Word: monsters
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Dates: during 1990-1999
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...probably inevitable that the King of the Monsters--who made his debut in a 1954 Japanese film (re-edited and released in the U.S. two years later with new footage featuring Raymond Burr as an American reporter)--would sooner or later be remade. "For me, it was always very simple," says Emmerich. "Godzilla was one of the last concepts of the '50s that had never been done in modern form--that idea of the giant monster as in Tarantula or The Beast from 20,000 Fathoms. Why not do them again?" But, he says, "we were really concerned about...
...noble if dragonish chin instead of an avuncular Adam's apple. As for the radioactive breath, well, it was hard for Tatopoulos to justify, so don't expect it. No lizard does that in nature, he argues. "We were creating an animal. We weren't creating a monster...
...care lavished on re-creating the monster, the new plot is somewhat less revolutionary. As in 1954, Godzilla is the spawn of nuclear tests in the Pacific, and this time he makes his way quickly to New York City. Matthew Broderick plays an American scientist, Dr. Nick Tatopoulos (a nod to the new creator); Jean Reno is a mysterious agent for the French; Maria Pitillo is a newscaster wannabe; and Hank Azaria is a TV cameraman. Together they battle not just Godzilla but a teeming snake pit of little Godzillas. Though referred to as "he," the monster belongs to transgender...
Devlin and Emmerich approached the project gingerly, having rejected four previous overtures from Sony to take charge of Godzilla. The monster appeared to be unmanageable. Jan De Bont (Speed) tried to tame the beast for a while but gave up after Sony balked at the budget he wanted for a script that had Godzilla battling a shape-shifting beast. James Cameron (Titanic), Tim Burton (Batman) and David Fincher (Alien 3) were among the directors at one time considered to update Godzilla. When Steven Spielberg, who knows from dinosaurs, heard that Devlin and Emmerich were contemplating the movie, he tried...
...partners put on hold a movie they had in the works, dubbed Project X, about ("I kid you not," says Devlin) a giant meteor on a collision course with Earth. Lee was also the most persistent of the studio execs in persuading Toho to lend out its famous monster. Still, when he saw Tatopoulos' model just hours before it was unveiled for the Toho board of directors in Tokyo, Lee was stunned. "It was just so different," he says, "so improved." Devlin says he heard of a little more consternation: "'You have to do this in stages! Show them...