WEBVTT

00:00:00.000 --> 00:00:01.940
Kudo, I think, is the one who sees him steal

00:00:01.940 --> 00:00:03.799
those plans, and he calls him out on it. He's

00:00:03.799 --> 00:00:06.379
like, hey, you stole those plans. And the other

00:00:06.379 --> 00:00:08.019
guy's like, yeah, you're right, I did. Here they

00:00:08.019 --> 00:00:10.939
are. And that's the end of that storyline, basically.

00:00:11.080 --> 00:00:14.099
Then Obata is like, hey, we're all in a predicament

00:00:14.099 --> 00:00:15.960
now. Let's work together. And Kudo's like, fine.

00:00:16.300 --> 00:00:18.460
And that's it. That's the end of that storyline.

00:00:18.460 --> 00:00:21.500
I expected Obata to pull a gun on them or something.

00:00:21.780 --> 00:00:41.500
But it turns out he was a nice guy. Right. Hello

00:00:41.500 --> 00:00:43.960
and welcome to Camp Kaiju Monster Movie Podcast.

00:00:44.520 --> 00:00:47.939
We're your hosts, Matt Levine and Vincent Hannum.

00:00:48.140 --> 00:00:50.579
And we're talking about all of our favorite monster

00:00:50.579 --> 00:00:52.759
movies, the good, the bad, and the downright

00:00:52.759 --> 00:00:55.439
campy, and asking if they stand the test of time.

00:00:56.320 --> 00:00:59.560
Traditional kaiju, creature features, space invaders,

00:00:59.619 --> 00:01:01.799
the supernatural, and everything in between.

00:01:01.899 --> 00:01:06.140
All strange beasts are welcome here. Camp Kaiju

00:01:06.140 --> 00:01:08.299
is sponsored by Zack Linder and the Zack Pack,

00:01:08.420 --> 00:01:11.390
powered by Coldwell Banker Realty. your source

00:01:11.390 --> 00:01:13.989
for real estate, home rehab, fixing and flipping

00:01:13.989 --> 00:01:16.269
for investor clients and residential buyers.

00:01:16.709 --> 00:01:19.010
Reach out to the Zach Pack today for real estate

00:01:19.010 --> 00:01:21.730
services. Follow the Zach Pack on social media

00:01:21.730 --> 00:01:24.849
and contact the Zach Pack for investment opportunities.

00:01:25.609 --> 00:01:35.030
Links in the show notes. A rocket ship to unexplored

00:01:35.030 --> 00:01:43.120
planets captured by unknown powers. Yogg, monster

00:01:43.120 --> 00:02:02.379
from space. You are powerless against me. An

00:02:02.379 --> 00:02:13.060
irresistible, terrorizing monster. We have merged

00:02:13.060 --> 00:02:15.460
ourselves into the giant crab and the jungle

00:02:15.460 --> 00:02:47.360
turtle. Monsters never before seen. The unconquerable.

00:02:47.639 --> 00:03:08.199
The unbelievable. Yogg, monster from space. We're

00:03:08.199 --> 00:03:10.300
very excited tonight to welcome a special guest,

00:03:10.599 --> 00:03:12.780
Sierra Parham. Thank you so much for joining

00:03:12.780 --> 00:03:16.139
us tonight. Thanks for having me. So Sierra,

00:03:16.319 --> 00:03:18.960
you have, I believe it's a new video store, maybe

00:03:18.960 --> 00:03:21.080
it's not super new at this point, called Saturn

00:03:21.080 --> 00:03:23.680
Video here in Minneapolis, as far as I know.

00:03:23.759 --> 00:03:25.120
Can you tell us a little bit more about that?

00:03:26.360 --> 00:03:31.900
Yeah, so it's going to be a non -profit video

00:03:31.900 --> 00:03:35.159
store and cafe. We don't have a brick and mortar

00:03:35.159 --> 00:03:39.259
just yet, but hopefully trying to get that sometime

00:03:39.259 --> 00:03:43.259
in 2026. We're just fundraising for that right

00:03:43.259 --> 00:03:48.490
now. But yeah, that's what that's going to be.

00:03:48.610 --> 00:03:53.430
We're mainly going to focus on like, like marginalized

00:03:53.430 --> 00:03:59.409
directors and stories in addition to like films

00:03:59.409 --> 00:04:02.969
that just aren't on streaming, you know, really

00:04:02.969 --> 00:04:06.870
trying to bring back like video store culture.

00:04:07.819 --> 00:04:10.120
I love that. That's amazing. I think Vincent

00:04:10.120 --> 00:04:12.539
and I both agree. And I think everybody who truly

00:04:12.539 --> 00:04:15.080
loves film probably agrees that like the era

00:04:15.080 --> 00:04:17.759
of the video store should come back. You know,

00:04:17.759 --> 00:04:20.519
it's sad that that no longer is really like an

00:04:20.519 --> 00:04:23.120
important presence in the film viewing community,

00:04:23.240 --> 00:04:26.000
but it should be. So it's so encouraging to hear

00:04:26.000 --> 00:04:28.779
that, that you'll be opening up your own, you

00:04:28.779 --> 00:04:30.819
know, hopefully in 2026 for brick and mortar.

00:04:30.860 --> 00:04:34.639
That's amazing. Well, and like on Camp Kaiju,

00:04:34.680 --> 00:04:37.060
I think I'll speak for myself a little bit. I

00:04:37.060 --> 00:04:39.180
really especially love it when we can combine

00:04:39.180 --> 00:04:42.339
monster movies, which of course is our forte

00:04:42.339 --> 00:04:45.259
here on Camp Kaiju, with those directors who

00:04:45.259 --> 00:04:47.379
are maybe a little bit under -recognized, maybe

00:04:47.379 --> 00:04:49.879
a little marginalized, those voices that don't

00:04:49.879 --> 00:04:52.480
always get uplifted in the mainstream media.

00:04:52.639 --> 00:04:54.740
So I'm really happy to hear that you'll be focusing

00:04:54.740 --> 00:04:58.740
on that as well. Yeah, yeah, there's a ton. Who

00:04:58.740 --> 00:05:01.850
are some of your favorite? Or yeah, some of your

00:05:01.850 --> 00:05:04.870
favorite filmmakers and movies and what's your

00:05:04.870 --> 00:05:07.230
taste? Like if I come into the store, what are

00:05:07.230 --> 00:05:12.430
you recommending to me? Oh, that is hard to say.

00:05:12.949 --> 00:05:17.389
I really feel like I run the whole gambit of

00:05:17.389 --> 00:05:23.949
genre. But yeah, like favorite directors. I try

00:05:23.949 --> 00:05:27.810
to look for a lot of like international film

00:05:27.810 --> 00:05:31.850
directors I like. Guillermo del Toro, Wong Kar

00:05:31.850 --> 00:05:37.189
Wai films. Yeah, but I also have really low brow.

