SHIN GODZILLA Fourth Anniversary Interview With Yoko Higuchi
Author: Benjamin Chaffins
A SCIFI JAPAN EXCLUSIVE
The 7 Japanese Academy Award-winning film SHIN GODZILLA (シン・ゴジラ, Shin Gojira) continues to be hailed by critics in both east and west after its release in 2016. The film received awards such as Best Art Direction, Best Sound, Best Editing, Best Lighting, Best Film, Best Director and Best Picture. While some continue to have issues with this film, it’s important to look further into the production aspects.
Who better to talk about the film than someone who was there during production? Yoko Higuchi [no relation to director Shinji Higuchi] is an up-and-coming American filmmaker residing in New York who became a Production Assistant for SHIN GODZILLA. Yoko’s adventure all started when he wrote an email letter to Toho after hearing about the then up-and-coming film back in 2015. His letter to Toho implied that he was willing to do anything to help out with the film, and to his surprise, he received a shocking response: Toho had granted this life-long Godzilla fan the ultimate dream come true — to work on a Godzilla film. Yoko quickly packed his bags and left for Japan to fulfill this dream of a lifetime.
To celebrate the 4th anniversary of SHIN GODZILLA, it was vital to reach out to Yoko once more to cover the secrets of production…
Ben Chaffins: Yoko, welcome back. Good to talk to you again.
Yoko Higuchi: Thank you for having me back, Ben! It really is an honor to do this interview with you again!
Ben: Absolutely, man. Let’s take a step back to the beginning. You wrote your letter to Toho –in shock, they responded. When did you pack your bags and leave New York for Japan to live out this dream?
Yoko: I left New York on July 27, 2015, and I had an initial meeting with the staff at Toho on July 30. August 1 was my first day working on SHIN GODZILLA.
Ben: Tell me about that first day.
Yoko: It was such a big moment for me. My first day working on a Godzilla film! Isn’t that crazy? It was nuts! On that day, it was quiet. I met the fellow staff members and some new members who were brought on board the same time as me. We all sat in the office and were handed the script for SHIN GODZILLA. It was already titled “Shin Godzilla” then. We all sat there and read it, well, except for me. I couldn’t read the script, so the staff members let me watch Shinji Higuchi’s previous film, SINKING OF JAPAN. It was such a memorable day. Not much happened, but for me, everything happened.
Ben: Oh, for sure. It’s not everyday someone gets to work on a Godzilla film — unless you’re Norman England.
Yoko: Very True!
Ben: How did the greetings go?
Yoko: The greetings went well. Everyone was so friendly and welcoming. It was really heartwarming to see the crew were so nice. I don’t know what I was expecting to see or hear, but it was heavenly.
Ben: Could you explain meeting all the staff involved with the film?
Yoko: Sure thing! I met all the staff members bit-by-bit. I met a few at first, while others later in production. It depended on where I was working at the time. First, I met everyone who was in the offices, then, I met everyone on Unit-A, the actor sequences, and then later, Unit-B, the tokusastsu/SFX filming. By the time filming was halfway done, I met almost everyone in both units, however, I mostly stuck with the tokusatsu/SFX crew.
Ben: While working with the staff in the special effects department (Unit B), could you explain the environment and what it was like to be there inside the studio?
Yoko: At first, it was really overwhelming. I had absolutely no idea what I was doing as a PA [Production Assistant], so I was forced to learn quickly. There were so many things that I had to do at the same time as the PA, so I was running around the studio doing various tasks. Thanks to all the staff members, it was such a wonderful work environment. Everyone was so kind and welcoming.
Every single person in Unit B was in tune with one another, and knew exactly what they had to do. If I had to sum them up in one word, when it came to their creative side, it would be professional. I’d also describe them as incredibly goofy. When there’s some downtime on set, they would always joke around and do silly things. It was like playtime but for big kids. We were adult children playing in a giant tokusatsu sandbox, and it was beautiful.
Ben: Were there any mistakes that may have happened while the staff were working in the special effects department?
