Godzilla: Planet of the Monsters | film

[L'Ammiraglio]

Quindi ancora troppe domande aperte, ci sta

 

[L'Ammiraglio]

Disponibile ufficialmente su Netflix

 

[Gouki]

Io ho avuto la sfortuna di vederlo purtroppo.

Film veramente brutto, noiosissimo e anonimo. Pure le scene d'azione riescono ad annoiare da quanto è tutto noioso. Bocciatissimo.

 

[Luck & Pluck]

Mi hai ammazzato l'entusiasmo gouki :tragic:

 

[Razgriz]

vista un pò meno della prima metà poi si stava facendo tardi lo proseguirò stasera

non mi aspettavo

Spoiler

che avessero messo così tante cose dell'universo di Godzilla, da svariati altri Kaiju agli Alieni che hanno un ruolo davvero assurdo, praticamente come al solito erano arrivati per conquistare la terra con i soliti sotterfugi e mezzucci ma un "piccolo" dettaglio si è mezzo Godzilla e quindi adesso sono perfettamente integrati con gli umani per necessità, inoltre sono due le razze una delle quali ha costruito il MechaGodzilla che vedremo nel secondo film (l'altra è una pseudo religiosa con poteri psichici . . . vulcaniani insomma), tutta sta robba però l'ho trovata un pò troppo condensata, tra l'altro sto accusando una certa difficoltà a capire le dimensioni della nave

per ora anche tecnicamente non mi ha stupito (e da un prodotto per il cinema per me è un gran bel contro, tranne gli ologrammi e dispositivi sci-fi vari abbastanza fichi), e sembra ancor più da quanto sembrava dal trailer un cross-over Knight of Sidonia X Godzilla che non è una brutta cosa anche perchè qui il protagonista è bello incazzoso, mono dimensionale ma intanto i mastini da guerra sono pg che apprezzo solitamente, Nagate simpa e tutto ma avvolte era davvero da latte alle ginocchia

 

[Razgriz]

finito me piaciuto fuc the rest

Spoiler

tutta la ciccia starà nei seguiti però:strizza:

btw "Nice Job Breaking It, Hero!":.bip:


ma MechaGodzilla è inutile se era stato pensato per abbattere il vecchio Godzilla che adesso è gigaciclopico

 

[MFP093]

Spoiler

Lo useranno per fare un attacco suicida, nel terzo film la waifu falena evoca Mothra.

Mi è piaciuto il film, visivamente però Blame! è 20 mila anni avanti.

 

[Razgriz]

già spero solo che si siano voluti limitare perchè il bugget gli serve per tre film, molte scene potevano dare molto di più se non fosse stato per la scattosità

Spoiler

come molte con le lucertole volanti

e :Onilink:

Spoiler

Ghidorah dove lo mettiamo?! :Onilink:

 

[Razgriz]

inoltre un paio di giorni fa (il 25) è uscita la Novel Prequel della storia in Jap, GODZILLA: Monster Apocalypse scritto da Renji Oki

Spoiler

lazy:morristend: potevano farci almeno un fumetto:morristend:

In Arrivo anche un Manga (inizio pubblicazione a Marzo 2018 su Shonen Jump)


da Youth Kurahashi (Summer Hero)


non un adattamento ma contenuti originali che andranno ad arricchire l'universo di Planet of the monsters

​

Fonte: https://nerdist.com/godzilla-monster-planet-manga-serial/

Intervista di Anime!Anime! al Co-Director Hiroyuki Seshita


(Director di Knights of Sidonia, Ajin e Blame!)


alcuni dettagli sul secondo film, curiosità durante la produzione

​

Spoiler

I’ve heard that you had doubts as to whether or not it


was possible when you first heard about an animated


Godzilla movie. Could you tell us the reason for your doubts?

​

Needless to say, Godzilla is a world-famous character representing Japan. I’ve known Godzilla since I was a child and I understand the significance of Godzilla thoroughly as a professional who is in the film industry. It was easily imaginable how hard the challenge would be, including how to visualize the beauty of tokusatsu, the stylized special effects which is essential to Godzilla, in an anime adaptation.

You wondered about how to visualize the stylized beauty of tokusatsu in anime.

