Hello and welcome to Camp Kaiju Monster Movie Podcast.
We are your hosts, Vincent Hannum, Matt Levine, and we're talking about all our favorite
monster movies, the good, the bad, and the downright campy, and asking if they stand
the test of time.
Traditional kaiju, creature features, space invaders, the supernatural, and everything
in between, all strange beasts, welcome here.
Camp Kaiju is sponsored by Zach Linder and the Zach Pack, powered by Coldwell Banker
Realty, your source for real estate, home rehab, fixing and flipping for investor clients,
and residential buyers.
Reach out to the Zach Pack today for real estate services, follow the Zach Pack on social
media, and contact the Zach Pack for investment opportunities.
Links in the bio.
Godzilla has a brain about this size.
He is sheer brute force, while Kong is a thinking animal.
His brain is considerably larger, about ten times the size of this gorilla's skull.
Being instinctive rivals, there is no doubt that they will attempt to destroy one another.
King Kong versus Godzilla, heading for their colossal collision, shattering every obstacle
that stands between them in the most fantastic rampage of annihilation ever recorded on film.
See King Kong stamp Tokyo into the ground, holding a beautiful girl in his grasp.
See Godzilla destroy an entire army.
See King Kong trapped by the blazing barrier of a billion volts.
But nothing, nobody can stop the great showdown, when King Kong and Godzilla meet to fight
for survival of the fittest.
Hey everybody, welcome to another episode of Camp Kaiju.
Vincent Hannum here, here to talk about some monster movies.
This week on the show we are talking about 1962's King Kong vs Godzilla.
Very well known, very famous, very influential, but does it stand the test of time?
Now this of course is following up on our last episode all about Godzilla, Kong the
New Empire.
So in that regard, hey, maybe a Shiro Honda's early 60s monster mash does stand the test
of time.
But what we're going to get into on this episode are some of the, maybe the finer points of
the film, some of the particulars.
We're going to talk about production, we're going to talk about the history of this film,
how it came to be, a lot of drama behind the scenes.
We're going to talk cast and crew.
We're going to talk about some of the themes that Honda and the screenwriters were attempting
to get at.
And of course with this film in particular we have to acknowledge the 1962 Japanese release,
the Shiro Honda's original vision.
And then the 1963 American re-release with its edits and paring down of some of those
thematic messages that Honda loves to imbue his monster, his science fiction films with.
So before we get into all that kind of good stuff, we've got some nuts and bolts.
We want to thank you for hanging out, friends.
I also want to mention that our co-host, Matt Levine, will not be joining us this week.
Everything's okay, but just know that Matt could use some lifting up by our Kaiju community.
So if you have any just general words of support and encouragement, I know he'd appreciate
that.
I'm flying, I'm flying, not entirely solo tonight, however.
We are bringing on Naomi Osborne as a guest later on in the episode.
Naomi will be introducing the trivia for Camp Kaiju that we're introducing in season four.
So definitely stick around.
We've got a lot of good things to cover on today's show.
And you know, we're doing this one for Matt.
So lift him up and kick back.
King Kong, invincible gorilla god of a jungle paradise, destroyer of cities.
Godzilla, indestructible behemoth from prehistoric time released from an icy tomb to pulverize
a panic-stricken world.
Now for the first time in one awe-inspiring motion picture they meet the mightiest monsters
of the ages, King Kong, Godzilla locked in the most titanic battle of all time.
All right.
First and foremost, if you like this show, please leave us a rating and review wherever
you listen.
Any positive reviews you leave us?
We'd be hugely appreciated.
This podcast continues to grow year after year and it's all thanks to you.
So keep the support coming.
We love you for it.
And hey, you can also send us listener comments at campkaiju.gmail.com, our Facebook page,
our Instagram page, or if you'd like to be a featured voice on the show, instead of us
reading your comments, you can go ahead and leave us a comment straight to voicemail at
6612-470-2612.
Just tell us about your favorite monster movie, what you thought about the new Godzilla Kong
movie, what you think about Gamera, Shin Ultraman.
Let's just nerd out, folks.
And we'll feature your voice on the show.
That's the Kaiju hotline.
And then all that, of course, will be in our show notes here in the episode.
Find us wherever you can.
And please check out our website, campkaijupodcast.com, the central hub for all things, movie reviews
and special content, including links to our merch at campkaiju.threadless.com.
And then, hey, we got all sorts of things going on here.
You can become a patron if you really want to step up your game at patreon.com slash
camp Kaiju, discounts, priority comments, access to live events.
And we want to thank you, Jason, Chris, Sean, our anonymous patron, and Peggy for being
those rock stars on Patreon.
Thank you, thank you, thank you.
So what is new in the world of monster movies since we last came at you?
Well, talking about Godzilla Kong, Adam Wingard will not be returning as the director for
the now officially announced sequel titled TBD.
But the director for that is going to be Grant Spatorre, or Spatorre, unsure there.
But whatever they do with it, dumb or super smart, it's going to be a good time.
As for Camp Kaiju, what do we have coming up?
Well, it was going to be Arachnophobia.
We're still going to get to it, but we are going to push it off because that is Matt's
pick.
He's very ready to confront his fears of spiders.
So I don't think it would be right to do that episode without him.
But that's okay.
Coming up next, we have something just as good.
Godzilla versus Megalon from 1973.
We're going to have Max Hannum back on the show to pinch hit.
We're going to talk about some classic, some campy classic Showa era.
Not a Honda film either, some Jun Fukuda.
So watch Godzilla versus Megalon.
That episode is coming at you in two weeks.
We're also going to have Max then back for the Mummy 1999's take on that film from Universal
Studios.
Matt plans to be back by then.
We'll embrace them with a big Kaiju hug, but we'll have Max on that as originally slated
at the season announcement.
So yeah, you know, this summer it's all about getting our friends together, getting the
Kaiju crew up and running.
We've got plenty of other friends coming to join us for the rest of the season too.
So since last time, this is huge fun news.
The Criterion Channel has just announced that they will be streaming several Heisei era Godzilla
films on their streaming service.
We have the Return of Godzilla, Godzilla versus Biolante, Godzilla versus King Ghidorah,
and Godzilla versus Mothra.
Folks, if you have been like me wanting the Criterion Channel to release a Blu-ray set
of the Heisei era films the way they did with the Showa era films, this news is the first
step towards that.
It's very exciting on the Criterion radar of many a listener out there.
And then it's July, it's the end of July.