Yoko: There were some occasional mistakes on set, as there are with any film of this scale. No matter how hard you work on these practical effects, they often don’t turn out as well as you think they would. For example, there’s a quick shot soon after Godzilla makes landfall in Kamakura where his footsteps shakes the tiles on a rooftop. That scene was originally done practically, but we soon realized that it wasn’t possible to do that rumbling footstep effect on the tiles, so that was, I believe, done using visual effects in the end.
Stuff like that happened a lot. It’s a lot of trial and error, and that’s the beauty of the tokusatsu style. You have to learn as you work, and it’s frustrating, but so incredibly rewarding once you complete that shot you wanted to get.
Ben: Nice. I know you were geeking out about being on the set and working on the film, but how professional did you have to be while filming?
Yoko: I didn’t have to be too professional to be honest. They were really casual and nice. We all acted like friends. Of course, there were times we had to be professional, but it was such an inviting environment. No need for too much work politics. It was just a group of fun people making a film together.
Ben: What were your thoughts when you first looked at The Art of SHIN GODZILLA book?
Yoko: I loved The Art of SHIN GODZILLA book. It was expensive, so I’m sure my wallet didn’t love that purchase, but it was worth every cent–or in this case, yen. It really allowed me to travel back to when I was there. Reading it and looking through all the production photos gave me this wonderful nostalgic feeling. I still find myself flipping through those pages every-now-and-then just to remember the great times I had on set.
Ben: Agreed. My wallet couldn’t handle the amount of money spent on that wonderful book.
Yoko: You and I both had the same problem, I see. (laughs)
Ben: Seeing Mahiro Maeda’s concept art was very interesting. What were your thoughts about seeing his concept art?
Yoko: His concept art is really beautiful. The design for his Godzilla really struck a chord with me. It really is the Ishiro Honda design come to life. The final design, although slightly different from Maeda’s concept design, is still very true and honors what Honda wanted in the original. But all the components of the Shin design that I love, Maeda drew. The small, wide-eyed expression, the jagged teeth, burnt skin, it’s still the stuff of nightmares and I just adore it.
Ben: Absolutely. Maeda mentions in an interview that his design was based on Teizo Toshimitsu’s design [for the original Godzilla]. How fascinating was that for you to learn?
Yoko: I can definitely see the inspiration. I’m really glad to hear that Anno, Higuchi, Onoue, Maeda and the entire Shin G creative crew were trying to really evoke the spirit of the original Godzilla. And it’s also great to hear that they are not forgetting Toshimitsu’s work, which I think is extremely underappreciated. He deserves a lot more credit for his creations and his contributions to the kaiju world that we know and love. The original clay 1954 Godzilla that he designed isn’t exactly the look that we now know as Godzilla, but it’s still one of my favorite designs.
Ben: Yes, Toshimitsu’s design was very unique during 1954, and as you pointed out, it’s inspiring to know these guys honored those that paved the way.
Yoko: Precisely! Really warms my heart to see them honoring those that paved the way for the kaiju genre.
Ben: When we see the concept art, we see a Godzilla with a duplicate Godzilla hanging off the right shoulder area. This idea was scrapped of course, but what were your thoughts about seeing this for the first time?
Yoko: I actually never saw that concept design on set, so it was quite a big shock for me to see that after I left the movie and after the movie had its theatrical release. They were really going to make one bonkers Godzilla film, but as cool as it was, I think it wouldn’t have fit in the realistic world that Anno tried to create for Shin. Maybe someone can use that idea for a future Godzilla film. That concept design definitely gave me a lot of inspiration, so who knows? Maybe I can take a crack at that. Also, wouldn’t it be funny if Godzilla had two smaller Godzillas on both shoulders and fought King Ghidorah? That would be hilarious. 3 heads vs. 3 heads at last! (laughs)
Ben: That would be hilarious. Your thoughts on the fifth form?
Yoko: I think the one thing I really wanted to see in SHIN were those humanoid Godzilla creatures. As you know, the original plan was that Godzilla’s cells were able to replicate into these beings, and I absolutely loved the designs. They almost look like demonic angels fused with Godzilla, but like the previous concept art, it wouldn’t fit the world Anno created with SHIN. But those things that I really didn’t want to see get cut but… it had to go.