​

If you were asked, “can you adapt Kabuki into a musical?”, you’d probably think it’d be too difficult. However, if you are asked, “can you create a musical that tells people who are unfamiliar with Kabuki about what Kabuki is and make them interested in it?”, you are very likely to think there might be a way to do that, don’t you? The stylized beauty of Godzilla isn’t readily adaptable into anime, however I thought it might be the way depending on how I approached it. So, I accepted the offer.
I think I wouldn’t have accepted the offer if I had been on my own. I accepted bacause Sizuno and Urobuchi were with me to challenge the task. After struggling, wondering and thinking for the last 3 years, I’ve finally achieved the goal thanks to the two.

I suppose you and Polygon Pictures are indispensable parts for the move as well.

​

I feel ecstatic to hear that. [laugh] Established in 1983, Polygon Pictures is one of the oldest anime studios dealing with GC in Japan. They’ve been at the forefront of the utilization of CG for the commercial film since the early days of CG in Japan. They have an outstanding ability to create anime with consistent quality and quantity. They also have a proven track record and experience in taking up the challenge to produce cel-shaded anime.
I had every confidence in them to create a great movie even if it’s a blockbuster feature anime.

How does Gen Urobuchi appeal to you?

​

He can transform profound and recognized narratives and worlds passed down through generations into modern ones which reflect today’s sensitivities. He knows the emotions and words which young, serious anime fans are seeking, and emcomposes stories based on the information.
I believe it was Urobuchi who managed to sustain the prestigious Godzilla brand with its vast world concept and ensemble cast.

What do you think about your co-director, Kobun Shizuno?

​

He can appeal to the mainstream whereas Urobuchi and I are rather geeky types. Shizuno has an ability to adapt any geeky subject for the mainstream. It’s a brilliant talent.
I honestly enjoy interacting with Urobuchi and Shizuno. Thanks to them, I was allowed to concentrate on the areas I’m good at and love as much as possible. I relied on them thinking, “even though the world of the movie I set is rather geeky, Shizuno will adjust it for the mass market.” Urobuchi gave authenticity and respectable formality, and Shizuno gave overwhelming mass appeal to the movie. I was able to give many geeky suggestions because of these guys, who I was able to trust greatly.

Were you mainly responsible for the world concept and settings of the movie?

​

We didn’t divide the work among us but carried it out while exchanging ideas. However, I played an active role in creating the concept of the world in the movie, and researching the sci-fi background, because that’s what I like to do. [laugh]

When I watched the movie, I realized that I could tell that it was


a Godzilla movie from the very beginning by just hearing the iconic


roar of Godzilla before it appeared on-screen. I was immensely


impressed by the brand power of Godzilla.

​

It shows the power of Godzilla as a symbol. We can sense that it is Godzilla by its silhouette and roar. I truly respect Godzilla as a character. I felt like, “may I offer you a main role of an anime movie, please?” [laugh]

I suppose you mean you can change the concept of the world and


settings of Godzilla stories because it’s a science fiction story,


however the philosophy of Godzilla, in other words, the existence


of Godzilla or “what Godzilla is” never changes.

​

It’s difficult to say, as it involves in comparing with the other series. Our Godzilla has a dominant presence and is a subject to inspire feelings of awe and respect. It’s called ‘kaijuu’ (‘strange beast’ in Japanese), but its existence isn’t simple but more god-like and transcendent. Godzilla makes us wonder if we must fight against it, or accept its existence just like natural disasters.
I decided on the way we would be depicting Godzilla at an early stage. Godzilla is depicted similarly to a sacred tree at a Shinto shrine which is a subject of worship.

Godzilla is a subject of worship; however, it suddenly appears on


Earth and brings calamity to humans. The very first Godzilla movie


directed by Ishiro Honda defined Godzilla as the subject of terror


which is caused by humans themselves. Does this definition still apply to yours?

​

Maybe. As you can see the already released chronological table and the prequel novel Godzilla: Monster Apocalypse, mysterious beasts appeared without warning on Earth at the end of 20th century, and Godzilla was exterminating indiscriminately both beasts and humans. Godzilla is such a solitary existence.

The backstory, which was released prior to the movie, includes


beasts from other movies, such as Anguirus, Rodan, and Kamacuras.


Does this suggest the movie considers ‘VS series’ as a part of Godzilla history?