GFest is already come and gone and we hope everyone had a blast.
Matt and I missed it, you know, various other things going on, but we hope to join you again
next year.
Hopefully I can bring my little kiddo along.
It's GFest is near and dear to my heart.
So if you're out there and you went this year in Chicago, that's awesome.
Tell us how it went.
Call in, write in and just what were the highlights?
What were your favorite parts?
Please let us live vicariously through your adventures.
Today this week in Monster Movie history, we're talking about July, we had The Village,
which was released in July of 2004 celebrating a 20th anniversary, maybe some M. Night Shyamalan
films can make an appearance on Camp Kaiju.
I know Matt and I offline have talked about signs.
We've talked about The Village before.
Shyamalan, interesting.
Yeah, I think those any of his movies would be right for discussion.
And then celebrating its 30th anniversary this month is a animated film called Om Poko.
And Matt Tellman told me about this and I gotta do Matt some justice here.
I gotta talk about Pom Poko.
He loves this film.
It is a Japanese animated film from Studio Ghibli, but is written, directed by Issey
Takahata and the film centers around a colony of Japanese raccoon dogs living in the outskirts
of Tokyo as they work to combat the growing deforestation of their home.
There you go.
It was released to critical and commercial success.
We covered Porco Rosso last year.
That was a Miyazaki film.
I am always down to talk about Studio Ghibli pictures.
I mean, I think we could do a whole podcast on those films, but for now, we'll leave it
at Pom Poko and The Village.
All right, new and upcoming releases.
This is exciting for Twin Cities folks.
Godzilla, 1954, the Japanese release is celebrating its 70th anniversary.
And the Heights Theater in the Twin Cities will be screening the film on July 29th, 2024.
So if you're listening to this and it's July 27th or 28th, you've got some time.
So make some plans there.
Actually that same night, Cinema of the Macabre in Plymouth will be screening Day of the Animals,
a classic nature run amok cult film from 1977.
So if you're a fan of Grizzly, if you're a fan of Orca, Day of the Animals is one to
check out.
I don't know.
You're going to have to choose.
Do I see Day of the Animals or do I see Godzilla?
Real tough choice there.
Right now, there's lots of things going on in Twin Cities.
I would recommend you look into your own local cinemas wherever you are and if there are
any screenings that you want Camp Kaiju to highlight, we'd love to do it.
What's playing in Austin, Texas?
What's playing in Orlando, Florida?
I don't know.
What's playing in Sweden?
Let us know.
We'll gladly hype you up because we just love talking about this stuff and we love the community
that we have here.
From writer, director M. Night Shyamalan.
We have always had a gentle understanding with the creatures who live beyond our borders.
There are marks on the door.
Nothing can prepare you for what lies just outside the village.
Never enter the woods and spread your feet.
M. Night Shyamalan's The Village.
Do your very best not to scream.
From the legendary Studio Ghibli and Academy Award nominated director Isao Takahata, Pom
Poko is an action packed fable about the clash between nature and humans.
When the fun loving Tanuki find their woodland community under attack by developers, they
band together and learn the ancient art of transformation to scare off the humans and
save their home in this moving, funny and heartfelt look at what it means to live in
the modern world.
In 1956, he first appeared on motion picture screens across the country.
His impact on audiences was instantaneous and unprecedented.
His acting technique was revolutionary.
His presence overwhelming.
He possessed more raw talent than any performer of his generation.
He soon became an international legend, a giant who took the world by storm.
Then, suddenly, at the height of his fame, he retired from motion pictures.
Now, he is back and he's more magnificent, more glamorous, more devastating than ever.
Prepare yourself.
The greatest star of all has returned.
Godzilla, 1985.
Coming soon to a theater near you.
Now, we have some personal histories with the film.
Matt had sent in some notes beforehand.
So I'll read you his personal history with this film.
None.
He has no history with this film.
He's been intrigued about this early monster mashup ever since he first read about it, especially
since it kickstarted Godzilla's massive popularity for Toho.
Now, my personal history of the film is not much more than that.
I only saw this movie, I think I'd seen Bits and Pieces a long time ago, but I really didn't
sit down and watch it until 2019, I want to say, when I rented it.
I checked it out of the library, actually, because I don't know if you've noticed, this
film is not readily available on the streaming services.
I now own it via that Criterion collection.
But it's important to know that this you might have to track this movie down a little bit.
It is available on the Internet Movie Archive.
And you got to look at if you're looking at the American or the Japanese release, they
are very different cuts.
The Japanese release is a Shiro Honda's satirical intention retained in the American release
kind of does a bit of a hack job to it and all in all honesty.
I mean, it's still got its its reasons to watch it for sure.
But if you are just finding a DVD of this movie, it's probably going to be the American
release.
The Japanese release is out there.
If you do some sleuthing on the Internet, you'll be able to find it.
All right, some production history of this film.
Like I said, it's directed by a Shiro Honda, who did direct the original Godzilla, but
hadn't directed Godzilla Raids again.
So this is his second only his second outing with the big G in between.
Of course, he had directed other Kaiju and science fiction films, Rodin, Mothra, the
Mysterians.
And then after, of course, he'd go on, establish his legacy in the genre.
But while this is his second Godzilla film, by this time, he has worked with giant monsters
enough to to kind of know what he wants to say with them.
Special effects are by Aiji Tsuburaya.
The film was produced by Tomoyuki Tanaka and it is written by Shinichi Sekizawa.
So he had a thing for writing more light hearted, funnier scripts.
You can think of movies like Mothra versus Godzilla, Ghidorah, Eberor, Horror of the
Deep, Astro Monster.
These movies are a lot of fun and very serious at times, but they often feature comical characters,
more animated supporting characters.
And we see that in King Kong versus Godzilla, both show the music in the Japanese release
is by Akira Fukube and in the American release, it is just simply Universal Studios stock
music.
And we'll say a little bit more about that later on.
The select cast of this film Tadeo Takashima as Osamu.
He is a veteran.
He was in a veteran of the genre, I should say.
He was in Atragon and Frankenstein versus Baragon.
Kenji Sahara as Kazuo returning from his turn in Rodan.
Yu Fujiki as Kinsaburo.
He starred in several Kurosawa films at this time, like Throne of Blood and The Hidden
Fortress.
Ichiro Arishima as Mr. Tako.
He is that character that Sekizawa loves to write.
So Mr. Tako is a comedic role.
He's a befuddled admin for a pharmaceutical company nicknamed the Japanese Chaplain.