00:05:37.769 --> 00:05:41.269
I would always say this, but my favorite movie

00:05:41.269 --> 00:05:45.529
is Josie and the Pussycat. It's a good choice.

00:05:45.610 --> 00:05:51.449
I love that. Yeah. Matt is the film snob between

00:05:51.449 --> 00:05:55.029
us two. And I think he was nodding his head when

00:05:55.029 --> 00:05:57.529
you mentioned that second name, international

00:05:57.529 --> 00:06:01.490
filmmaker. Wong Kar Wai, incredible, huge fan.

00:06:01.649 --> 00:06:05.610
Yeah, that's amazing. And I, you know, I kind

00:06:05.610 --> 00:06:07.110
of alluded to this, but I think it's important

00:06:07.110 --> 00:06:10.490
to like have a mix of highbrow and lowbrow. You

00:06:10.490 --> 00:06:12.089
know, there are lots of different kinds of pleasure

00:06:12.089 --> 00:06:13.949
that movies can offer. And I don't think it's,

00:06:13.949 --> 00:06:16.310
you know, there's a lot to enjoy. So like, why

00:06:16.310 --> 00:06:22.189
not embrace all of it, you know? Exactly. Sierra,

00:06:22.290 --> 00:06:23.850
can you talk a little bit about just like what

00:06:23.850 --> 00:06:26.089
made you want to open up a video store and what

00:06:26.089 --> 00:06:31.649
your film background is? Totally. So this kind

00:06:31.649 --> 00:06:36.649
of like came about because like the video universe

00:06:36.649 --> 00:06:41.470
in Robbinsdale was closing and just like hearing

00:06:41.470 --> 00:06:44.990
that news was really sad for me because that's

00:06:44.990 --> 00:06:48.449
essentially the last video store in the greater

00:06:48.449 --> 00:06:53.410
metro of the Twin Cities. So I really wanted

00:06:53.410 --> 00:06:58.439
to help bring that back. And yeah, I really love

00:06:58.439 --> 00:07:07.220
film. And it feels like the universal language.

00:07:07.360 --> 00:07:11.620
And I'm very much big on community. I want people

00:07:11.620 --> 00:07:17.379
to communicate and get together. So I feel like

00:07:17.379 --> 00:07:20.560
the video store is the place where that can happen.

00:07:20.959 --> 00:07:24.620
So it was really important for me to bring that

00:07:24.620 --> 00:07:32.500
here. Again, in film background wise, I'm a editor.

00:07:32.759 --> 00:07:36.639
I work on and off, but I went to film school.

00:07:36.899 --> 00:07:41.639
That's really where I started to enjoy international

00:07:41.639 --> 00:07:46.959
film a lot more. I don't have like the biggest

00:07:46.959 --> 00:07:49.779
range of film I've seen. So it really opened

00:07:49.779 --> 00:07:52.959
my eyes to a lot of stuff I was missing out on.

00:07:53.689 --> 00:07:55.269
That's awesome. And that's, of course, one of

00:07:55.269 --> 00:07:57.230
the great things about video stores. I feel like,

00:07:57.230 --> 00:07:59.889
you know, you walk into this place and like everywhere

00:07:59.889 --> 00:08:02.449
you look are new discoveries and new artists

00:08:02.449 --> 00:08:05.410
for you to find out that you've never even heard

00:08:05.410 --> 00:08:07.829
of before. So, you know, I think it's really

00:08:07.829 --> 00:08:09.709
important work that you're going to be doing

00:08:09.709 --> 00:08:12.769
in the Twin Cities community. Thank you. Yeah.

00:08:13.250 --> 00:08:16.649
Yeah. Big fans, Matt and I, of Video Universe

00:08:16.649 --> 00:08:20.370
before they closed. And I had just discovered

00:08:20.370 --> 00:08:25.129
that store. A month before they closed. Oh, no.

00:08:25.329 --> 00:08:28.370
I like signed up. I created an account. And the

00:08:28.370 --> 00:08:30.790
guy told me, he's like, I'm happy to give you

00:08:30.790 --> 00:08:33.110
this account. Just letting you know our plans

00:08:33.110 --> 00:08:35.929
are what they are. I was like, I don't care.

00:08:36.309 --> 00:08:39.909
Five movies, five dollars. Let's go. But then

00:08:39.909 --> 00:08:43.070
I ended up buying a bunch of their liquidated,

00:08:43.190 --> 00:08:44.889
you know, they were going out of business sale.

00:08:45.029 --> 00:08:47.529
And if you see above my head, all these DVDs,

00:08:47.529 --> 00:08:51.340
so many of those are from Video Universe. Yeah,

00:08:51.419 --> 00:08:54.500
I did the same thing. We probably ran into each

00:08:54.500 --> 00:09:00.080
other. Didn't even know it. But you said you

00:09:00.080 --> 00:09:03.679
wanted to focus on movies that maybe aren't streaming

00:09:03.679 --> 00:09:08.059
readily available. I think that's so important

00:09:08.059 --> 00:09:11.340
in today's day and age. I've gone on that soapbox

00:09:11.340 --> 00:09:13.519
on this podcast before about physical media.

00:09:14.320 --> 00:09:17.759
And I went into the video store and I discovered

00:09:17.759 --> 00:09:20.879
all these titles that. I never would have come

00:09:20.879 --> 00:09:24.019
across had I been streaming. Because I could

00:09:24.019 --> 00:09:28.120
flip through, I don't know, Hulu or Tubi or whatever

00:09:28.120 --> 00:09:30.740
for hours. And I don't know, they just all kind

00:09:30.740 --> 00:09:32.840
of blend together, just the little thumbnails.

00:09:33.159 --> 00:09:35.960
But when I'm in a video store, I can pick out

00:09:35.960 --> 00:09:39.360
the box. I can read it. I can like chew it over

00:09:39.360 --> 00:09:42.279
almost. And there's something very tactile about

00:09:42.279 --> 00:09:46.179
that experience that I think we as human beings

00:09:46.179 --> 00:09:51.419
really love. like the collectors in us. So I'm

00:09:51.419 --> 00:09:54.919
so excited that you want to bring this back to

00:09:54.919 --> 00:10:01.100
the twin cities. Yeah. Yeah. I agree. 100%. Like,

00:10:01.259 --> 00:10:05.620
I feel like the biggest thing about video stores

00:10:05.620 --> 00:10:11.759
is like going in, seeing the film and like just

00:10:11.759 --> 00:10:14.659
taking a chance on something you never know.