​

I wasn’t really thinking of that. Godzilla is an overpowering existence which is the top of life’s evolution and the ultimate life form chosen by Earth to bring harmony to the planet. I can’t say anymore as it might be related to the second installment. [laugh]

Whoa. Meanwhile, you mentioned that Urobuchi’s screenplay


has mythical charms. I feel a kind of fantasy element in the movie,


akin to elves and dwarves, when I saw the character designs of the


Exifs and Bilsards.

​

Exactly so. Although they are aliens, I designed them to not look strange even if they were to appear in a medieval fantasy world full of swords and sorcery.

I say the movie is already fantasy since it sets in the world in


20,000 years’ time, which is way beyond humans’ recognition.

​

The far-reaching future and past are both mythical, as well as cyclical. The difference is which time and view point you take. I think such cyclicality attracts viewers and evokes their empathy.

The CG battle scenes against Godzilla were truly impressive.


It’s said that staging (scene setting) is very important for CG


animation. I’ve heard that you actually conducted on-the-ground


research in Tanzawa, Kanagawa prefecture.

​

I did it to experience the spectacles by myself and reflect them in the movie. Just so you know, the movie takes place in the Kanto region in the future when the sea level will have risen 40m and crustal movements will have deformed the scenery.

The story will take place Japan, right?

​

I can’t say concretely at this moment, but we decides on the locations of the landing point and battle ground against Godzilla after considering what would happen in the second and third installments. Things are happening mostly along Route 246 in this movie in fact. [laugh]

That’s true! The stage is moving down steadily. [laugh]

​

The movie is set in between old Shibuya and old Tanzawa. You’ll understand the reason, like why Godzilla was in that area, when you watch the sequels.

I suppose how far you can create a detailed blueprint during


pre-production, a process between planning and test production,


gives huge significance to the final product when creating a CG


animation like this movie. How did you balance the pre-production


and the production?

​

It’s difficult to divide the full process into two, as the processes often overlap. I’d say during the first year, I committed myself to developing the story, character design of Godzilla, and setting the concept of the world in the movie. We tackled the fully-fledged production over this past year.

That means you watched Shin Godzilla when the production


was in its advanced stage. Did it have influences over your


production in any way?

​

When I watched it, I was relieved by the fact that Shin Godzilla was so brilliant. [laugh] Shizuno and Urobuchi had the same opinion as me. Godzilla is the king of Japanese tokusatsu history, and Shin Godzilla managed to inherit the tradition. It’s an authentic Godzilla movie which permitted us to be a fringe. It was a moment where I became convinced that I could carry on what I was doing with confidence.

You’ve been involved in many CG anime including Knights of Sidonia.


You have always challenged new techniques, such as


introducingmotion capture to Ajin. Did you incorporate


any new techniques in this movie?

​

This movie shows how far the CG anime techniques have come. I’ve been trying to establish cel-shading using CG. [Where the CG looks close to 2D animation]. I feel this technique has been gradually recognized by the commercial film industry in Japan.
CG still has many flaws, but I want to utilize its advantages to establish it as a genre and a means to deliver compelling stories to the mainstream. In that sense, we earnestly hope more and more people will watch Godzilla: Planet of the Monsters.

Fonte: manga.tokyo

- - - Aggiornato - - -

se qualcuno dei nostri editori si fa furbo licenziare novel e manga non sarebbe una brutta idea:morris82::morris82::morris82:

 

[L'Ammiraglio]

Razgriz ti ho messo l'intervista sotto spoiler per rendere più scorrevole il topic

 

[Razgriz]

Prevista per il 16 Maggio l'uscita Blu-Ray del primo film in Giappone


inclusi contenuti speciali e dietro le quinte assenti ulteriori lingue oltre il Giapponese


USCITA NEI CINEMA GIAPPONESI DEL SECONDO CAPITOLO ANCH'ESSA PREVISTA A MAGGIO

​

Fonte: http://www.godzilla-movies.com/news/godzilla-planet-the-monsters-japanese-blu-ray-drops-this-may

 

[Phantomluis88]

