Godzilla (2014) ~ Ken Watanabe, Bryan Cranston [Kritik]

jimbo

jimbo

Administrator
Teammitglied
Ich muss zugeben so langsam wird der Hype groß in mir.
Oder ist das nur Vorfreude?
 
Dr.WalterJenning

Dr.WalterJenning

Düsterer Beherrscher
Regisseur Gareth Edwars ist zur Zeit auf Tour in verschiedenen Großstädten weltweit (u.a. Hamburg und London), um seinen Film gebührend zu promoten und hat deshalb vorsichtshalber eine 20 minütige Preview im Gepäck, welche 5 Szenen des Films näher beleuchtet, inklusive 3D, welches-, wie die gezeigten Szenen, toll sein soll (keine großartigen Spoiler):

As Hollywood’s great and good rehearsed their most gracious losing smiles for Sunday’s Oscars, on the other side of the world, in London’s West End, the British entertainment press filed into the basement screening room of the Mayfair Hotel to bear witness to the ultimate movie-star tantrum.

Five scenes from Godzilla, the forthcoming Warner Bros. summer blockbuster, were screened to around 200 journalists and bloggers, who cheered as the original daikaiju, now twice as tall as his Toho Studios forefather but no more evenly tempered, stomped through various world locations while humankind scuttled around his ankles, howling for mercy.

The footage was presented by the film’s director, Gareth Edwards, who sat at the side of the stage, smiling broadly and also a little nervously, as the carnage played out to his right.

Edwards’ last (and indeed only other) film, which was released three years ago, was Monsters, another creature feature, although one shot in Central America for around £9,000 with a crew of seven and special effects designed on his laptop. Godzilla’s reported budget comes in a few pounds short of £100 million, and its producers alone outnumber Edwards’ Monsters crew by one.

“If you wrote a list of the pros and cons of making a low-budget movie, which is easy to do, to find out the pros and cons of making a big budget movie, just swap ‘em over,” he explained. “What’s easy to do with three people is incredibly difficult with 100, and what’s impossible to achieve with £10, you can do fairly easily with a million.”

The first two sequences were, perhaps surprisingly, smaller moments of human drama, with the grand-scale chaos saved for later in the presentation. In the first, which was drawn from the film’s Nineties-set prologue, Bryan Cranston and Juliet Binoche play a married couple who work as consultants at a Japanese nuclear plant, which is being hit by rhythmic electromagnetic pulses from deep beneath the Earth’s crust.

“Not earthquakes,” Cranston’s character stresses with a wild look, “which are jagged and random”, but a regular, subterranean drum-kick.

The scene, which doesn’t end particularly happily, is not unlike the opening to JJ Abrams’ 2009 Star Trek reboot, in that the human cost of the unfolding carnage is made immediately and brutally clear. The second sequence, which takes place in the present, has Cranston back at the power plant, demanding answers, sometimes in fairly convincing-sounding Japanese, while another analyst, played by Sally Hawkins, looks on with concern.

“You have no idea what’s coming!” he roars. But the audience, some of whom were squirming with anticipation by this point, did.

So the presentation moved on swiftly to Godzilla himself, who is now 350 feet tall, and styled with incredible diligence and expense by the artists at Weta, the New Zealand digital effects studio, to resemble the original Fifties man-in-a-rubber-suit version as closely as possible. Forget the 15-storey velociraptor design from Roland Emmerich’s 1998 film: the new breed stands proudly on his hind legs and shuffles around with a toddler-like stomp. (The 3D looked as crisp and bright as it did in Warner Bros.’ last monster movie, Pacific Rim, and the scale of the creature was communicated clearly.)

The third scene showed Godzilla emerging from the sea off the Hawaiian coast and making a carefree beeline for central Honolulu. Shortly before his arrival, the tide suddenly swishes out, leaving fish flapping on the sand, and as he rears out of the water a tsunami rears up with him, rushing through the beach resort and towards the city. It’s a clear invocation of the Indian Ocean earthquake and tsunami that struck in 2004, and is all part, Edwards explained, of the film’s broader theme.

“The original Godzilla film was a very serious take on the monster movie, which is what I and Legendary Pictures wanted to do with this,” he explained.

“The original is blatantly a metaphor for Hiroshima and Nagasaki, and all good science-fiction is an analogy for something else. Although in the present we will never have to face a giant monster, we do have tsunamis, tornadoes, meltdowns at nuclear power plants that we have to deal with.”