00:10:14.879 --> 00:10:19.169
And like, Especially with friends, like it's

00:10:19.169 --> 00:10:22.690
a Friday night, you want to watch something and,

00:10:22.730 --> 00:10:25.710
you know, laugh at it or experience something.

00:10:25.789 --> 00:10:29.629
And, you know, that's really, that's video store.

00:10:29.769 --> 00:10:32.669
That's not something you can do on a streaming

00:10:32.669 --> 00:10:39.309
service, really. Yeah. So you have plans to open

00:10:39.309 --> 00:10:42.110
the physical location, like you're fundraising,

00:10:42.370 --> 00:10:44.809
right? Can you talk more about that, where you

00:10:44.809 --> 00:10:46.909
are at in your journey, how we can support, how

00:10:46.909 --> 00:10:53.049
listeners can support that? Yeah. So we're trying

00:10:53.049 --> 00:10:56.990
to fundraise around $10 ,000. That's going to

00:10:56.990 --> 00:11:03.230
pay rent at the place while we're doing the making

00:11:03.230 --> 00:11:07.289
of the store. And we're getting there. It's going

00:11:07.289 --> 00:11:09.210
to take a while, but we're going to get there.

00:11:09.870 --> 00:11:14.679
So any help? Monetarily, that would be great.

00:11:14.720 --> 00:11:18.840
We have GiveMN fundraisers going on right now,

00:11:18.960 --> 00:11:22.679
and that's linked on my Instagram page for Saturn

00:11:22.679 --> 00:11:27.000
Video. Other than that, if anyone feels like

00:11:27.000 --> 00:11:31.759
they want to donate DVDs, VHS to us, I'm always

00:11:31.759 --> 00:11:34.799
asking for that. That's something we definitely

00:11:34.799 --> 00:11:39.500
need. I only have less than 300 titles, and people

00:11:39.500 --> 00:11:41.639
are going to get bored of that. very quickly

00:11:41.639 --> 00:11:45.220
that's an interesting logistical question like

00:11:45.220 --> 00:11:50.620
where do you source your your stock all the dvds

00:11:50.620 --> 00:11:56.039
and vhs yeah i i'm at the thrift stores a lot

00:11:56.039 --> 00:12:00.399
otherwise i did get a lot of stuff from video

00:12:00.399 --> 00:12:05.600
universe i try to keep up to date with like the

00:12:05.600 --> 00:12:12.549
new distributors like vinegar syndrome. And yeah,

00:12:12.649 --> 00:12:14.950
I try to keep up to date what they're doing,

00:12:15.110 --> 00:12:18.350
their sales. I get them in a lot of stuff from

00:12:18.350 --> 00:12:21.669
them. So it sounds like Instagram maybe is the

00:12:21.669 --> 00:12:23.590
best form of communication. If people do want

00:12:23.590 --> 00:12:26.350
to donate, whether that's monetarily or if they

00:12:26.350 --> 00:12:29.669
have movies that they want to donate, then Instagram

00:12:29.669 --> 00:12:31.769
probably is the best way to get in touch with

00:12:31.769 --> 00:12:34.649
you. Would you say that is correct? Yeah. Yeah.

00:12:34.789 --> 00:12:40.789
We're at Saturn video dot cafe. Cool. And I'm

00:12:40.789 --> 00:12:43.370
sure we can throw some links on our page as well

00:12:43.370 --> 00:12:46.269
and, you know, hook listeners up that way as

00:12:46.269 --> 00:12:49.129
well. Do you already have a location in mind

00:12:49.129 --> 00:12:51.509
or is that still maybe not totally figured out

00:12:51.509 --> 00:12:55.509
yet if that's still to come in 2026? That's still

00:12:55.509 --> 00:13:00.289
to come. I would ideally like to be in the Longfellow

00:13:00.289 --> 00:13:03.970
neighborhood just to get that cross audience

00:13:03.970 --> 00:13:10.639
from the Trilon and the Riverview. Awesome. I

00:13:10.639 --> 00:13:12.740
volunteer at the Trilon, so I'm there all the

00:13:12.740 --> 00:13:15.220
time. I love that neighborhood. So this will

00:13:15.220 --> 00:13:16.879
be a new place for me to stop in all the time.

00:13:16.940 --> 00:13:19.559
That's exciting. Can't wait for Saturn Video

00:13:19.559 --> 00:13:24.639
and Cafe. Yeah. Want a place for people to sit

00:13:24.639 --> 00:13:27.220
down. They're going to be there for a while.

00:13:27.519 --> 00:13:33.279
It's going to be probably later night. So, yeah.

00:13:33.379 --> 00:13:36.759
Movie screenings, perhaps? Of course. I don't

00:13:36.759 --> 00:13:38.620
know. I don't want to be there. Okay, great.

00:13:39.279 --> 00:13:44.139
Don't let me business plan for you. Yeah, that's

00:13:44.139 --> 00:13:46.700
definitely something I would love to do. Yeah.

00:13:47.019 --> 00:13:50.700
Well, if you ever need a couple of guys to program

00:13:50.700 --> 00:13:53.700
some monster movies, me and Matt are happy to

00:13:53.700 --> 00:13:58.600
do that. I would love it. Awesome. Do you have

00:13:58.600 --> 00:14:00.440
any favorite monster movies that come to mind

00:14:00.440 --> 00:14:01.919
right away? I know you mentioned Guillermo del

00:14:01.919 --> 00:14:06.559
Toro before. Yeah, I really loved The Shape of

00:14:06.559 --> 00:14:11.610
Water. And Pacific Rim. Yeah. And like weird

00:14:11.610 --> 00:14:16.769
ones like Ginger Snaps. And I think Turning Red

00:14:16.769 --> 00:14:21.250
is a monster movie. There's a monster in it.

00:14:21.389 --> 00:14:24.990
Yeah. We've talked about Disney Pixar movies

00:14:24.990 --> 00:14:29.830
before on the show. Yeah, we did an episode on

00:14:29.830 --> 00:14:34.230
Luca. Love that movie. It's a good one. Turning

00:14:34.230 --> 00:14:36.070
red is a good reminder. I still haven't seen

00:14:36.070 --> 00:14:37.809
that and I've wanted to ever since it came out.

00:14:37.889 --> 00:14:39.730
So Vincent, I think we might have to bring that

00:14:39.730 --> 00:14:43.210
to the podcast at some point. Sierra, do you

00:14:43.210 --> 00:14:45.049
have any like events or fundraisers or anything

00:14:45.049 --> 00:14:48.490
coming up? There's a few things like in the works,

00:14:48.610 --> 00:14:53.009
but nothing quite announced yet other than North

00:14:53.009 --> 00:14:57.690
Minneapolis Open Streets on September 6th. I

00:14:57.690 --> 00:15:01.750
will be there. I will be selling VHS and DVDs.