Ben: Anno definitely incorporated his EVANGELION themes with SHIN. It’d be hard to argue that the fifth form was perhaps inspired from the angels in EVANGELION. The Godzilla cells replicating themselves was inspired from WAR OF THE GARGANTUAS, of course, but Anno has left his staple on the genre.
Yoko: Oh, most definitely! Hard agree with that, Ben. I love that Anno fused his own style and his love of the tokusatsu genre to create something truly his own.
Ben: The character design was created by Takayuki Takeya, and he created the maquettes for each form. Some didn’t believe the “3-forms” rumor back in late 2015, but when you saw these maquettes in the book, what came to your mind?
Yoko: When my mother was translating the script for me, I was really shocked. When she said that the creature was evolving, it took me by surprise. I instantly had Hedorah, Biollante and Destoroyah images in my head, because I couldn’t visualize Godzilla evolving. It was such a new idea that I couldn’t wrap my head around them. Then I saw the maquettes for the other forms and I finally understood what Anno was going for. It really was surprising. I can only imagine people not believing in that rumor. I saw that rumor circulate and fans not believing it, and I was alone in my room thinking, “Guys…. It’s true.” (laughs)
Ben: I’m glad that you brought that up about your mother. You were given the script and your mother translated the script for you. What exactly went through her mind and yours as you both were learning more about what the film was going to do?
Yoko: Bless her for being there with me every step of the way. Both of us, when reading the script, were really intrigued, confused, surprised, and amazed all in one package. Anno’s writing is very particular, so it was hard for my mother to translate them. It took a long time. It took almost 10 days of reading them scene by scene and translating them for me. It was hard for me to visualize everything, so I was so curious as to what it was going to be like. It really was a great experience reading a Godzilla script without any bias or any preconceived notions. It was a fresh read, and it made a lasting impression on me during production.
Ben: That’s fantastic. It took me forever to fully translate The Art of SHIN GODZILLA myself. It’s a fantastic book and I’m glad that your mother was there every step of the way.
Yoko: She did the same for The Art of SHIN GODZILLA book as she did with the script. That also took forever, and again, we’re in the same boat.
Ben: The animatronic Godzilla was constructed around Takayuki Takeya’s design. Tell me about the day you entered the studio and saw that animatronic for the first time.
Yoko: I absolutely loved that animatronic. I remember the first day I came across it so well. Just like it was yesterday. I knew that Godzilla would be arriving on that day, so for the entire workday, I was excited. Then a fellow co-worker told me that Godzilla arrived. I was so incredibly happy, so I rushed over to the studio and I saw this red mass of flesh. I froze. I felt this chill travel down my spine. I really couldn’t move. I was face-to-face with a monster only your worst nightmares could conjure up. It was unlike any Godzilla I’ve ever seen, and I was terrified.
I finally got the courage to walk up to it and surely enough, he became my best friend on set. In the end, I found him to be incredibly adorable to the point where when they took him away, it was incredibly sad. Seeing him hauled off into a truck.
Ben: Knowing the animatronic was built in a 1/38 scale on an air cushion with the wire-works run up inside this massive thing, what was it like for you to see them operate and film it during production?
Yoko: It really was incredible seeing all these passionate people working on this animatronic. Godzilla came to life and he looked amazing. I desperately tried seeing how they operated on him, but I couldn’t get the best look, but for what I saw, it was truly amazing. I only spent a few days with him, but those few days were magical. It really felt like we were making a Godzilla movie.
Ben: It’s a travesty they didn’t use the animatronic in the final product, but so were a few other practical effects. How disappointed were you and the staff that made that animatronic and miniatures?
Yoko: We were a bit disappointed, but in the end, that’s the art of filmmaking. Not everyone’s hard work is going to be represented and shown. Of course, it stung that some of the shots that took hours to set up and do didn’t make it into the film, but we know it’s part of the process.