2nd Godzilla Anime Film Reveals May 18 Debut, Concept Art

Kobun Shizuno (Detective Conan: The Darkest Nightmare and other Detective Conan movies, Fist of the North Star: The Legend of Kenshirô, Fist of the North Star: The Legend of Toki) and Hiroyuki Seshita (Ajin, Knights of Sidonia) are directing the films at Polygon Pictures. Gen Urobuchi (Puella Magi Madoka Magica, Fate/Zero, Psycho-Pass) of Nitroplus is credited with the story concept and screenplay. Urobuchi is also responsible for series composition with Yūsuke Kozaki.
Hiroyuki Morita is serving as assistant director, and Naohiro Yoshihira ("Tady") is the technical director. Naoya Tanaka and Ferdinando Patulli are production designers, and Yuki Moriyama is designing the characters in CG. Mitsunori Kataama is the model director. Yukihiro Shibutani is the art director, and Hironori Nochi is the color key artist. Satoshi Motoyama is the sound director. XAI performed the first film's theme song "White Out."

 

[L'Ammiraglio]

Godzilla: City on the Edge of Battle Anime Film Reveals Story, Visual, XAI Theme Song

The official website for the Godzilla anime film trilogy revealed a new visual on Monday for the second film in the trilogy, Godzilla: Kessen Kidō Zōshoku Toshi (Godzilla: City on the Edge of Battle). The site also revealed that XAI is returning to perform the second film's theme song "The Sky Falls."

 

[Phantomluis88]

Godzilla: City on the Edge of Battle Anime Film Adds Reina Ueda, Ari Ozawa to Cast

A stage presentation at the AnimeJapan 2018 event on Sunday revealed two more cast members for Godzilla: Kessen Kidō Zōshoku Toshi (Godzilla: City on the Edge of Battle), the second film in the Godzilla anime trilogy. The two characters are twins who are descendants of humanity, a new race called "Fatsua."
Reina Ueda as Maina and Ari Ozawa as Miana

 

[Razgriz]

Primo Trailer per Kessen Kidō Zōshoku Toshi


[video=youtube;_-SeQD22Csc]





già so much metter than Shinji Godzilla:stema:

 

[L'Ammiraglio]

Godzilla: City on the Edge of Battle Anime Film's 2nd Trailer Streamed

The official website for the Godzilla anime film trilogy began streaming the second trailer on Thursday for the second film in the trilogy, Godzilla: Kessen Kidō Zōshoku Toshi (Godzilla: City on the Edge of Battle). The video preview's XAI's theme song "The Sky Falls."

 

[L'Ammiraglio]

Final Godzilla Anime Trilogy Film's Title, November Debut Revealed

The official website for the Godzilla anime film trilogy revealed on Monday that the third and final film in the trilogy is titled Godzilla: Hoshi wo Kū Mono (Stareater), and it will open in Japan in November. The site also revealed a teaser visual for the final film, which features Ghidorah.

 

[Razgriz]

uscito anche il secondo film in Jap ed anche questo reazioni miste vedremo sono sicuro che mi piacerà ma devo essere sincero sono più eccitato all'idea di come si possano espandere dalle fondamenta di questo universo che hanno creato che non il solito filmone con il Goji che le prende o distrugge tutto sopratutto per la prospettiva di avere una storia con più Kaiju coinvolti senza scadere e mantendo dei toni più seri e da sci-fi spero in bene per il manga annunciato e potenziali nuovi romanzi

per il terzo film sono proprio curioso di vedere il Design di Ghidora visto quello che si sono inventati per Godzilla e Mecha-godzilla mi aspetto qualcosa che susciti davvero l'idea di una forma di vita aliena e poi si potrà dare il via all'attesa per la sua apparizione in Godzilla King of the monsters

 

[Razgriz]

City of the Edge of Battle in arrivo questa settimana su Netflix:trip2:

Rising from the depths of the planet is a new breed of monster, dubbed Godzilla Earth. Evolving for 20,000 years, the creature stands 300 meters high, weighs over 100,000 tons and wields such overwhelmingly destructive power that Haruo and company have no choice but to run for their lives. Coming to Haruo's rescue, however, is Miana, a member of an aboriginal tribe called the Houtua. They are the first humanoid people the returnees have encountered. Could they descend from humans?

Fonte: movieweb.com

 

[MFP093]

Madò il secondo film.

Spoiler

Mothra confermata waifu, tra l'altro non una ma due.

Finale Urobuchi, RIP Archer.

Hype per il terzo film, prob faranno scannare a vicenda Godzilla e Ghidorah e la buttano così dietro a entrambi