. This one is brought to you by MIFV MAX member Damon Noyes, who had us discuss Toei’s crazy 1966 fantasy film The Magic Serpent. I normally don’t get excited for films like this, but this one was eerily similar to one of my favorite films. What was it? Listen to find out! Then we get to episode 50 and the show’s second anniversary. We have big plans for that one, but we’re keeping them top secret to surprise all of you, listeners. Stay tuned!

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