00:15:02.320 --> 00:15:05.799
Are you familiar with the film friends trivia?

00:15:05.980 --> 00:15:09.059
Yeah. Instagram. Yeah. I go to it all the time.

00:15:09.200 --> 00:15:13.139
Cool. Oh, awesome. Yeah. So Naomi's a friend

00:15:13.139 --> 00:15:16.080
of ours and she's been on the show a bunch. So

00:15:16.080 --> 00:15:18.200
I was like, well, if Naomi's into something,

00:15:18.299 --> 00:15:20.100
it's going to be worth it. So I'm really glad

00:15:20.100 --> 00:15:22.559
that I reached out and you were willing to do

00:15:22.559 --> 00:15:25.879
this. It was our pleasure. So thank you. Thank

00:15:25.879 --> 00:15:29.100
you guys so much. Thank you, Sierra. Yeah. We'll

00:15:29.100 --> 00:15:31.519
put your links in the show notes and listeners.

00:15:33.129 --> 00:15:37.250
Support Saturn Video and Cafe. Sierra, we hope

00:15:37.250 --> 00:15:39.129
to have you back on the podcast someday if you're

00:15:39.129 --> 00:15:41.429
willing to give us updates, to talk about monster

00:15:41.429 --> 00:15:45.529
movies. Anytime. Awesome. Thank you so much,

00:15:45.549 --> 00:15:48.129
Sierra. Again, just like personally, I'm so excited

00:15:48.129 --> 00:15:50.889
to have a new video store in the city. So really,

00:15:50.950 --> 00:15:52.509
truly, thank you. I can't wait to check it out.

00:15:52.750 --> 00:15:58.860
Thank you so much. That's amazing. Yeah. No,

00:15:58.940 --> 00:16:00.740
I mean, not to, not to beat a dead horse, but

00:16:00.740 --> 00:16:02.860
like video stores are a dying breed and I'm,

00:16:02.860 --> 00:16:04.960
they're so important. Like just the excitement,

00:16:05.080 --> 00:16:07.519
the energy when you go into one and like there

00:16:07.519 --> 00:16:09.759
are limitless possibilities everywhere around

00:16:09.759 --> 00:16:12.220
you. Like that is amazing. I love that. And you

00:16:12.220 --> 00:16:13.779
know what I thought of during our conversation?

00:16:14.779 --> 00:16:18.519
Like we have bookstores, which does the same

00:16:18.519 --> 00:16:20.820
thing. Like you go in and there's a community

00:16:20.820 --> 00:16:23.200
and people are talking about, like strangers

00:16:23.200 --> 00:16:25.779
are talking to each other about like, oh, I see

00:16:25.779 --> 00:16:29.460
you're looking at. That section, I have a recommendation.

00:16:29.779 --> 00:16:33.320
I go into bookstores all the time, but that doesn't

00:16:33.320 --> 00:16:36.320
exist with video anymore, with movies. Right.

00:16:36.899 --> 00:16:39.200
Yeah, which is kind of inexplicable in a way

00:16:39.200 --> 00:16:41.899
to me. Bookstores, and then you also have record

00:16:41.899 --> 00:16:44.240
stores and the community around that, even though

00:16:44.240 --> 00:16:46.419
you can stream music pretty much anywhere. I

00:16:46.419 --> 00:16:50.120
feel like video stores probably are due for a

00:16:50.120 --> 00:16:52.580
renaissance. I hope that happens soon. You know

00:16:52.580 --> 00:16:54.259
that we're talking about it? I think you're right,

00:16:54.320 --> 00:16:57.580
because who loves movie people? Love to talk

00:16:57.580 --> 00:17:02.000
about movies. Too much, maybe. How many times

00:17:02.000 --> 00:17:05.099
have you been with a friend, us included? We'll

00:17:05.099 --> 00:17:08.460
spend an entire afternoon talking about movies.

00:17:09.119 --> 00:17:13.539
Yeah, right. yeah and like to to recommend one

00:17:13.539 --> 00:17:15.599
of your personal favorites and like have somebody

00:17:15.599 --> 00:17:18.660
new like experience that for the first time is

00:17:18.660 --> 00:17:21.039
like nothing compares to that feeling you know

00:17:21.039 --> 00:17:23.339
and video stores provide that all the time like

00:17:23.339 --> 00:17:25.940
that's that was my cinematic upbringing basically

00:17:25.940 --> 00:17:28.079
like walking into a video store and just like

00:17:28.079 --> 00:17:31.180
seeing what you could find you know so yeah i

00:17:31.180 --> 00:17:33.839
think and hope that's that's gonna that's gonna

00:17:33.839 --> 00:17:36.440
be like on the way back you know it's on the

00:17:36.440 --> 00:17:39.390
come up well We ought to support Sierra. And

00:17:39.390 --> 00:17:41.309
listeners, even if you're not in the Twin Cities,

00:17:41.529 --> 00:17:43.789
if you could just follow the Instagram page,

00:17:44.230 --> 00:17:47.950
like that would be such a boost to what Sierra's

00:17:47.950 --> 00:17:50.910
got going on. Please, folks, check it out. And

00:17:50.910 --> 00:17:52.970
if you're willing to shell out a few bucks, I

00:17:52.970 --> 00:17:55.410
think I am. Just, you know, whatever you can

00:17:55.410 --> 00:17:59.309
give, I think would be worth it because I just,

00:17:59.410 --> 00:18:03.150
that sense of community is real and so important.

00:18:04.419 --> 00:18:07.000
For sure, yes. Shell out a few bucks or even

00:18:07.000 --> 00:18:09.339
donate some movies if you have some that you're

00:18:09.339 --> 00:18:11.240
trying to donate, like you were going to take

00:18:11.240 --> 00:18:12.980
them to the thrift store. Maybe this is an even

00:18:12.980 --> 00:18:15.299
better destination for those movies, you know?

00:18:15.539 --> 00:18:17.940
We'll definitely shout out Saturn Video. We'll

00:18:17.940 --> 00:18:20.000
include all the links and stuff like that. Stay

00:18:20.000 --> 00:18:22.380
tuned for more updates. I know I'll stay tuned,

00:18:22.480 --> 00:18:25.019
and I'm sure we'll find out more soon. Heck yeah.

00:18:26.480 --> 00:18:30.700
Atragon, the ninth wonder of the world. Atragon,

00:18:31.000 --> 00:18:38.210
an earthen world. A flying fortress. A submarine.