That was Ichiro Arishima.
He had this reputation for being as funny as Chaplain.
So he brings that energy, but maybe a little bit more zany energy to this movie.
But he was very popular at the time.
Another popular actor, Mai Hama as Fumiko.
And this actress played Kissy Suzuki in the Bond film You Only Live Twice.
That was the one set in Japan with Sean Connery.
And Shi Mai Hama also stars in the subsequent King Kong film, 1967's King Kong Escapes.
We'll get to that one one day.
Now the guys in the suits, we have Shoichi Hirose as King Kong.
And of course Haruro Nakajima as Godzilla.
Hirose and Nakajima also choreographed the fights between Godzilla and King Kong, as
Tsuburaya asked them to do.
They based their fights on professional wrestling, which was becoming popular in Japan and is
a noted theme in this film.
We have a pharmaceutical company wishing to increase its ratings, its advertising dollars.
And they decide, the pharmaceutical company led by Mr. Tako decide to go to the fictional
Faroe Island to capture Kong, bring him back to Japan, and star as the main character in
an advertising campaign.
Godzilla of course gets involved and a wrestling match ensues.
This is commented on by the characters in the movie that it's like watching a wrestling
match.
So taken with that cultural context, it's pretty on the money there.
Honda and Sekizawa having their finger on the pulse, 100%.
Now the production backstory and release of King Kong vs. Godzilla is a little, like this
is what makes great movie podcasts.
We get to talk about some drama that happened behind the scenes.
So this all starts with Willis O'Brien.
Willis O'Brien is the animator of the original King Kong, Son of Kong from 1933.
Willis O'Brien looms large in monster movie history.
He was the mentor of Ray Harryhausen.
Willis O'Brien also worked on Mighty Joe Young, The Lost World from 1925.
In Willis O'Brien, in 1960, he had an idea to pair Kong with a giant Frankenstein monster.
Anyways he gave an outline to producer John Beck for development, and even started creating
some of the concept art.
Beck promised to find a studio for it and asked George Worthing-Yates to write a screenplay
from O'Brien's concept.
This was happening, but then the only studio that Beck could find to finance the project
was Toho in Japan.
However, Beck did this behind O'Brien's back.
So unbeknownst to Willis O'Brien, Toho scrapped the Frankenstein idea, replaced that monster
with Godzilla, and asked Shinichi Sekizawa to rewrite Yates's screenplay.
They thought this would be a perfect way to celebrate the studio's 30th anniversary.
What happened to Willis O'Brien?
O'Brien was never credited, and he was furious, rightly so.
He wanted to sue Beck, but he didn't have the money.
And sadly, O'Brien died on November 8, 1962, just three months after the movie's Japanese
release.
Marion C. Cooper, the co-director of the original King Kong, also opposed the idea for what
it's worth.
And Cooper was outraged that Kong was played by a man in a gorilla suit.
So we're not getting the classic stop-motion, dynamation of Willis O'Brien and Ray Harryhausen
there.
What could have been, right?
Well, Tomoyuki Tanaka at Toho, he was the producer of this film and every other Godzilla
film, essentially, just didn't have it in the budget.
So they're sticking with the suit-mation for better, for worse.
And we'll get to that a little bit later in our breakdowns with the good, the bad, and
the campy.
What I would like to note, however, is that in replacing the Frankenstein monster with
Godzilla, that also then got convoluted into having King Kong in this film version being
imbued with extra strength from the lightning bolts of the thunderstorm.
And that's how Kong ultimately overcomes Godzilla in the final battle, right?
Well, you're thinking that's not like a King Kong ability.
And you're right.
It is a Frankenstein's monster ability based on the Universal series from the 30s and 40s.
So you can see that Toho in replacing the Frankenstein monster with Godzilla, they
didn't rewrite the script elements that are clearly meant for Frankenstein.
So I don't know.
Just go sleep on that one for a little bit.
Now, Toho and Tanaka, they, you know, I should say Tanaka and the heads at Toho also mandated
that this King Kong versus Godzilla be as funny and lighthearted as possible in an attempt
to be kid friendly and appeal to families.
It should be known that Aiji Tsuburaya, the special effects director on the film, endorsed
this idea.
Naturally, this is not just a tonal departure from the first two King Kong films, but it
is a wild departure in tone from Honda's original Gojira in 1954.
Arguably zero camp.
There is no camp in that movie.
Arguably the King Kong films have camp in them.
Regardless Tsuburaya, Tanaka, they wanted it to be more kid friendly despite Honda's
reservations and in that vein, Honda opposed this by saying, quote, I don't think a monster
should ever be a comical character.
So there you go.
Toho originally planned on shooting on location in Sri Lanka, but just like having to cut
expenses with the initial ideas of animation, that just proved to be way over budget.
So they scrapped that idea.
There was a big push for shooting this film in widescreen called Toho Scope and Eastman
Color.
This was a first for both monsters, let it be known.
Godzilla and King Kong are appearing in color film for the first time.
And this is both of the respective monsters third films in their franchises.
King Kong had not been in a movie in 29 years.
The last being King Kong and then the subsequent son of Kong were both released in 1933.
Godzilla, 1954's Gojira and then 1955's Godzilla Raids Again.
That was the last time.
So it had been seven years since Godzilla had been in a film.
So King Kong versus Godzilla is ultimately released in Japan in August of 1962.
It grossed 352 million yen.
It is the second highest grossing Japanese film in history upon its release, most attended
Godzilla film in Japan to this day.
Its success convinced Toho to keep investing in Godzilla as a franchise, re-released numerous
times in Japan, for example, in 1977 to coincide with the release of the American remake of
King Kong.
The legacy is huge.
That's what we're getting at.
Re-releases, this film continues to clean up at the box office.
There was a sequel, a continuation plan to capitalize on the film's success in which
the original screenwriter, Sakizawa's treatment kills off Godzilla, then revives him.
That was canceled.
Mothra versus Godzilla took its place.
Now most importantly, most significantly, when we're talking about re-releases of King Kong
versus Godzilla and the international appeal of this film is the American version that
was re-edited cut.
That film was released in the United States by Universal in June of 1963.
It removed several scenes, recut others, changed the sequence of events, inserted footage that
indicated the film was actually a newscast.
So they took a page from the original American release of Gojira.
That would be the Raymond Burr vehicle, Godzilla King of the Monsters, where we have a news
paper man narrating the events of the film.
