Friday, September 30, 2011

10th Anniversary of First Japan Trip

by Armand Vaquer

Above, Armand with the Godzilla statue in Hibiya. Photo courtesy of Richard Pusateri.

Ten years ago this coming Halloween (October 31), I arrived at the United Airlines Los Angeles International Airport (LAX) terminal for my first trip to Japan. Up to that point, my only "foreign" travels consisted of automotive crossings of the Canadian and Mexican borders from the United States.

October 31 of 2001 was an uneasy time. The September 11 terrorist attacks on the World Trade Center in New York and the Pentagon in Washington, D.C. were still fresh in peoples' minds. The National Guard posted armed (some say the rifles weren't loaded) guardsmen in airport terminals around the country. LAX was no exception. Security was (and still is) extremely tight at airports.

Above, Richard and Armand with Haruo Nakajima at the Tokyo International Film Festival. Photo courtesy of Richard Pusateri.

But, I wasn't about to let this heightened security stop me from making my first overseas visit to another country, even though my mother really didn't want me to go. As Japan is 17 hours ahead of Los Angeles time, I arrived at Narita Airport on November 1 (the International Dateline is crossed in the mid-Pacific).

The year before, fellow G-fan Richard Pusateri took a trip to Japan to see Godzilla x Megaguirus. After hearing his tales of adventure and grand time he had upon his return, I got the urge to go to Japan myself. Luckily, I was working as a temp at a Farmers Insurance claims office and security patrol at the time, so I was able to afford a Japan trip. All I had to do was to get a U.S. Passport, plane ticket and hotel reservations. In rapid order, all were obtained.


The 2001 Tokyo International Film Festival was featuring the premiere of Godzilla, Mothra and King Ghidorah: Giant Monsters All-out Attack on November 3. So, I decided to time my visit for that. As it happened, Richard was also planning to attend and we met several times at Chili My Soul in Encino to plan the trip. At least I would know somebody while there (other familiar names and faces were also there, it turned out).

Since I was writing for G-FAN at the time, I was also able to obtain a press pass for the Godzilla screening. This allowed me access to the stage for the pre-movie festivities (below).


Following the movie, Richard and I rubbed shoulders with Haruo Nakajima, Hideyo Amamoto, Shogo Tomiyama and others.

Above, Godzilla prop at Toho Studios. Mothra rests nearby on a shelf. Photo courtesy of Richard Pusateri.

I was invited to take a V.I.P. tour at Toho Studios while in Japan and was able to invite Richard along. Fortunately, 2001 wasn't 2005, when Toho began demolishing the big pool and several of their old sound stages and facilities, so we were able to see the studio as it was when Eiji Tsuburaya and Ishiro Honda were making movies. One of the things we were greatly impressed with was Toho's old snack bar. It was like stepping back 40+ years in time. Unfortunately, the snack bar is now history. We were shown the studio by Executive Producer Shogo Tomiyama, spfx director Koichi Kawakita and Shozo Watanabe of Toho International following lunch in Hibiya.

For my first visit to Japan, I decided to stay at a ryokan (Japanese inn) to see what it would be like. It was an enjoyable experience (plus the room was cheaper in price). The ryokan was the Hotel Fukudaya in the Shibuya ward of Tokyo. The Tokyo International Film Festival would be screening the Godzilla movie at Orchard Hall in the Bunkamura in Shibuya, within walking distance.

Above, Godzilla entertains attendees of the film festival. Photo by Armand Vaquer.

The Hotel Fukudaya was also a couple of blocks away from a Denny's Restaurant (it was a surprise seeing Denny's in Japan). While I like Japanese food, I prefer to have a western-style breakfast. Denny's came in handy for that.

Above, Atami, Japan. Photo by Armand Vaquer.

My wanderings in Tokyo on that first trip included Ginza, Hibiya, the Imperial Palace, Tokyo Tower, the National Diet Building, Harajuku, Zojo-ji Temple, Shibuya, Shinjuku and Nakano (where I bought a few things from the Mandarake store). Outside of Tokyo, I visited Atami and some areas near Mt. Fuji. After all, I just had to include some Shinkansen (bullet train) traveling experience on the trip!

