Godzilla II - King Of The Monsters
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Godzilla: King of the Monsters[b] is a 2019 American monster film directed and co-written by Michael Dougherty. A sequel to Godzilla (2014); it is the 35th film in the Godzilla franchise, the third film in Legendary Pictures' MonsterVerse, and the third Godzilla film to be completely produced by a Hollywood studio.[c] The film stars Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Bradley Whitford, Sally Hawkins, Charles Dance, Thomas Middleditch, Aisha Hinds, O'Shea Jackson Jr., David Strathairn, Ken Watanabe, and Zhang Ziyi. In the film, eco-terrorists release King Ghidorah, who awakens other monsters known as \"Titans\" across the world, forcing Godzilla and Mothra to surface and engage Ghidorah and Rodan in a decisive battle.
Five years after the existence of giant monsters, known as \"Titans\", was revealed to the world, Dr. Emma Russell, a paleobiologist working for the Titan-studying organization Monarch, and her daughter Madison witness the birth of a larva called Mothra. Emma calms Mothra using the \"Orca,\" a device that can emit frequencies to attract or alter Titan behavior. A group of eco-terrorists, led by former British Army Colonel Alan Jonah, attacks the base and abducts Emma and Madison. At the same time, Mothra flees and pupates under a nearby waterfall.
Monarch scientists Dr. Ishirō Serizawa and Dr. Vivienne Graham approach former employee Dr. Mark Russell, Emma's ex-husband and Madison's father, to help track them down. Mark is reluctant at first due to his hatred toward Godzilla, whom he blames for the death of his son during the events in San Francisco, but eventually agrees. The Monarch team follows Godzilla to Antarctica, where Jonah plans to free a three-headed Titan codenamed \"Monster Zero.\" Emma frees and awakens Monster Zero, who battles Godzilla, devours Graham, and escapes. The team later realizes that Emma is working with the terrorists. From a Monarch bunker in Boston, Emma contacts Monarch and argues that the Titans must be awakened to heal the Earth from the damages that humans have caused.
Through mythological texts, Dr. Ilene Chen discovers that Monster Zero is King Ghidorah, a prehistoric alien seeking to transform the Earth. Mothra emerges from her cocoon and flies to Monarch's Bermuda base to communicate with Godzilla, who is recuperating in an ancient underwater city. The team locates Godzilla's lair in a submarine, which is highly radioactive. They deduce it will take too long for Godzilla to heal on his own and decide to detonate a nuclear warhead to speed up the process. Serizawa sacrifices himself by manually detonating the warhead, reviving Godzilla, and increasing his power.
Gareth Edwards, the director of Godzilla (2014), stated that he wanted Godzilla to work as a standalone film with a definitive ending, and he opposed suggestions that the ending should leave the film open for a sequel. He said that he had no problem coming back for a sequel if the film did well, but his main concern was delivering a satisfying experience with the current film, \"I want a story that begins and ends, and you leave on a high note. That's all we cared about when we were making this; just this film. If this film is good, the others can come, but let's just pay attention to this and not get sidetracked by other things.\" After a successful opening of $103 million internationally, Legendary green-lit the Godzilla sequel, with plans to produce a trilogy and Edwards attached to direct. At the San Diego Comic-Con in July 2014, Legendary confirmed that they had acquired the rights to Rodan, Mothra, and King Ghidorah from Toho Co., Ltd. A short teaser clip showing concept art of all three with the ending tagline \"Let them fight\" was shown. Other details of their appearances in the sequels were not announced. In August 2014, Legendary announced that the sequel would be released on June 8, 2018, and that Godzilla writer Max Borenstein would return to write the screenplay.
Dougherty and Shields chose a human story line where the science fiction elements could be replaced with themes such as climate change or eco-terrorism and stand out on its own without the monsters. Dougherty felt that the third act proved the most challenging in terms of writing as many of the human and monster story arcs converged and needed to be resolved. Shields confirmed that Emma's speech to Monarch went through several rewrites. Shields and Dougherty wanted the speech to present a moral question to audiences whether they would put their faith in humanity or Mother Nature.