I'm going to tell you, it plays much better in Godzilla King of the Monsters than it
does in King Kong versus Godzilla.
I'm going to get to that later in my breakdown comparing and contrasting the American and
Japanese takes on this film.
One last thing about the American re-release, it completely replaces the musical score by
Akira Ifukube and reuses parts of the score from, yeah, the creature from the Black Lagoon.
Universal inexplicably dumps Ifukube's majestic score, whatever he touches is gold, and they
just reused stock sound cues and musical scores from their catalog, including creature from
the Black Lagoon.
If you're a fan of monster movies, it can be a little jarring to hear the iconic stings
of the creature in a Godzilla flick, but be that as it may.
Okay, everybody, we're about halfway through this week's episode, which means we got to
take a sponsor break.
After a word from Zach in the Zach pack, we will get into Menya's mailbox.
We will hear from Peter Lorre on this week's Silent But Deadly, and then we will get to
the moment you've all been waiting for, the trivia that challenged the world with Naomi
Osborn making her first appearance at camp here to pitch a really great trivia question
to you about King Kong versus Godzilla.
So stick around, give it a listen, and we can kick off this series of fun movie trivia
for you here at Camp Kaiju.
Camp Kaiju is sponsored by Zach Linder and the Zach pack powered by Caldwell Banker Realty,
your source for real estate, home rehab, fixing and flipping for investor clients and residential
buyers.
Reach out to the Zach pack today for real estate services.
Follow the Zach pack on social media and contact the Zach pack for investment opportunities.
Links in the bio.
So Menya's mailbox here brought to you by Patreon.
If you become a patron, your comments are tops.
But in the meantime, we're going to catch up with those who left comments during our
hiatus.
And this one is from Jason Caldwell on YouTube.
Jason writes in about the birds.
He says, Making of this movie is actually more interesting and freaky than the movie
itself.
Hitchcock was notorious for abusing his leading women and he had a thing for lovely blondes.
Remember when watching the birds that real live terrified birds were thrown into the
actress's face.
Her terror is completely genuine.
Yeah.
Yeah, Jason.
We talked a lot about that in our episode about the birds last year.
But yeah, Tippi Hedren went through the wringer working with Alfred Hitchcock and in her own
words for better for worse.
What she acknowledges and we should all acknowledge the abuse she took on the set of that film
and the power dynamics and the gender dynamics that were abused by her director, Alfred Hitchcock.
And you just got to wrestle with that when a director like Hitch makes a landmark film
but involved in that film are some pretty rotten things.
So I'm not here to tell you what to do with that information.
But just what Jason says, remember that real live terrified birds were thrown into the
actress's face.
Thanks for writing in Jason.
We appreciate that.
Everyone else let us know.
We got some more in the can here.
We'll dish out over the course of the season, but keep them coming.
Before Karloff and Lugosi stalked the screens, the movies were no less monstrous.
These frightful figures lurked in the expressionistic shadows of dance in the macabre moonlight.
They laughed, they cried, they fooled the sensibilities of honest, decent folk.
In the age of silent pictures, these gruesome ghouls nonetheless cried out for the savage
humanity that took the breath from all who witnessed their devilish delights.
On this podcast, I know you can hear me shouting for help.
Help!
Help me!
Oh, how I suffer the interminable pangs of resurrection.
I am Peter Laurie, you may know me from such movies as M and Mad Love.
Matthew and Vincent have summoned me from beyond the grave to help them shine a light
on silent monster movies.
They call their segment Silent But Deadly.
Indeed, the more of this script I read, the more I endure a second death.
Last I persist for the sooner I finish, the sooner I may return to the afterlife.
This week, we discuss a 1925 movie called The Mystic from Metro Goldwyn Mare.
The movie is directed by Todd Browning and tells the story of a clan of Hungarian circus
folk composed of cutthroats and swindlers.
When a dashing American con man enters their camp, he persuades them to bring their nefarious
talents to the United States.
There, the beautiful and mysterious Zara ingratiates herself into high society with a phony psychic
routine.
Tensions mount as Zara's kinfolk navigate their own jealousies and ruthless ambitions.
Director Todd Browning is best known for directing Universal's Dracula in 1931, but in the
Silent era, he helmed a series of hits exploring the seedy underbelly of society.
Crime and horror were his trademark genres and The Mystic adds a touch of mystery to
these elements.
A standout scene involves the elaborate machinations of Zara's communication with the spirit
world.
As two detectives look on, they are unable to decipher just how Zara summons a wailing
ghost.
Browning achieves a simple, yet remarkably effective visual by placing our characters
in a pitch black room and having the spirit blaze brightly as the only source of light
in the frame.
Were my own spiritual conjuring as impressive as this?
Interestingly, The Mystic mirrors the fascination with psychics that was popular in the 1920s.
While some celebrities like Sir Arthur Conan Doyle were ardent believers in connecting
with the spirit world, others like Harry Houdini were determined to expose mediums as charlatans
who only took advantage of grieving individuals.
Overall, The Mystic is an entertaining if conventional melodrama.
Nevertheless, the film foreshadows more ambitious movies by Browning such as The Unknown and
Freaks.
And since The Unknown is a silent movie, we will discuss it next time on Silent But Deadly,
and I will be one week closer to breaking this intolerable curse under which I find
myself.
And if you can hear my pleas for help, do something, anything, help me, help me!
The
Look!
The producers of Grizzly present the most startling motion picture of a strange terror-filled
week.
Christopher George, Leslie Nielsen, Linda Day George, Richard Jekyll, Michael Ancerra,
and Ruth Roman struggle for survival in a world gone mad.
The day of the animals is coming and there is no place to hide.
Hey everybody!
Naomi is on the show, Naomi Osborne.
So great to have you, welcome.
Thank you so much.
Yeah, and we are so excited for the trivia that you're going to bring to Camp Kaiju.
Something wacky, something strange that we're going to try, but I think it's going to go
really well.
Hey, I do too.
You guys do such a good job at giving people opportunities to chime in.
This feels like a natural extension of that.
A fun way to participate in the show, even after the show's over.
I just think it's a really cool idea and I'm so happy you thought of me for it.
Yeah, so tell us a little bit about your own experience with trivia.
I know you're qualified, but what are you bringing to the table?
Okay, well I've been hosting, if I only had a brain, movie trivia the first Monday of
every month for the last 16 months.
It's an entirely self-produced event.
Me and my friend John, we write all the questions, we develop the format, but the trivia actually
predates me since before the pandemic.