Locking in the plot took more than a year, Edwards said, because the writers had more latitude than they perhaps might have done on a superhero film, which often come with an expectation that certain storylines will be covered. “It’s not like other franchises, where you have to tell the same story again and again,” he said. “With Godzilla, you can pretty much do anything.”

The fourth sequence is harder to describe without giving away a crucial plot twist, but it featured a squad of soldiers nervously checking the status of a railway bridge over which a convoy of nuclear warheads must pass undisturbed. The fifth was an elongated version of the suspenseful skydiving scene that features prominently in the film’s trailer: Edwards called it ‘the HALO jump’, and was obviously (and rightly) proud of it.

(As in the new trailer, the scene was backed with the Ligeti chorale from 2001: A Space Odyssey, although in the finished film the music will be replaced by an original soundtrack.)

Throughout the presentation, Edwards joked about his relative lack of experience in the business, although he also stressed his collaborators were hardly short on it: Seamus McGarvey, his cinematographer, shot Avengers Assemble for Joss Whedon and also Atonement for Joe Wright, and his executive producer, Yoshimitsu Banno, was an assistant director for Akira Kurosawa. (Banno also directed a little-known 1971 entry in the Godzilla canon, in which the giant lizard clashes with the smog monster Hedorah.)

More than anything, he says, he has been startled by how many people are fans of the Godzilla character, which Edwards discovered as a child through Friday-night screenings of the original, Showa-era Toho movies on Channel 4. “I thought there were about 100 Godzilla fans, including me, but people keep leaning over to me and saying ‘I love Godzilla. Don’t f--- it up.’”
Zum Vergrößern anklicken....

quelle: http://www.telegraph.co.uk/culture/film/film-news/10667622/Godzilla-first-preview.html

Und hier eine nicht ganz so ausführliche Review der gleichen Preview aus Hamburg: http://www.moviepilot.de/news/exklusive-story-infos-zu-godzilla-128245

Edit:

Sollte es dem einen oder anderen doch zu viel des Guten sein, darf die News auch gerne in den Spoiler-Thread verschoben werden :smile:
 
jimbo

jimbo

Administrator
Teammitglied
"Schließlich neigt man bei CGI-Kameras, die man in jeder erdenklichen Position im Raum verankern kann, dazu, unmögliche Perspektiven zu wählen und dadurch verliert man schnell den Bezug zum Geschehen”, so Gareth Edwards.

Guter Mann!

Edit: Was der Film kostet nur 100 mio.? Kann ja dann nix werden.
 
NewLex

NewLex

Well-Known Member
jak12345 schrieb:
Edit: Was der Film kostet nur 100 mio.? Kann ja dann nix werden.
Zum Vergrößern anklicken....
100 Millionen in den Händen eines Mannes, der für 10.000 Dollar einen sehr überzeugenden Monsterfilm ablieferte kann durchaus was werden. Der Mann versteht was von der Technik und ganz bestimmt auch davon wie man Geld sparen kann! Ich erwarte mir jedenfalls großartige Special-Effects...
 
McKenzie

McKenzie

Unchained
Weta können unglaubliches leisten, wenn sie wirklich wollen. Da mach ich mir keine Sorgen.

Langsam bin ich ja auch ein bisschen gehyped, muss ich sagen.
 
Dr. Serizawa

Dr. Serizawa

Oxygen Destroyer
Muss unbedingt auf meine Wand. In der neuen Empire Zeitschrift gibt es dasselbe Bild, wo man dann noch das "Now I am become death, the destroyer of worlds" Zitat hinzugefügt hat. Gefällt mir einen Tacken besser
 
A

AlecEmpire

Guest
Die kriegen ja nicht mal den Snowden geschnappt, wie sollen die da Godzilla töten??
 
Woodstock

Woodstock

Verified Twitter Account ☑️
AlecEmpire schrieb:
Die kriegen ja nicht mal den Snowden geschnappt, wie sollen die da Godzilla töten??
Zum Vergrößern anklicken....
Die machen das mit Snowden und Godzilla wie mit Bin Laden. Sie warten bis er sich in Pakistan versteckt.
 
brawl 56

brawl 56

Ich bin auf 13 Sternen zum Tode verurteilt!
Und jetzt vergleicht mal das Budget mit seinem letzten Film:
Monsters - 15,000$

Ah, NewLex hatte es schon erwähnt ;D
 
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