I also visited the HMV video and record store in Shibuya to see the Godzilla and Baragon filming suits from GMK on display.

One thing that was not planned was a 24-hour flu bug I caught. Thank goodness it only affected roughtly one day of the trip. Since then, I make sure I take Vitamin C tablets every day for about two weeks before a trip and continue taking them during the trip. (I have been back to Japan five more times and have not gotten sick since I started the Vitamin C regimen. This is a word to the wise!)

Above, with Shogo Tomiyama (far left) and Koichi Kawakita (far right) at Toho Studios. Photo courtesy of Richard Pusateri.

Besides the jaunts around Tokyo, Mt. Fuji and Atami, I attended an after-premiere dinner party at a Chinese restaurant in Nakano that included Kenpachiro Satsuma and Hiroko Sakurai. It was interesting riding shotgun in a taxi on a rainy night as the driver zig-zagged through traffic (Japanese cars have the driver on the right, just as in England) on Tokyo's side streets to get to the dinner party.

Above, the Nijubashi Bridge at the Imperial Palace in Tokyo. Photo by Armand Vaquer.

This was the trip that started me on the kaiju location article series for G-FAN and, eventually, The Monster Movie Fan's Guide To Japan.

For me, it was a memorable trip and a highly enjoyable one. I decided then that I would re-visit Japan as often as time (and the ol' wallet) will allow. It is hard to believe that ten years has already passed since this trip. The next time I traveled to Japan was with the first G-TOUR in August 2004. I've returned there four more times (2005, 2006, 2007 and 2010).

Friday, September 23, 2011

Autumn Discount Of Monster Japan Travel Guide Begins Today

by Armand Vaquer

Above, Miki Hayashi with "The Monster Movie Fan's Guide To Japan." Photo by Armand Vaquer.

The special autumn 20% discount of The Monster Movie Fan's Guide To Japan starts today.

From today to October 10 (which is Japan's Sports and Fitness Day), the travel guide tailored to Japanese monster movie fans is available at 20% off the cover price. That's a $3.00 savings per copy!

Autumn is a great time of the year to visit Japan.

For details on getting The Monster Movie Fan's Guide To Japan, go here.

Thursday, September 15, 2011

San Antonio GODZILLA x MECHAGODZILLA Screening To Feature Matt Frank

Written By: René A. Guzman
Source: My San Antonio

San Antonio-based Comic Break goes kaiju crazy with a free screening of Godzilla Against Mechagodzilla and an appearance by S.A.’s own Matt Frank, the artist behind stomping good variant covers for IDW’s Godzilla: Kingdom of Monsters. The Fanboy Flix event kicks off Sunday, Sept. 18, at 6 p.m. at the Stone Oak Drafthouse.

In the 2002 monster flick, a turn-of-the-century Godzilla throws down against a giant robot version of himself made from the bones of the original Gojira who first terrorized Japan in 1954. That means plenty of cyborg-v-dinosaur action, plus a cameo by former New York Yankees great Hideki “Godzilla” Matsui. You know, just because.

The movie screens at 7 p.m. for free, but get there an hour early and bring cash anyway. That’s because Frank will meet and greet fans at 6 p.m. and sell a $20 limited edition Godzilla print he created just special for the event.

Limited to 100 copies, the Frank print features Godzilla and Mechagodzilla stomping around some very familiar local landmarks. (Oh no! There goes the Alamo!) The print measures around 11×17 inches and, as you can see in this post, looks ridiculously gorgeous. Frank will also sign copies of the new Godzilla: Kingdom of Monsters trade paperback that features his covers, which sells at the event for $18.99. You can get both the trade paperback and the print for $30.