I was a regular at this trivia when it was hosted at a different location by another
friend of mine.
So I hit up my friend John during the pandemic and I was like, when is trivia coming back?
I really miss it and things were getting safer and it was okay to gather again.
And I said, if you ever need any help, let me know.
I love to research.
I watch a ton of movies.
I would love to lend a hand.
And he hit me up to my happiness and said yes, we're looking for a new host.
So that was about 16 months ago.
And I would say that my process is just kind of thinking of a theme or in the case of Camp
Kaiju, the theme is right there.
It's the movie.
And then it brings so much purpose to my watching to try to uncover tidbits and utilize my passion
for research to uncover interesting things about the movie and craft a really cool trivia
question for people to answer.
So I went to, if I only had a brain trivia, for the first time in June.
And in general, the themes you were throwing out were kind of all over the place.
And I really loved and appreciated the more lesser known films that you highlight.
There was a film, I still can't remember the name of it.
It's not Miss 45.
Or is that it?
I think it was Miss 45 that you were wondering about.
I think so.
Yeah, that was in the She Wants Revenge category, which I wrote in anticipation of Furiosa.
Because I thought it would be really fun to get pumped up and watch some female revenge films.
Because although my topics are scattered, I usually like to kind of connect them to stuff
that's going on in real life and be inspired by that.
So yeah, I had a She Wants Revenge in anticipation of Furiosa.
I had a Be Gay Do Crime.
And I had a picture around that was all characters featured with braces because I had just gotten braces.
And trivia must imitate life.
Yeah.
That should be the slogan of many a trivia night.
Yeah.
Imitate life. Yeah.
So I just loved, like I've never, I actually, I watch a lot of movies, but I haven't seen a lot of the ones you covered.
And I was like, wow, that movie sounds really cool.
This whole sub genre of female revenge stories.
That sounds cool.
I love going down rabbit holes when I come across a really interesting sub genre.
Because there are so many in the world of cult films and genre films.
While accessibility is really important to me, I write my questions to give people hope.
I don't like to rely on just recalling plot or details from that.
I really want people to be able to connect to a question through another means.
And hopefully maybe even be able to take a stab at it.
I think trivia is not fun when you have no hope.
You know, you get asked something and you just don't know.
You don't even have a, you can't even venture, I guess.
So I really try to write my questions with a lot of little bits of info that could potentially lead you there.
Like I want people to get the answer.
I think it's super fun.
And sometimes people don't even know that they know something.
And in the case of cult films, I like to include those in my trivia too.
Because while accessibility is important to me, I think only true cinephiles who just live their life by film are the ones who win.
And I continually find that to be true.
But while everyone feels welcome, usually the people that pull forward week after week are the people who, you know, they live at the movie theater.
They love cult films.
But me, I love all movies.
Highbrow, lowbrow, blockbuster, like everything.
I think that I definitely would not qualify as a snob.
I watch everything.
Yeah, I mean, for those of you who don't follow Naomi on Instagram, do yourself a favor because Naomi, you're very impressive.
You're just constantly showcasing every movie you watch seemingly.
And it's incredible.
How many movies a week a day would you say you watch?
Well, I would say my average is 13 a week.
So that's around two a day.
I work from home, so that kind of makes it easier.
And I do a lot of creative work where I can kind of have a movie on while I'm working simultaneously.
I often do, you know, revisits.
Those aren't all new watches.
Like I'll often watch something that I've seen a million times before or even just once before.
But yeah, I would say 13 a week is my average.
I feel funny when I'm traveling and I don't watch movies.
I'm always reminded of movies or, oh, I should do this.
I have a running note in my phone of different themes or different even mini film festivals I could put together.
I'll find the connection between two movies and want to watch them together.
And it's just really fun.
It brings so much purpose to my movie watching.
And it's more than just laid back entertainment.
I consider it to be a bit like anthropology where you learn a lot about the culture the movie came from, the time it came from.
To me, movies are very much a portal through history.
And I think that they're wonderful and meaningful, unlike any other art form.
I love that.
That's you just encapsulated what me and Matt try to bring to our show.
We look at these movies as more than the popcorn entertainment that they often are.
But like you say, they still come from a certain cultural context.
They still come from artists behind the scenes who are putting their sweat and tears into this film, regardless of whether or not we take it seriously.
They took it seriously.
And there's just something meaningful about even the schlockiest film.
It is. It's so meaningful.
And it's such a way to bring people together.
I will often describe my love for movies and love for creating community around film, similar to the way people who love sports will talk to each other about their favorite team or about their favorite sport in a wider way.
This is very much on a global scale where you can have a conversation with a lot of people about any movie.
Not everyone's seen every movie, but we've all seen them.
And there's certain cultural touchstones.
And it binds us together as people, even though we may be far apart.
Even if you get into a topic like kaiju films or just like monster films, that has its own community that, like I say, beautiful nerds, just the best people.
I so agree with you.
And I love the point of view that you guys bring to Camp Kaiju, where it's just very much from an appreciative point of view.
It's fun.
You guys don't take yourselves too seriously.
It's just really about enjoying the film and learning more about it and creating community around that.
So I really admire what you guys do.
Well, thank you.
We're glad to have you be a part of it.
Thank you.
So on that note, what are some of your favorite monster movies?
Well, it's a lot that come to mind, but I always go back to the one that kind of really stands out from my childhood, which is the Seventh Voyage of Sinbad from 1958.
It's just one of my all time favorite monster movies, a true classic that really blends fantasy and monster magic transporting you to another world.
And it's really easy to see why it remains a classic.
It can be a little corny, but I find it so exciting even to this day.
The colors are beautiful.
That cyclops just sticks with you.
Oh, my gosh.
Yeah, I love that film.
I saw it for the first time a few years ago.
I was going down one of my rabbit holes, a Ray Harryhausen kick.
And that is just one of his classic movies.
And in the realm of fantasy and adventure.
Yeah, I would recommend that movie to anybody.
It's a lot of fun.
It really is.
And it's so cool to kind of see that Ray Harryhausen was the protege of Willis O'Brien, the special effects artist and animator behind the 1933 King Kong.
And I just love hearing those old Hollywood stories where you just really have to be in the right place at the right time and be bold enough to contact one of your heroes like he did.
You know, that never would have, you know, it's so hard now people try to get noticed on Instagram or whatever.
And he was just able to contact, you know, Willis O'Brien and, you know, make a career for himself and kind of get in there.