Ben: Well, you and I know the practical effects that did make the final cut, and I’d like to talk about those. The miniature houses, scissors, desks, chairs, printers, backpacks, books and magazines, and the radioactive containers that were dumped into the ocean are all the practical effects that were featured. What were your thoughts seeing all these miniature props/models being made, and how well they were executed with the CGI blend?
Yoko: It was like finding Waldo. When you find it, you can’t help but point. When I first saw SHIN GODZILLA at Toho, I couldn’t help but point at the screen and go, “OH THAT’S THAT SHOT!” It was really fun seeing all of them come to life. The blending of practical and digital effects were done so beautifully to the point where it was hard to tell which were which. The balance was perfect. With Anno’s unique cinematography style and Higuchi/Onoue’s master class level of artistry in SFX, they pulled off something truly spectacular.
Ben: Speaking of the practical work, could you summarize watching the staff model the miniatures?
Yoko: I wish I had more time to just sit and watch them make it from start to finish, but I only saw them either in the middle of the process, or at the very end. It was so impressive how meticulously crafted all of the miniatures were.
They all had steady hands and an incredible eye. As a Godzilla fan, seeing these miniatures actually being created right before my eyes was something I will cherish for a lifetime. Although they’re not the miniatures of the Showa, Heisei or Millennium films where they built an entire city, I still really enjoyed the intricate little things they built. It was just amazing.
Ben: How often were you able to see said miniatures get blown up?
Yoko: I saw the shot that’s in the unused SFX reel of the power lines going down. I saw that miniature house that gets knocked over by Kamata-kun [the crawling second form pf Godzilla]. There’s also that shot of Godzilla stepping on the side of a hill that collapses. I can go on, but I saw my fair share. It was amazing!
Ben: You didn’t get to see the modeling team make the animatronic, but did you ever meet them on set?
Yoko: It really sucks to say I never did. I wish I had!
Ben: That’s unfortunate. Mansai Nomura was the motion capture actor for Godzilla. When did you find out about this, and what were your thoughts?
Yoko: I only found out after I saw the film and saw the credits. I had no idea he was doing the motion capture while I was working on it, but it was so cool to hear that he played Godzilla. Even though Godzilla was all CG this time, it somehow still paid tribute to the old-school way of doing things.
Ben: He did the best he could. If you notice, his performance was almost identical to Haruo Nakajima’s as far as Godzilla being a tall, slow, lumbering beast. Although the techniques are different, it makes me wonder how Nakajima and other previous suit actors felt about his performance.
Yoko: Yes! I love the almost methodical way Shin Godzilla walks with no regard on who or what he steps on.
Ben: The pre-viz CGI director was Takeshi Miyagi, and the modeler was Ken Tamura. When did you learn about this?
Yoko: I sadly couldn’t meet either of them, but heard of them at the visual effects wrap party in early July. Haven’t had the honor of meeting the two gentlemen.
Ben: Did you by chance at least see the leaked pre-viz animation that happened around early 2016 when we all finally found out Godzilla was going to be CGI?
Yoko: I actually saw all of those pre-viz animations on set, so I was surprised then, but when the rumors were going around, at that point, I already knew.
Ben: The Godzilla concept animator was Shuhei Kumamoto. The concept animation is provided in both The Art of Shin Godzilla and CGI World magazine. Thoughts?
Yoko: Kumamoto did an incredible job with how he fleshed out Godzilla in “real life.” It’s some of the best visual effects work in a Japanese Kaiju film. A great artist!
Ben: The pre-viz production was handled by Takuya Shibata, Ken Ohara, Tomonori Hirata, Hiroyuki Kashima, and Atushi Sakiyama. Did you learn about this during production or after the film was released?
Yoko: Definitely after. I really only knew the on-set crew during my time there.
Ben: The art design was by Masato Inatsuki who worked on GODZILLA VS. BIOLLANTE. What did you think about his artistic skills?
Yoko: It’s always good to have someone like Inatsuki be a part of your tokusatsu film. I think he was able to bring his own flavor to the film, and it helped a lot in the creation of this film’s unique vision.