00:18:38.809 --> 00:18:42.990
Atragon, technology's newest, fights all the

00:18:42.990 --> 00:18:52.690
powers of black magic. The mysterious submerged

00:18:52.690 --> 00:19:01.049
continent of Mu attacks our world. I am agent

00:19:01.049 --> 00:19:05.220
number 23 of the Mu Empire. This earthquake is

00:19:05.220 --> 00:19:12.819
not accidental. Terror panics civilization. As

00:19:12.819 --> 00:19:18.480
cataclysmic forces clash, Atragon in color. Godzilla,

00:19:18.759 --> 00:19:21.500
champion and defender of Earth in The Terror

00:19:21.500 --> 00:19:24.019
of Godzilla. Titanosaurus, look at Godzilla.

00:19:24.299 --> 00:19:26.940
Destroy them. He holds the front line of battle

00:19:26.940 --> 00:19:29.779
while in their spaceships, aliens command a deadly

00:19:29.779 --> 00:19:33.359
duel. Will the powerful serpent Titanosaurus'

00:19:33.599 --> 00:19:36.500
cyclone tail and the robot monster Mechagodzilla's

00:19:36.500 --> 00:19:39.299
lethal rays destroy Earth? See this ultimate

00:19:39.299 --> 00:19:42.259
test of power, the terror of Godzilla, rated

00:19:42.259 --> 00:19:49.440
G. Now, giant entertainment, giant terror, the

00:19:49.440 --> 00:19:53.799
war of the gargantuas, and Monster Zero. Do you

00:19:53.799 --> 00:19:57.279
see anything? From a planet 50 million miles

00:19:57.279 --> 00:20:00.799
beyond the stars came a strange message. Lend

00:20:00.799 --> 00:20:04.319
us your Rodan and Godzilla to fight our Monster

00:20:04.319 --> 00:20:13.180
Zero. Earth answered. And the most dreaded creatures

00:20:13.180 --> 00:20:16.420
ever to walk our planet are lifted into outer

00:20:16.420 --> 00:20:19.960
space. The stage is set for the mightiest battle

00:20:19.960 --> 00:20:28.119
ever seen by the universe in Monster Zero. All

00:20:28.119 --> 00:20:30.769
forces on Earth ready to attack. What started

00:20:30.769 --> 00:20:33.750
out as a call for help from space turns into

00:20:33.750 --> 00:20:36.869
a nightmare of terror on Earth, Monster Zero.

00:20:38.210 --> 00:20:42.450
And the War of the Gargantua. It began with a

00:20:42.450 --> 00:20:45.730
mysterious, wild storm at sea. And before the

00:20:45.730 --> 00:20:48.990
night was over, the whole world would hear of

00:20:48.990 --> 00:20:55.089
the Terror of the Gargantua. Where had such a

00:20:55.089 --> 00:20:58.630
monster come from? What forces created such a

00:20:58.630 --> 00:21:02.049
devastating destroyer? Who or what could stand

00:21:02.049 --> 00:21:15.410
up to it? Armies fought the monster with million

00:21:15.410 --> 00:21:24.089
-volt laser beams. Hey, look! Another one! You'll

00:21:24.089 --> 00:21:26.809
see all of their terrifying battle to the death

00:21:26.809 --> 00:21:29.490
when you come to the greatest monster movies

00:21:29.490 --> 00:21:33.650
ever made. The War of the Gantuas and Monster

00:21:33.650 --> 00:21:38.730
Zero. What a cool way to start this episode.

00:21:39.309 --> 00:21:43.170
Also, how are you doing, Vincent? I'm good. I'm

00:21:43.170 --> 00:21:46.009
good. As of this recording, we are one week away,

00:21:46.190 --> 00:21:48.410
T -minus one week from students returning to

00:21:48.410 --> 00:21:52.990
classes. My work life has been a... Whirlwind,

00:21:53.170 --> 00:21:57.109
back to school meetings, ad nauseum, getting

00:21:57.109 --> 00:22:01.130
my room back together, lesson planning. My head

00:22:01.130 --> 00:22:05.390
hurts, but I am so excited to talk about Space

00:22:05.390 --> 00:22:08.210
Amoeba and forget about work for a couple hours.

00:22:09.009 --> 00:22:12.809
Yeah, yeah, totally. Me too. Yeah. Space Amoeba

00:22:12.809 --> 00:22:16.009
is more exciting than any, you know, work related

00:22:16.009 --> 00:22:18.269
things we have going on right now. I'll speak

00:22:18.269 --> 00:22:19.990
for myself. I don't want to speak for you. But

00:22:19.990 --> 00:22:22.150
yeah, excited to talk about this movie directed

00:22:22.150 --> 00:22:26.670
by Shiro Honda from 1970. Perhaps the last gasp

00:22:26.670 --> 00:22:30.950
of the classic Toho Studios Kaiju era. Fun, fun

00:22:30.950 --> 00:22:33.470
movie. It'll be fun to talk about. Yeah. Before

00:22:33.470 --> 00:22:35.329
we begin, just real quick, how are you doing?

00:22:36.069 --> 00:22:39.400
I'm doing all right. Yeah, I mean, summer's winding

00:22:39.400 --> 00:22:41.339
down, which is always a little bit bittersweet.

00:22:41.559 --> 00:22:44.319
The weather's getting colder. You know, work.

00:22:44.680 --> 00:22:49.000
Yeah, I share your lack of excitement to talk

00:22:49.000 --> 00:22:52.019
about my nine to five day job. I'm more excited

00:22:52.019 --> 00:22:55.339
to talk about monster movies. So yeah, that's

00:22:55.339 --> 00:22:56.940
the most exciting thing I have going on right

00:22:56.940 --> 00:23:00.680
now is Space Amoeba. Let's do it. Yogg, you might

00:23:00.680 --> 00:23:03.539
say. Yeah, for sure. And I also do love the original

00:23:03.539 --> 00:23:12.180
Japanese title as well, which is... That's a

00:23:12.180 --> 00:23:14.119
great title as well. I feel like they should

00:23:14.119 --> 00:23:16.500
have just stuck with that for all versions of

00:23:16.500 --> 00:23:18.900
this movie, you know? Man, that's like Godzilla,

00:23:19.180 --> 00:23:22.019
King Ghidorah, Godzilla, Mothra, King Ghidorah,

00:23:22.019 --> 00:23:25.779
giant monsters all out of tech. Yeah. You have

00:23:25.779 --> 00:23:28.400
to love the word vomit movie titles. That's always

00:23:28.400 --> 00:23:32.019
fun. I don't know. Hollywood movies love to call

00:23:32.019 --> 00:23:35.420
things like one word. Like you have so many movies

00:23:35.420 --> 00:23:39.099
that just one word. Yeah. Us. I mean, like Jordan

00:23:39.099 --> 00:23:41.099
Peele has a lot of like one or two word titles.