And that's like two passionate people coming together and driving an art form forward.
That's so cool.
Yeah, drove it forward.
Their works are still enjoyed today.
They are timeless.
Absolutely.
And a connection to tonight's featured movie that we're talking about, King Kong versus Godzilla.
What did you think about this movie?
I had a lot of thoughts on it.
It was super fun to kind of join in in the series revival even so many years later.
You know, that must have been so exciting for people at the time.
And I think it's fun to just kind of like transport yourself back to that.
And it makes me wonder, though, you know, I think about current audiences being quite harsh on beloved characters or stories coming back.
And I just wonder if at the time it got any hate or if it was just people were just so excited.
You know, I just wonder because, you know, I was thinking about the new Beetlejuice and how so many people say, oh, it's it's going to ruin the old Beetlejuice.
And I'm the kind of person who thinks that even if a remake or a revival of something is terrible, it makes the original that much better.
You know, I don't think that things can ruin it.
So I just wonder, you know, as so many people that I think they're really discarding their nostalgia.
But I just wonder what audiences thought that, you know, both coasts like Japanese and American audiences.
Do you have any insight into that?
That's true.
I think only that it is it was a box office hit and still remains.
I think I just read the highest attended Japanese science fiction film of all time.
Like, it's still I think it's still even the highest grossing Godzilla film of all time.
So I think that gives us an idea that people loved it. Like you say, they wanted to see more King Kong, who hadn't been in a movie for 30 years.
This was this was Godzilla's third movie.
So, you know, still gaining traction in the pop culture.
But Kong gets top billing.
I think Kong is was the draw here because it had been decades since the character had been featured in a film.
Do you think that that reception would have been as enthusiastic if it wasn't do you think it speaks more to people's interest in monsters and monster battles or more to kind of the history of America and Japan?
I think that that kind of added a little bit of something to it.
Do you think that it would have been as successful if the countries themselves didn't have kind of to kind of such a history with each other?
That's an interesting question. And it's one related like people talk about that with the film all the time.
East first West Kong versus Godzilla.
And for years, they were rumored before the Internet.
It was rumored that there is in the American cut, King Kong won the battle and in the Japanese cut, Godzilla won the battle.
Now we know that's an urban legend.
But I think it speaks to that idea that you're hitting on that, you know, the audiences on both coasts maybe wanted to play into it a little bit.
Certainly, I think that's there.
That's kind of the the Barbenheimer that we saw last year where they love to see a kind of a contrast, you know, to build it up.
I feel like I work in marketing and I'm always just really paying attention to how films market themselves and the great kind of marketing campaigns through time.
And just I always have that lens on.
So I was definitely thought it was funny how advertising execs were kind of the motivation behind the entire plot.
You know, and that was sort of rooted in exploitation and capitalism.
I think that's funny that it makes me happy that that resonates with Japanese audiences as well.
I hear they work hard like we do.
And at this time, there was such a huge Western influence in the 1960s in Japan postwar.
They're rebuilding from World War Two.
And a lot of Japanese films, especially Ishiro Honda's films, speak to this cultural conflict between the traditional ways of like the Japanese family unit.
There's a lot of traditions that go into that.
And now we're seeing an influx of Western TV and Western marketing campaigns and advertising.
And what does that do to this traditionally Eastern culture?
So I don't know.
Honda is speaking to that with his satire on advertising.
There are other films that he really dives into that a little bit more.
I thought it was cool. I'm not even a Godzilla nut or anything, but I was in Japan six months ago and I made a special point to go to that Godzilla statue in Shinjuku at the Toho cinema.
And I just had to see it as a landmark.
And it was so cool. I'm really glad I got to go, not just as a tourist, but as a film lover.
I even went into the cinema. They were screening Poor Things at the time.
And Boa's Afraid were like kind of the top. They're screening a lot of things, but those were the top films.
And I got to go in and just kind of get a glimpse at what a Japanese cinema was like.
There was nothing playing, unfortunately, when I was there.
Ah, too bad.
Well, yes, I'm going back to Japan, though, at the end of the summer.
So maybe I can go check it out there.
Yeah, I have to do some live reporting.
I'd be happy to be really fun.
But it was just so cool to see, you know, when I think of our statues, it's always presidents and boring people like that.
And I just love that theirs is, you know, Godzilla. That's cool.
That's amazing.
Yeah.
OK, so let's get to the trivia.
Are you ready to play the trivia that challenged the world?
So before we have you present the question, I'll just kind of go over the rules, the rules again for our listeners.
So, Kaiju listeners for Camp Kaiju trivia, Naomi will present the question.
You will have one week to get your answers into us.
CampKaiju at Gmail dot com is preferred.
But anyway, you want to get it out to us on the socials.
I'll see it.
Now, I know that this is different from regular trivia in that you have access to the Internet
and you may want to just look up the answer.
If you do, just know that it's not going to help you.
So anyone who enters a question or sorry, enters an answer, you're simply going to be put into a pot.
And then Matt and I will draw one lucky winner who will receive some free merchandise from our merch store.
So, hey, pretty cool.
But this if you call in with that voicemail I mentioned at the top of the show and you leave a recorded answer,
you will be entered into the drawing twice.
So really, that's those are the only rules.
I think it's pretty super fun.
Yeah, lots of ways for people to enter their answer.
Can people enter multiple times or is it just the phone call or the electronic means?
Yeah. So just one one.
Okay. Got you. Yeah. Yeah.
Okay. Cool. Sounds good.
Well, we will reveal the answer on the next episode
before we have Naomi back to give another question on the next episode.
So kind of like Naomi, we'll see you every other episode for a new question.
Sounds good. Yeah. Super fun.
I'm again, just so happy to be asked to do this and to prepare questions for you guys and your audience.
Yeah, I'm excited too.
So whenever you're ready, I'm happy to share the question that I crafted about King Kong vs. Godzilla.
Go for it.
All right. Here we go.
In Japan, the number four is considered extremely unlucky because it shares the same pronunciation as the Japanese word for death
and is traditionally avoided by Japanese people.
This cultural superstition led to Godzilla being depicted with how many toes in King Kong vs. Godzilla.
Now, I can read that again for you guys in case anybody missed it.
So in Japan, the number four is considered extremely unlucky because it shares the same pronunciation as the Japanese word for death
and is traditionally avoided by Japanese people.
This cultural superstition led to Godzilla being depicted with how many toes in King Kong vs. Godzilla.