Ben: The VFX were handled by Shirogumi Inc. The CG director was Akira Iwamoto, the CG supervisor was Gou Fushimi, the Godzilla modeling and compositor was Takuya Uenishi, the CG producer was Hirosama Inoue, and the composite supervisor was Shingo Kobayashi. Thoughts on their VFX work?
Yoko: All of their incredible work on SHIN GODZILLA was truly godsend. They did some amazing work for this film. It was something new. We’ve never seen Godzilla like this before, and their visual effects team was able to handle it with grace and passion. It truly is some of the best visual effects work in any Kaiju film. I’m so pleased with how it all turned out in the end.
Ben: Agreed. The main posters were created by Toshimichi Otsuki. Thoughts?
Yoko: I absolutely love the posters and how simplistic they are. They evoke power, strength, and something ominous. Really great work all around. One of my favorite marketing materials for a Godzilla film because of its simplicity.
Ben: Were you able to travel between filming locations?
Yoko: Not too much. I did go to Kamata and Kamakura because those were some of the bigger shoots we did, but soon after filming began, I was moved to Unit B with the special effects team, so I stayed there for the majority of my time during filming. Oh, and that scene where it was night and all the extras were running and the scene was only lit with the car headlights. I remember staying overnight for that scene.
Ben: Nice. So you didn’t get to see all the filming locations then, right?
Yoko: Not all of them, no. It was mostly studio time for me.
Ben: That’s somewhat unfortunate. There’s an English section in The Art of SHIN GODZILLA, pages 330-331 — that’s Goro Maki’s note section. Didn’t you write that?
Yoko: I didn’t write it out, but I did edit that passage. I also edited the evolution of Godzilla science journal entry, too. It’s also my handwriting on Goro Maki’s social security information.
Ben: Could you explain how that came about?
Yoko: Funny enough, they literally just asked me. As the American on set, a lot of them looked to me to fix a lot of the English documents in the film. For Goro Maki’s social security information, Anno’s personal assistant asked me to write out those documents in 3 different ways. One regular, one cursive, and one with my own personal handwriting. I think the one in the book is the personal handwritten version. I actually still have the original Word files for some of the documents I ended up editing for the film.
Ben: Very nice. Could you explain your last day on set and when you had to leave Japan and return to New York?
Yoko: My last day on set was bittersweet. It was admittedly hard to say goodbye to everyone after more than 3 months of working with them. They became my film family, and it sucked to leave. But it was also really nice to go back home. As much as I adored my time on set, it felt so nice coming back home to New York. This is my home, and it always will be. So the word to best describe the feeling then was “bittersweet.”
Ben: Could you spare details about the wrap party? What was that like?
Yoko: I was half celebrating and also half working on that day. I was still working as a PA, so I was helping set up all the tables, brought out the food and made sure the drinks were cold, etc. But it was so fun celebrating the end of the on-set production. Everyone in the production, including cast and crew, were there. Except Anno. Anno wasn’t there for that. But the VFX wrap party had a real sense of celebration, because we actually went to the wrap party after seeing the final cut of the film, so it really did feel like a wrap party. It really was fantastic being at both parties.
Ben: After seeing the final cut of the film with the staff, what was that like for you?
Yoko: I was having a complete breakdown. I was crying, I was blubbering. I was a mess. I’m glad it wasn’t one of those things where they filmed your reactions because that would’ve been ugly. But I was so in awe of the film. It really hit me to my core. As a Godzilla fan, this was everything I wanted to see in a Godzilla film. It wasn’t just another kaiju battle fest, which I want to be clear, is not an insult to those films with kaiju battles. I love some kaiju action, of course, but this was something deeper than that. This was a deconstruction of the Japanese political system and a critique on the events of the Fukushima disaster.
It honored the franchise by doing exactly what the first film in the series did: use a monster to make a strong political statement. I was so incredibly happy with the film. The Who Will Know sequence brought tears to my eyes. It was so hauntingly beautiful that only someone like Anno would conjure up something like that. And seeing my name in the end credits was something I was and wasn’t prepared for. It hit me like a train. I couldn’t begin to process that. My name in a Godzilla film? I couldn’t believe it. There was so much to unpack in that first viewing. It was a magical experience that I will never forget.