Friday, September 9, 2011

PRESERVING GODZILLA



Ten years ago, I wrote the following article on Toho's efforts to preserve their film library of kaiju movies for G-FAN magazine (issue no. 48). I thought now would be a good time for a revisit.

by Armand Vaquer

Do you wonder if Godzilla will be around for future generations to enjoy? This thought occurred to me when I set out to check on the state of Toho’s classic Godzilla films and what efforts are being made to ensure that the “King of the Monsters” will be around for generations to come.

I recently checked on the subject of film preservation and restoration with the American Film Institute (AFI) and found that our film heritage is in pretty good shape, at least for now. The thought also occurred to me, “ What is being done in Japan by Toho Co., Ltd. in preventing film deterioration?” I will state my findings herein.

Background.

As many of you motion picture fans know, film deterioration has been a major concern during the past several years. Many studios and the American Film Institute have in place programs to restore, preserve and protect films of varying ages and film types.

Several years ago, concern was raised over the loss of films before 1951 that were on nitrate-based film stock. Nitrate film stock turned out to be unstable, flammable and deteriorates after several years. When it was realized that we were losing our old films, efforts began to transfer these films from nitrate stock to modern safety film. Thanks to these efforts, older nitrate films were saved and not lost to the ages as some had already been.

Another concern was that color films were deteriorating (even though they were on safety film) because of the single strip film emulsion also proved to be unstable. It has been learned from bitter experience that unlike the earlier three-strip Technicolor film process, today’s color film can fade irretrievably in as little as five years (note that Lucasfilm had to restore the earlier “Star Wars” films before they could be re-released just prior to the release of “The Phantom Menace”).

According to the AFI, “There is no practical solution for preserving the color in single-strip emulsion safety film.”

Then there’s also “The Vinegar Syndrome.” Modern safety film bases are composed of either acetyl cellulose (triacetate) or polyester (product names “Estar” or “Cronar”). When exposed to flame, modern safety film will only curl and extinguish itself. When modern safety film is properly stored, it should not decompose over time and is estimated to have a shelf life about as long as that of good quality paper, approximately 200 to 300 years. Shrinkage and brittleness will also be minimized in films that are properly stored.

However, during the past several years, archivists and technical experts have learned that triacetate film is not always as stable as was originally thought. Acetate degradation has been identified as a new and potentially serious problem for preservationists. Commonly referred to as “the vinegar syndrome” (because of a vinegar-like odor is given off by deteriorating acetate), acetate degradation proceeds in a way not dissimilar to nitrate deterioration, but without the flammability factor. This problem has proven to be especially serious in films improperly stored in high temperature and humidity environments. It is also believed to be contagious, that degrading acetate can infect other films stored in the same area.

Toho’s film library.

Fortunately for us kaijulogists, although there had been kaiju eiga films ("Godzilla", 1954 and "Godzilla Raids Again", 1955) made with nitrate-based film stock, Toho had transferred all original nitrate films to non-flammable safety film. Therefore, no Toho Co., Ltd. kaiju films have been lost due to nitrate deterioration. Like the United States film industry, the Japanese film industry ceased using nitrate-based film stock and started using safety film in the late 1950s.

What of the Godzilla color films? Toho reports that they have the original negatives/master materials of their kaiju eiga films in their best possible conditions. Toho has been aware of the “vinegar syndrome” and has been paying due attention to temperature/humidity control of their film vaults. This has been perfected by Toho’s introduction of their new storage facility for original negatives with a more advanced temperature and humidity control system, called PPM Centre, three years ago.

According to Stuart Galbraith’s book, “Monsters Are Attacking Tokyo!,” Toho primarily used Eastman Color for their color kaiju eiga films. So it appears that the three-strip Technicolor process was never used for their films. U.S. releases of some films ("King Kong vs. Godzilla" (1963) for example) were printed in Technicolor.

On the video and DVD road.

The advent of home video (originally in Beta and VHS formats) in the 1980s allowed Godzilla fans to collect their favorite kaiju films. Often these mass-produced videos had picture qualities that varied as much as the designs of Toho’s monsters. Everyone is pretty much in agreement that the video quality depended upon the original source material.