So I'm looking for how many toes Godzilla had in King Kong vs. Godzilla.
All right. That is a deep cut. You have to think about that.
Yeah, you won't find that one on Wikipedia. I'll tell you that.
So you might just have to watch some movie. Your listeners will have to watch closely.
Maybe some who know a little bit about Japanese culture might have a bit of an advantage.
Again, I love to write my questions from a wider place, and it's always my hope that even if you're incorrect,
that you learn something cool and it takes that sting away from maybe not getting the question.
But like you say, just take a stab at it. If you have the right answer, you'll be put in the pot.
But either way, go for it. Have some fun. And that was awesome.
Can't wait to see the kind of responses we get.
We'll see you next time for the trivia that challenged the world.
I'll tell my friends to to put their answers in the pot. You know, my friends from from trivia.
And by the way, if anybody wants to join us, any Twin Cities listeners,
I host trivia at Indeed Brewery the first Monday of every month. It's called If I Only Had a Green Trivia.
It starts at 730, but it gets pretty crowded. So I advise people to come half hour early.
It's always free to play. And our prizes are donated by my favorite repertory cinemas in the Twin Cities,
the Trilon Cinema and the Heights Theater. So free movie passes, free popcorn.
And also our host Indeed throws some things in there, too. A nice gift card, free beers.
So all in all, it just makes for a really fun way to have a Monday night.
And, you know, in the summer, it's especially nice because it stays light out longer.
And people feel like going out.
Yeah. Awesome. Yeah.
No, I'll be there Monday night with the with the crew. So we're looking forward to it.
Do you have a trivia name picked out yet? No, not yet. We kind of come up with that on the fly.
Fair enough. Yeah, I feel like that brings that brings some anxiety to certain trivia goers.
But I think that you should always pick the same trivia name because then you can sort of cultivate a legacy.
You know, that's true. Yeah. OK. Think about it. Yeah. OK. Great.
Well, I'm excited to see you on Monday and any Monday that any first Monday of the month that you're free.
Yeah. We'll be true. Yeah. Awesome. Thank you, Naomi.
This is super great. And we'll see you for the mummy next time.
I'm so excited. I have a lot of thoughts on the mummy and feelings about the mummy. Really? OK. Yeah.
Yeah.
Journey to a magical time when demons and heroes battled for the golden treasures and human spoils of forgotten kingdoms.
Kill. Kill him.
Thrilled to the story of a legendary superhero who fights through all the torments of hell to save the woman he loves from the world's most powerful sorcerer.
This is Sinbad's greatest adventure.
The seventh voyage of Sinbad.
She was once a beautiful princess. The sadistic magician shrinks her to the size of a tiny doll.
And now Sinbad must do the impossible to save her.
He must destroy a legion of hell spawned monsters on the death shrouded island of Colossus.
See the flashing death of the living skeleton.
See the attack of the giant two headed bird.
See the dance of the cobra woman and feel her deadly slithering embrace.
See the spectacular battle between the one eyed cyclops and the fire breathing dragon.
The incredible magic of Dynorama recreates the enchanted breathtaking adventure that could never be told before.
The seventh voyage of Sinbad.
Some other themes of the film include that satire of advertising and television and capitalism.
As I said with Naomi when in our conversation, she knows she was in she she works in marketing and this world.
And I find that her perspective very enlightening actually that that she can speak to that and she can see those notes being played in this film.
But TV was somewhat controversial in Japan at the time.
Rating wars between Japanese networks led journalists,
Soichi Oya to proclaim that TV would create a nation of quote a hundred million idiots.
I've read that quote before actually.
It's you know I think I think the conversation was the same in the States.
You know it's going to rot your brain kid.
Don't sit too close to the TV.
This is the post war world in both countries.
The United States and Japan dealing with the same these same cultural forces.
And then King Kong versus Godzilla is also known as a sub is also part of a subgenre of comedy films in Japan at this time called salaryman films.
Which satirize white collar workers and their obsession with money, stature, success.
And just saying that makes me think about a Billy Wilder film called The Apartment.
Which is also set in the early 60s and deals with the same white collar middle class type problems and family dynamics.
And Honda himself was adept at making these movies.
His non genre films often play into the salaryman pictures into what were called women films at the time.
A lot of his subjects a lot of the characters in his movies were female protagonists navigating this new corporate modern world.
And how modernity plays upon the traditional values of Japanese society in the 1950s.
So unfortunately those movies are not readily available.
His non Honda's non genre films.
But if you can read about them they're pretty interesting.
I get a lot of my information from the biography called Ishiro Honda life and film from Godzilla to Kurosawa by Steve Reifel and Ed Godzuzski.
And if you can pick up this book it is well worth it.
It covers his whole career his whole life and a lot of non kaiju films too.
Which just better inform anyone's viewing of of his Godzilla movies.
And you can you can draw upon these messages that Honda is desperately trying to infuse into an otherwise light hearted entertainment piece like King Kong versus Godzilla.
As for individual breakdowns I am going to read Matt's on behalf of Matt I'm going to read his breakdowns the good the bad and the campy and I'll respond to those I think we'll do it that way.
So for the good Matt says clever self reflexive commentary on television and entertainment including fake commercials a dumb pop song on the radio that entrances the islanders and a montage of Godzilla's appearances in magazines newspapers TV programs etc.
The emergence of Godzilla and Akira Fukube score is as always a great moment gnarly octopus attack 100 percent.
Some throwbacks to the original Godzilla and King Kong and a few striking shots such as River on fire soldiers silhouetted against a yellow balloon.
Here's what I gotta say Matt I agree with you there I think especially Honda's as you say self reflexive commentary on television and entertainment this is the what's so key to know about the difference between the Japanese and the American cut.
The Japanese Honda satire is so more relevant in the beginning you have fake commercials it's very poppy in your face tongue in cheek make in front of itself the American cut nix is all of that.
I and and that and replaces it with this United Nations narrative where where we are listening to a correspondent of an American Western correspondent.
Get get insight from Japanese scientists about the nature of Godzilla and the nature of King Kong as if we don't know anything about these characters.
It's very luxury like it's not even presented in a dynamic way.
Now that can be cheesy and I understand that hundred percent but in terms of following the flow of the story.
It has to be said the strength of Honda's original version.
Set the story flows.
Which maybe is inherent really different in a in any sort of reworking but the American version just cuts and dices it too much the movie stops and starts and it's it's kind of hard to get into the action sometimes.