00:23:41.200 --> 00:23:43.420
Get out us. Nope. I guess that's all of them

00:23:43.420 --> 00:23:45.799
right there. But yeah, it's, you know, what if

00:23:45.799 --> 00:23:49.079
us was called like the doppelgangers from down

00:23:49.079 --> 00:23:50.940
the street who suddenly invade your home? Like

00:23:50.940 --> 00:23:53.180
that's a good title to, you know, tell us exactly

00:23:53.180 --> 00:23:56.259
what's going to happen. That's what I want. Not

00:23:56.259 --> 00:23:58.460
really. As usual, we're starting off on a tangent

00:23:58.460 --> 00:24:00.619
right away. That's what we always do. Sorry.

00:24:01.200 --> 00:24:03.880
Focus up. Yeah, focus, focus. Space Amoeba. All

00:24:03.880 --> 00:24:05.940
right. Thank you all for hanging out, friends.

00:24:06.079 --> 00:24:08.599
Please rate and review Camp Kaiju wherever you

00:24:08.599 --> 00:24:11.079
listen. You can also send us listener comments

00:24:11.079 --> 00:24:14.720
at campkaiju at gmail .com or on our Instagram

00:24:14.720 --> 00:24:18.579
page at camp underscore kaiju underscore podcast.

00:24:19.279 --> 00:24:21.279
If you would like to be a featured voice on the

00:24:21.279 --> 00:24:26.420
show, you can leave a voicemail at 612 -470 -2612

00:24:26.420 --> 00:24:28.900
telling us about your favorite monster movies

00:24:28.900 --> 00:24:31.640
and memories. You can also check out our website,

00:24:31.859 --> 00:24:35.859
campkaijupodcast .com, for more reviews and special

00:24:35.859 --> 00:24:39.400
content. We also do have merchandise available

00:24:39.400 --> 00:24:43.480
at campkaiju .threadless .com. Some amazing t

00:24:43.480 --> 00:24:45.859
-shirt designs on there, so check those out for

00:24:45.859 --> 00:24:49.200
sure. Last but not least, you can become a patron

00:24:49.200 --> 00:24:53.359
at patreon .com slash campkaiju for discounts,

00:24:53.579 --> 00:24:56.160
priority comments, and access to any live events.

00:24:56.779 --> 00:24:59.079
I do want to give a quick shout out to our current

00:24:59.079 --> 00:25:04.900
patrons, Jason, Beast Drool, Chris B, Sean, our

00:25:04.900 --> 00:25:08.079
anonymous patron, and Peggy. Thank you so much.

00:25:08.099 --> 00:25:10.880
Your support means a lot. And if you're interested

00:25:10.880 --> 00:25:13.259
in becoming a patron, check it out. Again, that

00:25:13.259 --> 00:25:17.839
website is patreon .com slash campkaiju. Woo.

00:25:18.319 --> 00:25:22.799
Yeah. So this episode will come out early September,

00:25:22.940 --> 00:25:25.279
right around the start of fall, as summer is

00:25:25.279 --> 00:25:28.539
giving way to fall. October, the best time of

00:25:28.539 --> 00:25:30.619
year, is only one month away, so we're getting

00:25:30.619 --> 00:25:33.720
to Halloween. So many good monster and horror

00:25:33.720 --> 00:25:35.900
movies have come out around this time of year

00:25:35.900 --> 00:25:38.799
throughout cinema history. Vincent, do any of

00:25:38.799 --> 00:25:40.539
these titles on this list kind of jump out at

00:25:40.539 --> 00:25:46.400
you here? What is Kinky Kong? I put that title

00:25:46.400 --> 00:25:48.579
on this list. That actually sounds like kind

00:25:48.579 --> 00:25:52.710
of a... softcore Cinemax adult movie, I believe

00:25:52.710 --> 00:25:55.410
is the proper term for it. But I love that title.

00:25:55.470 --> 00:25:57.190
It's like a parody of King Kong, of course, but

00:25:57.190 --> 00:25:59.730
it's like, you know, you would see it on Cinemax

00:25:59.730 --> 00:26:01.289
at like two in the morning or whatever. And I'm

00:26:01.289 --> 00:26:04.029
very intrigued. I want to see this. You know

00:26:04.029 --> 00:26:06.170
how many stars it had? Like the average rating

00:26:06.170 --> 00:26:09.569
is on Letterboxd. Oh, like one, less than one.

00:26:09.650 --> 00:26:15.069
It is one. No, it's my, it's, it's half a one.

00:26:15.979 --> 00:26:18.500
I didn't realize it went that low. It goes to

00:26:18.500 --> 00:26:22.019
half a one. Yeah, I give a half a star sometimes,

00:26:22.220 --> 00:26:25.859
very, very rarely. But I kind of doubt that Kinky

00:26:25.859 --> 00:26:28.059
Kong is deserving of half a star. I don't know.

00:26:28.240 --> 00:26:30.920
I don't know. It takes place on Bone Island.

00:26:32.079 --> 00:26:34.440
Yep. And I think the main character from the

00:26:34.440 --> 00:26:37.240
synopsis that I read online is named Seymour

00:26:37.240 --> 00:26:39.500
Butts, which is great. I mean, how could you

00:26:39.500 --> 00:26:42.319
not love that? Well, I'll leave it up to you

00:26:42.319 --> 00:26:46.849
to bring it to the podcast. I don't know. I mean,

00:26:46.849 --> 00:26:50.109
you remember that I initially proposed Humanoids

00:26:50.109 --> 00:26:53.170
from the Deep to bring to the podcast, and then

00:26:53.170 --> 00:26:54.950
I read more about it, and I was like, ooh, this,

00:26:55.109 --> 00:26:57.609
I don't know, that might not be the best choice.

00:26:57.849 --> 00:27:00.630
That's still to be determined, but, you know,

00:27:00.650 --> 00:27:02.910
a little bit of sleaze is a good thing. Too much

00:27:02.910 --> 00:27:05.490
sleaze can be disturbing, but that doesn't mean

00:27:05.490 --> 00:27:08.509
it's off -limits to Camp Kaiju. That's true.

00:27:08.670 --> 00:27:11.869
That's true. Everything in between. Yep. My real

00:27:11.869 --> 00:27:15.500
pick, though, I gotta... I have to talk about

00:27:15.500 --> 00:27:18.980
The Brother from Another Planet from 1984. This

00:27:18.980 --> 00:27:22.140
movie is written by John Sayles. It might be

00:27:22.140 --> 00:27:26.019
directed by John Sayles as well. But it is about

00:27:26.019 --> 00:27:29.940
an alien who crash lands to Earth. And actually

00:27:29.940 --> 00:27:34.039
the alien is on the run from some captors, some

00:27:34.039 --> 00:27:37.940
would -be captors. But the alien happens to be

00:27:37.940 --> 00:27:41.920
in the form of a black male, a black man played

00:27:41.920 --> 00:27:44.920
by... I love this actor. I got to get his name

00:27:44.920 --> 00:27:49.279
right. Joe Morton. Joe Morton. Fantastic performance

00:27:49.279 --> 00:27:52.299
because he's mute for a lot of the films. So

00:27:52.299 --> 00:27:55.299
it's like a great physical role that he does.