For example, some companies (Simitar, for one) released video tapes of the classic (or Showa) Godzilla films and often the film prints used left much to be desired. It was through either indifference or economy that this is the case. Many of the video tapes that I have purchased had faded images, choppy editing or horrible sound. Then there are other video distributors who had an excellent print to work with and therefore produced a fine video. Some companies issued videos in EP (extended play) speed that would accentuate an already bad print.

With the introduction of digital DVD in the 1990s, kaiju collectors are able to enjoy superior video and sound on their players. Most, if not all, Heisei series Godzilla films are starting to be released in DVD. This allows for a superior product to be produced before film deterioration to sets in. [Note: Godzilla movies are now starting to be released on Blu-ray. - A.]

At present, there are no programs at Toho to restore their older kaiju films a la Lucasfilm and others. This may be due to the costs involved (in the U.S., AFI reports that the cost to preserve color images can easily be $40,000 per feature-length film), the quality of negatives and storage facilities involved. I have a copy of “Godzilla vs. Ebirah” that has excellent color images, and that film is around 35 years old. I have also seen different prints of “King Kong vs. Godzilla” (1962) and each one had color images that looked as though the film was made this year or pretty close to it.

At present, according to AFI, the only cost-effective means of dealing with color fading is to slow it down by storing color films in vaults designed to maintain below-freezing temperatures and low humidity. This is a stopgap measure. While cold storage may prolong the life of color films, it cannot ensure their survival until the time when it may be possible to transfer the images to an archivally stable medium. It was hoped that digital archiving would accomplish this, but it appears that digital images may not be as perpetually stable as was originally thought or hoped for. The jury is still out on this aspect and it depends upon whom you talk to.

But for the short term at least, we can still enjoy vibrant images of Godzilla in his nearly five decade long adventures.

Sources: American Film Institute, Toho Co., Ltd. (L.A.) and “Monsters Are Attacking Tokyo!” by Stuart Galbraith IV.

©2000 Armand Vaquer
"LEGENDARY PICTURES TO DEVELOP AND PRODUCE MAJOR MOTION PICTURE BASED ON TOHO COMPANY’S ICONIC MONSTER, GODZILLA

Burbank, CA – March 29, 2010 – Legendary Pictures announced today that they will develop and produce a new film based on Toho Company’s famed GODZILLA character. Through the terms of the agreement, Legendary Pictures has acquired the rights to produce a movie inspired by Toho’s Godzilla, a franchise the Japanese company created and has nurtured for over fifty years.

Toho’s GODZILLA franchise boasts one of the most widely recognized film creatures worldwide, resulting in a series of books, television programs, video games and more than 25 films worldwide. Legendary intends to approach the film and its characters in the most authentic manner possible. The company will, in the near future, announce a filmmaker to helm the film for an intended 2012 release. The film will fall under the company’s co-production and co-financing deal with Warner Bros. Toho will distribute the film in Japan."

"Godzilla" is coming back -- this time, with Legendary Pictures taking the lead, co-producing and co-financing with Warner Bros. for release in 2012.

Legendary announced Monday it had obtained rights to the iconic monster character from Japan's Toho Co., which has overseen more than 25 "Godzilla" films. Toho will release the pic in Japan.

Legendary said it's planning to announce a director shortly.

In addition to Legendary, producers on the new film will be Dan Lin, Roy Lee and Brian Rogers. Yoshimitsu Banno, Kenji Okuhira and Doug Davison will exec produce.

"Godzilla is one of the world's most powerful pop culture icons, and we at Legendary are thrilled to be able to create a modern epic based on this long-loved Toho franchise," said Thomas Tull, Chairman and CEO of Legendary. "Our plans are to produce the Godzilla that we, as fans, would want to see. We intend to do justice to those essential elements that have allowed this character to remain as pop-culturally relevant for as long as it has."

Legendary noted the film will fall under its co-production and co-financing deal with Warner Bros. Legendary's productions with Warners have included "The Dark Knight," "300" and "The Hangover."

Speculation about a new "Godzilla" has been active since last summer. The Bloody Disgusting web site reported in August that the project was in development.