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Clarification on Who is the "Lead" Director of Godzilla '16

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G. H. (Gman)

AdminGodzillaJun-06-2015 3:54 PM

I've noticed here and there that some people are still confused about who has "more authority" over Godzilla '16, Shinji Higuchi or Hideaki Anno. Some people believe it's one while others think it's the other.

August Ragone chimed in on facebook to clarify how the co-directing system will work for Godzilla '16.

"Anno is Supervising Director. Meaning, he's hands-on overseeing the directing the film (which he's also writing) and supervising the visual effects, too. This is also a system frequently used in the Japanese animation industry, of which both men have worked, extensively (and together). Anno turned down the offer to be the director a couple of years ago, so this situation was set up for him. He also had the controlling authority to approve or disapprove of anything Higuchi does or is doing. The film is Anno's baby and essentially, Higuchi is like a First Assistant Director with creative input. I can't really think of a Hollywood equivalent to this Japanese set up."

"Higuchi gets directorial credit, because he's a director, now. So, Anno gets a Supervising Director credit — since he's in a higher pecking order — but it's his baby. I guess you could say that this is like a Russo Brothers film, but one of the siblings is in charge."

"While I completely understand this Japanese system, it's a dog trying to explain it to North Americans who are having a hell of a time attempting to wrap it around their heads — it's like describing a rainbow to someone who is colorblind."

"'Nostalgic' does not equal 'good,' and 'standards' does not equal 'elitism.'" "Being offended is inevitable. Living offended is your choice."
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Jamaal
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“Japanese creators are more comfortable with abstraction,” he says. “Tokusatsu take a huge page from Japanese traditional arts like kabuki. Nobody would stand up and say in a kabuki performance, ‘This isn’t real.’ The entire (tokusatsu) concept of putting a guy in a suit has direct roots in kabuki theater, where giant monsters were actors in costumes.

“The situations in anime and tokusatsu couldn’t exist in real life. Just like woodblock prints utilize a 2-D portrayal of perspective that differs from the more ‘realistic’ forced perspective of Western art, yet are still considered masterpieces of illustration. It’s not about trying to compete with the realistic special effects in the West. It’s about feeling.”

From an article on tokusatsu:

http://www.japantimes.co.jp/culture/2013/06/12/general/preserving-a-classic-japanese-art-form-tokusatsu-magic/#.VX5Uhnzn_QU

This, is one of the main reasons why I am looking forward to Toho Godzilla 2016.

 

 

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G. H. (Gman)
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^Funny. I drew comparisons between Toku and kabuki in the panel I did at the Pacific Rim convention this week.

"'Nostalgic' does not equal 'good,' and 'standards' does not equal 'elitism.'" "Being offended is inevitable. Living offended is your choice."
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Jamaal
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^And well you should.

The relationship between the two art forms is proven and obvious. It's the Japanese nature of Godzilla 2016 that resonates so well, even in pre-production.

I'm looking forward to following the production of this new, Japanese Godzilla.

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