Ben: I’m jealous. After the wrap party, could you explain your experience in the theater opening night?
Yoko: By the time I saw SHIN GODZILLA when it opened to the public, I’ve already seen it three times. There wasn’t anything surprising after seeing it the fourth time, but what was surprising and heartwarming was watching the film in a packed theater with an eager audience. That was really rewarding. Seeing the film I worked on for months being shown on a big screen. It was amazing.
After its theatrical release, I saw the film I believe three more times. It was such a great experience each time.
Ben: Were there any criticisms going around Japan about Hideaki Anno being the director? If you recall the interview I had with Norman England, there was a certain Westerner very critical of Shusuke Kaneko during GMK, so I’m curious if you knew of any criticisms going around.
Yoko: None that I was aware of at least. Being the creator of EVANGELION, obviously the public was very aware of his style and his work. So, they were at least from what I saw, extremely supportive of Anno being the new Godzilla director. I think the response was pretty positive, but maybe I was only looking at the positive side. I wasn’t really exposed to any negative remarks. As far as I know, I didn’t see any when they were promoting the film and when the film was released.
Ben: What were your thoughts when the film won 7 Japanese Academy Awards?
Yoko: I was over the moon. I thought to myself, “The film I worked on won Best Picture? Holy shit!” I got to work on a film that won Best Picture and so many other awards. I was so freaking happy and so excited because I never thought a monster movie would sweep the Japanese Academy Awards. It was surprising. Kind of like when PARASITE won the Oscars. It was just something I didn’t expect the academy would do.
So that was a pleasant surprise. I was so damn proud of the film and all of us who worked on it. Even without those awards, it was worth it. Either way, I felt honored to have worked on this incredible Best Picture winning film.
Ben: When it comes to Shinji Higuchi, how often was he not impressed with any FX shots that he may have had the staff redo?
Yoko: Higuchi was mostly on set with Anno in Unit A working with the actors, so we were mostly under Katsuro Onoue. But neither Higuchi or Onoue expressed disappointment with the SFX shots. Obviously, if something went wrong, Onoue would want to start again, but neither of these guys were ever disappointed in the work we all did. I think it just didn’t work in the end and not something that didn’t work on set at the time.
Ben: While the whole experience of being on set and working on this film is very memorable, I’d like to know what you consider to be the most memorable times while there.
Yoko: I think the two moments that will always remain as the most memorable are when I saw the Godzilla animatronic, and when the special effects (Unit-B) staff members gave me some of the film’s props as gifts. They were basically going to be garbage, but they knew that those props weren’t garbage to me, so they gave me a whole bunch of props and I still have them to this day. The proudest things I own.
Everything about this was memorable and I am so grateful for every moment on set, but those two were the ones that still make my heart soar.
Ben: Extremely jealous here, Yoko.
Yoko: I am extremely grateful for everything they’ve done for me and this is all thanks to them. I wouldn’t have all those wonderful memories, these wonderful props, and doing this interview with this fine gentleman without those guys. They deserve all of my gratitude and more!
Ben: What was your favorite part of the film, besides the atomic breath scene?
Yoko: I definitely love Godzilla coming to shore in his fourth form, since it wasn’t really his final form yet. But I will say, as an aspiring filmmaker, I absolutely adore the first 20-30 minutes. The pacing and build-up is all handled so incredibly well. There’s not a single piece of music until Kamata-kun pops up on screen, and the tension of each scene just builds and builds.
That’s some really precise, tight writing and directing. Really amazing. One of my favorite first acts of any film. There’s so much momentum there, and I think it deserves more praise than it does. Of course, the destruction set pieces are incredible and a feast for the senses, but those first twenty-ish minutes with most of the main characters in play are just so impeccably crafted. Just love it!
Ben: Nice. Finally, your final thoughts about your journey to Toho and working on Shin Godzilla.