00:27:55.799 --> 00:27:59.759
But because the alien is in the form of a black

00:27:59.759 --> 00:28:04.220
man, suddenly the alien has to deal with racism

00:28:04.220 --> 00:28:07.920
in America, in New York City in the 1980s. And

00:28:07.920 --> 00:28:13.369
it is a powerful movie for that messaging. It

00:28:13.369 --> 00:28:16.990
is an extraterrestrial movie that I think you'll

00:28:16.990 --> 00:28:19.869
be pleasantly surprised by on a multitude of

00:28:19.869 --> 00:28:23.289
levels. Yeah, I'm really glad that you mentioned

00:28:23.289 --> 00:28:25.970
that title. I really love that movie. Like you

00:28:25.970 --> 00:28:28.650
said, it's a perfect balance of genre, entertainment,

00:28:28.869 --> 00:28:31.049
and social commentary, and I think John Sayles

00:28:31.049 --> 00:28:34.950
is very good at that. He wrote... Right. Joe

00:28:34.950 --> 00:28:37.069
Dante directed Piranha, but I believe John Sayles

00:28:37.069 --> 00:28:39.349
wrote it. And I think he wrote Alligator as well.

00:28:39.490 --> 00:28:42.250
I could be wrong about that. But, you know, Brother

00:28:42.250 --> 00:28:43.750
from Another Planet, I feel like is one of the

00:28:43.750 --> 00:28:46.630
first. He did direct it as well. And like, you

00:28:46.630 --> 00:28:49.049
know, I feel like we see his different interests

00:28:49.049 --> 00:28:52.049
as an artist coming together and like his his

00:28:52.049 --> 00:28:55.269
balance of like B movies, but also like more

00:28:55.269 --> 00:28:58.549
in -depth social commentary that movies. It does

00:28:58.549 --> 00:29:01.140
it really well. And Joe Morton's fantastic. He's

00:29:01.140 --> 00:29:02.579
the kind of actor that people have probably,

00:29:02.759 --> 00:29:05.000
like they would recognize him from like Terminator

00:29:05.000 --> 00:29:08.160
2. He was in Speed also, a lot of other movies.

00:29:08.279 --> 00:29:10.799
So a familiar face, but Brother from Another

00:29:10.799 --> 00:29:12.960
Planet might be his best performance. It's great.

00:29:13.299 --> 00:29:17.420
Love that. So thank you for mentioning that.

00:29:17.539 --> 00:29:20.500
I think the one that I'm going to shout out is

00:29:20.500 --> 00:29:24.140
a movie from 1960 called The City of the Dead.

00:29:24.359 --> 00:29:27.950
The original title was Horror Hotel. But then

00:29:27.950 --> 00:29:30.130
they changed the name to City of the Dead, which

00:29:30.130 --> 00:29:32.269
is a more appropriate title. Christopher Lee

00:29:32.269 --> 00:29:34.009
is in it. An actress who I had never heard of

00:29:34.009 --> 00:29:36.990
named Venetia Stevenson is also in it, and she's

00:29:36.990 --> 00:29:39.329
really great. It's basically about, like, it's

00:29:39.329 --> 00:29:41.490
set in New England. It's a very, like, foggy,

00:29:41.509 --> 00:29:44.009
atmospheric movie. It's kind of about witchcraft.

00:29:44.190 --> 00:29:46.589
A young woman goes there to study witchcraft.

00:29:47.180 --> 00:29:49.740
and then realizes before too long that she is

00:29:49.740 --> 00:29:52.480
in over her head. She did not know what she was

00:29:52.480 --> 00:29:55.480
getting herself into. So this is kind of a low

00:29:55.480 --> 00:29:57.339
-budget, sort of forgotten horror movie that

00:29:57.339 --> 00:29:59.000
I watched a couple years ago around Halloween,

00:29:59.200 --> 00:30:01.740
and it's fantastic. Cannot recommend it enough.

00:30:01.960 --> 00:30:04.640
So City of the Dead from 1960. Check it out.

00:30:05.220 --> 00:30:08.420
I will, because I love finding those diamonds

00:30:08.420 --> 00:30:10.640
in the rough, especially from back in the day.

00:30:11.279 --> 00:30:13.940
Where you'll watch something maybe on Tubi and

00:30:13.940 --> 00:30:15.259
just like, I don't know, I've never heard of

00:30:15.259 --> 00:30:17.200
this movie. And then you think, why haven't I

00:30:17.200 --> 00:30:20.359
heard about this movie? There's so many films

00:30:20.359 --> 00:30:24.559
like that worthy of reconsideration. Absolutely.

00:30:24.599 --> 00:30:27.539
Yeah. Yeah. Maybe Kinky Kong is one of them.

00:30:27.559 --> 00:30:31.539
Who knows? No, I refuse. I'm probably not. Yeah,

00:30:31.660 --> 00:30:34.019
that's going too far. There are a couple of monster

00:30:34.019 --> 00:30:37.980
movies coming up or recently released. The Toxic

00:30:37.980 --> 00:30:40.359
Avenger was recently remade, and that's in theaters

00:30:40.359 --> 00:30:42.619
right now. I'm a little bit intrigued by that,

00:30:42.660 --> 00:30:45.019
directed by Macon Blair, who also directed Green

00:30:45.019 --> 00:30:48.259
Room, Blue Ruin, I believe, two pretty good movies.

00:30:48.619 --> 00:30:51.220
Yeah, we've talked about the original Toxic Avenger

00:30:51.220 --> 00:30:54.339
on the podcast before. Here's a headline from

00:30:54.339 --> 00:30:58.859
Screen Rant, just from today, August 26th, about

00:30:58.859 --> 00:31:03.180
the Toxic Avenger. Highly anticipated 88 % rated

00:31:03.180 --> 00:31:06.619
superhero movie. is causing lots of walkouts

00:31:06.619 --> 00:31:13.180
and early screenings. Nice. I feel like the original

00:31:13.180 --> 00:31:15.980
like trauma filmmakers would be very happy to

00:31:15.980 --> 00:31:19.359
hear that. Because you, that, I mean, the original

00:31:19.359 --> 00:31:25.200
Toxic Avenger is brutal. Very gross. Yeah. Imagine

00:31:25.200 --> 00:31:30.810
what it's like in today's day and age. Yeah,

00:31:30.810 --> 00:31:33.829
right. I am like, I'm curious about the tone

00:31:33.829 --> 00:31:36.569
too. Are they like trying intentionally to go

00:31:36.569 --> 00:31:40.609
for that like schlock Z grade sort of like intentionally

00:31:40.609 --> 00:31:43.450
offensive approach? Or are they trying to like

00:31:43.450 --> 00:31:45.349
be a little bit more refined with it? I don't

00:31:45.349 --> 00:31:47.289
know. I kind of want to find out, you know? Mm

00:31:47.289 --> 00:31:49.250
hmm. More to come. I'm gonna look into this.