But I digress I agree with Matt the octopus attack is a highlight of this film that's King Kong on Feral Island and what's so awesome about this I think from a special effects standpoint is that Subraiya.
Doesn't use a prop.
Octopus doesn't use a foam rubber octopus doesn't use a man in an octopus suit.
No Subraiya unleashes a live octopus on a model village.
And it's like that's so much fun it's just fun to watch and and you can really get behind something like that.
Now as for the bad these are Matt's notes now I'm going to read that says why do these King Kong movies embrace offensive stereotypes of exotic savages every time was brown face really necessary.
I agree Matt I think it's.
It's you know it's.
You wish this kind of criticism wasn't so easy you wish the low hanging fruit you just wish it wasn't that obvious but it's there you have to call attention to it.
Yeah like there's nothing more to say other than on Skull Island gets it right at least.
Matt says the story seems lazy and by the numbers I agree look this film knows what it wants to be a wrestling match between King Kong and Godzilla.
We the movie issues issues.
Character for spectacle.
And man this train moves and it just wants to get to those fights.
However.
Those kinds of fights are a bit of a let down I mean you're expecting something truly memorable I don't think you really get it in this film I think they're a little lackluster the fight choreography is not as imaginative as you see in other Godzilla movies.
And I think just yet just leaves a lot to be desired in that aspect.
For the campy Matt says he pulls a quote from the film according to the UN allowing Godzilla to live would be the end of the world as we know it.
Well that's that maybe seems a bit much I don't know if this Godzilla is world threatening as he is in other.
Films but I just have to add that this movie does have a lot of great campy moments that do make up for you know any lack of.
Strengths in in story and characters right the iconic moment when King Kong shoves a tree down Godzilla's mouth you know eat your vegetables it's amazing it's really really good.
When in Kong just getting drunk drunk drunk drunk drunk you make drunk or said you're just like oh my God go home Kong.
He passes out at one point and it's.
Like what's going on I just remembered a couple of other criticisms I think that are fair and right for the taking.
The suits in this movie.
Lack.
Any refinement that's a really nice way of putting it the King Kong suit for example you read you've seen it for yourself.
It looks like a used catcher's mitt like Kong's face is just a rubber mask orally painted it's not designed well.
Can I know they weren't gonna spend the money to animate him as in the original King Kong.
But you see these more.
Ape like costumes in war of the gargantuan and King Caesar and you just be like wow.
I think I think this this costume was a rough draft that never got beyond that stage.
And the Godzilla costume is it much better I think the guy that's got this Godzilla costume seems almost baggy to me it's weird but when Godzilla's like moving his arms back and forth you can just see a lot of extra.
Baggage in the in the suit.
It's not the strongest I would say in the series.
Yeah but if you have any opinions on that please please let us know don't take my word for it but definitely see the film for yourself and let me know what you think about those costumes those suits.
And then and I'm going back to rifle and God says use keys Honda biography but.
I think there are two things I want to bring up the first is.
Honda's original intent his like thematic messaging as a satire on advertising and marketing and getting eyeballs on TV screens.
It starts out really strong but by the end of this movie completely disappears and what rifle and God says he says that.
If that was your intent wouldn't Japanese viewers maybe the world be tuning into some sort of TV event to watch King Kong and Godzilla do get out.
But that never happens these monsters fight in isolation and you would expect the world to be tuning in to some mass marketed.
Pay per view event right so I think that's a fair I think it's a fair criticism again in the structure of this story and I think.
I think King Kong really misses the mark for me and how they treat the character it's almost as if.
They just use the King Kong name but the character himself.
Doesn't speak to me.
The way King Kong does and the question I ask for you all is that what makes Kong Kong is it the the beast in the lonely animal who's taken from his homeland and is a stranger in a strange land is it this.
Beautifully bizarre.
Dangerous relationship that he has with with a woman be it fair or the one in the nineteen seventy seven remake but you know what i mean like.
None of that spirit is in this rendition of the King Kong character and i think.
That is sorely missing i think that that investment had been made.
Could of and should of really set this movie to a to a bar closer to Honda's gojira or road and or mantra.
But it doesn't it doesn't happen and I think that's too bad for the character of King Kong in these Japanese films.
All right well we are gonna give it a rating now here at Camp Kaiju we have four ratings we have our lowest rating it's not worth revisiting it definitely does not stand the test of time.
Second lowest rating is it may be historically significant or just fun but it doesn't stand the test of time.
We have there may be some antiquated moments but overall it's great it stands the test of time.
And finally it's a timeless classic it definitely stands the test of time.
Well Matt I remember we talking about this movie before and I know that you're putting it.
In the third category it may be historically significant or just fun but it does not stand the test of time.
I think it's fair I think and here's my here's my qualifier I think the American release of this film falls in that category I think that that film is historically significant and fun at times but ultimately.
There are too many holes in the in the structure of the story the lack of character in the humans and King Kong and Godzilla to make it really.
To make it the powerful movie it could have been.
However the Japanese release I'll bump up a grade higher into there may be some antiquated moments but overall I do think it's great I think what Honda's trying to do.
Is pretty worthwhile and I do think in that regard that film stands the test of time.
Yeah alright so what do you think let us know if we're totally missing the mark here.
If it's a timeless classic you're not wrong like we want to hear from you and we're going to feature more comments we're going to talk more monsters on Camp Kaiju.
Next time with Godzilla versus Megalon Max is going to join us and we will be reading the trivia answers we will be pulling names from the hat so you are out there listening get your answers in.
Phone in type them in let's get it going we're excited happy Kai July enjoy your summer let's get it going thanks for hanging out friends please rate and review this podcast wherever you listen you can share this podcast with a friend you can send us listener comments at CampKaiju.com
Facebook Instagram all those links are in our show notes if you'd like to be a featured voice on the show leave us a voicemail the Kaiju hotline is 612-470-2612 tell us your favorite monster movies we want to know please check out our website CampKaijuPodcast.com for more information and know that Camp Kaiju is recorded in Minneapolis St. Paul with Menia's mailbox music by Ben Cook-Felts thank you friends and until next time stay campy.
Camp Kaiju is sponsored by Zach Linder in the Zach Pack powered by Coldwell Banker Realty your source for real estate home rehab fixing and flipping for investor clients and residential buyers reach out to the Zach Pack today for real estate services follow the Zach Pack on social media and contact the Zach Pack for investment opportunities links in the bio.
What do you make of that Al?
Godzilla!