Yoko: My time working on SHIN GODZILLA will always be the most important moment in my life. This moment in 2015 led to so many other things in my life and paved the way for so much. I am so thankful to Toho for letting me be a part of this incredible film and so thankful to the amazing crew for being so great, kind and generous to me the entire way through. It truly was an honor. One of the best experiences in my life, if not the best. I’m hoping for bigger and better from here on out.
Ben:Yoko, thank you! Your story is far from over. You’ve helped pave the way for others who dream about doing what you’ve done. Looking forward to what you’re able to do next.
Yoko: Thank you, Ben! Seriously. It’s been a privilege to do these interviews with you. Thank you, man.
For more information on SHIN GODZILLA, please see the earlier coverage here on SciFi Japan:
- GODZILLA RESURGENCE: Exclusive High-Res Photos from Toho
- GODZILLA RESURGENCE: More Exclusive High-Res Photos from Toho
- Exclusive! Funimation Licenses GODZILLA RESURGENCE
- SHIN GODZILLA Press Release from Funimation Films
- Toho’s SHIN GODZILLA International Sales Materials
- SHIN GODZILLA: Exclusive High-Res Photos from Golden Village Pictures
- Funimation Films Promo Materials
- SHIN GODZILLA International Exclusive: Information and High-Res Photos from CatchPlay (Taiwan)
- SHIN GODZILLA North American Theatrical Release News from Funimation Films
- SHIN GODZILLA International Exclusive: Info, Trailer and High-Res Photos from TGV Pictures (Malaysia)
- SHIN GODZILLA Advance Tickets for North America On Sale Now
- SHIN GODZILLA International Exclusive: Thai Info, Trailers and High-Res Pics from Sahamongkolfilm
- SHIN GODZILLA Roars Onto the Big Screen in 60 Carmike Cinemas in October
- SHIN GODZILLA Stomps on Australian and New Zealand Cinemas in October
- SHIN GODZILLA US Theater List from Funimation Films
- SHIN GODZILLA New York Premiere Coverage and Review
- SHIN GODZILLA Day Arrives!
- SHIN GODZILLA Roars Into Theaters Tonight for Limited Engagement
- SHIN GODZILLA Capsule Reviews
- SHIN GODZILLA World Tour Continues Today in Australia
- Win SHIN GODZILLA Poster from Funimation Films!
- SHIN GODZILLA Extends Run with Encore Saturday Matinee and Screenings in Select Cities thru October 27
- SHIN GODZILLA Update: Matinee and Extended Run Theater List from Funimation Films
- Shin Godzilla 25cm Figure from X-Plus in December
- Shin Godzilla “Luminous Purple” Figure Kit from X-Plus and Premium Bandai in March 2017
- Shin Godzilla Red Figure Kit from X-Plus and Kadokawa in March 2017
- SHIN GODZILLA International Exclusive: Spanish Info, Trailers and High-Res Pics from A Contracorriente Films
- Shin Godzilla 12” Head-to-Tail Figure Coming from NECA in May
- SHIN GODZILLA International Exclusive: Korean Info, Trailer and High-Res Pics from MediaCastle
- SHIN GODZILLA Korean Release Update
- SHIN GODZILLA Korean Release Update: New Poster and Videos
- SHIN GODZILLA Tops 40th Japan Academy Film Prize
- SHIN GODZILLA International Exclusive: German Info, Trailer and High-Res Pics from Splendid Film
- SHIN GODZILLA International Release Update: Latest Godzilla Premieres in Italy
- SHIN GODZILLA International Update: German Trailer
- SHIN GODZILLA English Language Blu-ray/DVD Details and High-Res Artwork
- SHIN GODZILLA International Exclusive: Italian Info, Trailer and High-Res Pics from QMI / Stardust
- Funimation Brings SHIN GODZILLA to Austin to Celebrate Home Video Release at “Strange Beasts V: Shin Beasts” Exhibition on July 28 at Guzu Gallery
- SHIN GODZILLA Figures from X-Plus and Premium Bandai in October
- SHIN GODZILLA Statue Unveiled in Tokyo
- The Godzillas of Hibiya
- Shin Godzilla (Atomic Blast) 12” Head-to-Tail Figure Coming from NECA in November