In the original script, Mark and Sam were originally written as old friends. This was changed in later drafts from Sam to Serizawa to have him be the guiding force for Mark. Dougherty added the Oxygen Destroyer as a representation of \"humanity's inability to not interfere.\" Dougherty and Shields chose to have Godzilla killed during the film's mid-point due to this being an idea that has not been done in previous Godzilla films. Shields noted that this was also to parallel Godzilla and Mark's characters, stating, \"Kyle's loss of faith in the beginning, and finding it in this moment when he realizes, you know, God is dead.\" In Dougherty and Shields's treatment and early drafts, full sequences of the non-Toho Titans rising after Ghidorah's call were written but later trimmed due to budgetary concerns. Borenstein had originally written Mechagodzilla into the film. However, Dougherty scrapped the character during development.
The film reclassifies the monsters' designation from \"MUTOs\" to \"Titans\". For the monsters, Dougherty wanted their designs to emit a godly presence and evoke a sense of worship, stating, \"Primitive man saw these creatures, and you want to give them a presence that would make him drop to his knees and bow to this god...It can't just look like big dinosaurs. Jurassic Park has that covered. These have to be distinct. They have to be their own thing. They're Titans.\" The director instructed the designers to look at the original designs from every era and \"distill those silhouettes and those key traits into something more modern.\" It was important for the director that the Titans were not just treated as monsters but \"very large animals with a distinct thought process.\"
For Godzilla, Dougherty wished to put back the \"God in Godzilla\". He liked the design that Gareth Edwards and Matt Allsopp conceived but wanted to tweak it by adding the dorsal plates of the 1954 iteration, as well as making the claws and feet bigger to make Godzilla look like a more powerful predator. The director had the sound design team expand on Godzilla's roar by making it sound closer to the roars of the 1954 incarnation, stating, \"I think they did a great job with Godzilla's roar in the first movie. I pushed them a little bit further to bring it even closer to the (1954) original even more.\"
For Mothra, Dougherty wanted to create something that was \"beautiful, and feminine, and elegant, and looked like a true goddess, but also dangerous if she had to be.\" He attempted to remain faithful to the color palette of the original 1961 incarnation and retain the eye-spots on her wings. The eye-spots were designed to resemble Godzilla's eyes in order to create a connection between Mothra and Godzilla. Mothra was designed to resemble real moths and given longer legs in order to defend herself against other monsters, another attribute inspired by moths. Dougherty researched various moth species and discovered that some looked \"scary\" and \"predatory\". He wished to maintain a sense of realism for Mothra, stating, \"...the approach for Mothra is to create an insectoid, huge creature that looks believable from every angle, and especially in motion.\" The director found Mothra the most difficult Titan to design because he wished to avoid making Mothra look like a blown-up moth. Legacy Effects provided the design for Mothra.
For King Ghidorah, Dougherty wanted to create a \"unique\" design that still resembled King Ghidorah, and worked closely with Toho to make sure the new design respected past incarnations. Each head was given its own personality, with the center being the alpha and the others its lackeys. He studied various animals, specifically king cobras, in order to add a sense of realism to the design. The designers were instructed to look at different scales from various reptiles to avoid having Ghidorah's scales looking similar to Godzilla or the original King Ghidorah. The director told the design team to maintain an Eastern dragon influence for Ghidorah and to avoid any Western dragon influence, stating, \"They're not traditional western dragons. So those were marching orders from the beginning...We don't want it to look like Game of Thrones' dragons.\" Legacy Effects also provided the design for Ghidorah. While noting that the film is not a comedy, Dougherty likened Ghidorah to Rip Van Winkle, having a sense of curiosity and cruelty. Producer Alex Garcia described Ghidorah as \"not part of the natural order.\"
Dougherty confirmed that the film would feature original, non-Toho monsters. The names of the non-Toho Titans were revealed as Baphomet, Typhon, Abaddon, Bunyip, Methuselah, Behemoth, Scylla, Tiamat, Leviathan, Sargon, and Mokele-Mbembe. Dougherty created new monsters because he felt it was part of the \"Toho tradition\" to add new monsters to the Godzilla pantheon. Dougherty had originally hoped for Legendary to acquire other Toho monsters such as Anguirus, Biollante, and Gigan. However, the film's budget prevented them from acquiring additional Toho characters.
For the roars, the director felt it was important \"getting the noises right.\" He gave the sound designers a \"super cut\" of the monster roars from the Shōwa Godzilla films, and had them start from there. He stated that the monsters would have new roars that would resemble the original incarnations. Dougherty had the Shōwa roars on a massive speaker system to use on-set for scenes where actors had to run from or react to the monsters. 59ce067264