00:31:49.589 --> 00:31:52.789
Yeah, yeah, me too. And so this episode will

00:31:52.789 --> 00:31:54.930
come out in early September. So for anybody that's

00:31:54.930 --> 00:31:56.890
in the Twin Cities, I did also want to shout

00:31:56.890 --> 00:31:59.049
out a movie that's going to be playing at the

00:31:59.049 --> 00:32:02.750
Trilon September 19th through 21st called Incubus.

00:32:03.009 --> 00:32:05.769
William Shatner is in this movie. It's in the

00:32:05.769 --> 00:32:08.710
language of Esperanto, one of the only movies

00:32:08.710 --> 00:32:11.309
ever made in the language of Esperanto. It sounds

00:32:11.309 --> 00:32:13.869
really crazy. So I'm very, very excited for that

00:32:13.869 --> 00:32:18.039
one as well. Whoa, I'll look into that too. It

00:32:18.039 --> 00:32:21.900
is about an actual incubus, so it fits. It's

00:32:21.900 --> 00:32:28.079
a monster movie. Oh. Yeah. Ooh. Yeah, Incubus,

00:32:28.099 --> 00:32:31.839
Trilon, September 19th through 21st. Very cool.

00:32:32.259 --> 00:32:34.599
Tonight, though, again, we are talking about

00:32:34.599 --> 00:32:38.720
Space Amoeba by Shiro Honda from 1970. What,

00:32:38.819 --> 00:32:41.619
Vincent, is your personal history with this movie?

00:32:42.259 --> 00:32:46.720
My personal history in this... Summer of 2019,

00:32:46.940 --> 00:32:51.700
I want to say. It's either 18 or 19. I was living

00:32:51.700 --> 00:32:56.339
in an apartment in South Minneapolis, and that's

00:32:56.339 --> 00:32:59.200
when I truly rediscovered my love for kaiju movies.

00:32:59.740 --> 00:33:03.420
And I was watching anything I could find online.

00:33:03.779 --> 00:33:07.000
And I came upon Space Amoeba. I'd never heard

00:33:07.000 --> 00:33:10.619
of it before. And I watched it, and I thought,

00:33:10.700 --> 00:33:15.599
oh my goodness gracious. this this is something

00:33:15.599 --> 00:33:18.700
this is something else yeah and i hadn't watched

00:33:18.700 --> 00:33:21.299
it since then so it's been a while and i'm glad

00:33:21.299 --> 00:33:25.779
i revisited it and i have thoughts to share about

00:33:25.779 --> 00:33:29.400
that later all right nice i still can't really

00:33:29.400 --> 00:33:31.799
tell if that's a compliment or a critique but

00:33:31.799 --> 00:33:37.450
we'll probably find out soon yes nice I didn't

00:33:37.450 --> 00:33:39.329
really have any personal history with this movie

00:33:39.329 --> 00:33:41.849
until I watched it two days ago for the first

00:33:41.849 --> 00:33:44.450
time. I love the title. I love Ishiro Honda.

00:33:44.690 --> 00:33:48.049
And I was intrigued by a relatively late period

00:33:48.049 --> 00:33:51.930
Ishiro Honda movie. Like, we'll talk about this

00:33:51.930 --> 00:33:54.349
more soon, but like, you know, towards the tail

00:33:54.349 --> 00:33:56.730
end of Toho's heyday, this is kind of a movie

00:33:56.730 --> 00:33:59.680
that's like... one of the swan songs or whatever

00:33:59.680 --> 00:34:02.220
and i knew that before even before watching it

00:34:02.220 --> 00:34:05.039
so i've always been excited to see it but finally

00:34:05.039 --> 00:34:06.779
just watched it for the first time a couple days

00:34:06.779 --> 00:34:12.579
ago and yeah i it is something for sure i mostly

00:34:12.579 --> 00:34:14.860
in good ways i would say but i don't want to

00:34:14.860 --> 00:34:19.320
spoil our our main takeaways too early yeah no

00:34:19.320 --> 00:34:22.420
i'm happy i mean it is a classic kaiju movie

00:34:22.420 --> 00:34:25.099
that i'm excited to talk about it's about time

00:34:25.099 --> 00:34:28.019
we got to it here on the podcast Yeah, and this

00:34:28.019 --> 00:34:29.800
was one of the titles I was going to bring to

00:34:29.800 --> 00:34:33.139
the pod for Kaijulai, and then instead I suggested

00:34:33.139 --> 00:34:35.699
Ebira Horror of the Deep, which is what we talked

00:34:35.699 --> 00:34:38.900
about for Kaijulai. But this one might be better.

00:34:38.980 --> 00:34:40.400
I'm just going to throw that out there. In my

00:34:40.400 --> 00:34:43.199
opinion, it's better. That's a good question.

00:34:43.559 --> 00:34:45.800
Listeners chime in. Yeah, yeah, let us know.

00:34:47.340 --> 00:34:50.059
So we can talk about the crew, some of the crew

00:34:50.059 --> 00:34:52.139
members of Space Amoeba here a little bit, and

00:34:52.139 --> 00:34:54.800
we already talked about him a couple times, Ishiro

00:34:54.800 --> 00:34:58.010
Honda. The OG, director of the original 1954

00:34:58.010 --> 00:35:02.530
Godzilla, a legend in kaiju films. This was his

00:35:02.530 --> 00:35:05.329
second last kaiju movie as he would retire after

00:35:05.329 --> 00:35:09.289
1975's Terror of Mechagodzilla, which he also

00:35:09.289 --> 00:35:11.369
made for Toho Studios. That was the one other

00:35:11.369 --> 00:35:13.869
movie that he came back for after this. Honda

00:35:13.869 --> 00:35:16.849
did also direct some TV episodes during the 1970s,

00:35:16.849 --> 00:35:19.090
and he served as assistant for Akira Kurosawa.

00:35:19.369 --> 00:35:22.329
So he didn't officially retire, but this is one

00:35:22.329 --> 00:35:28.420
of his last monster movies. For sure. It was

00:35:28.420 --> 00:35:31.440
produced by Tomoyuki Tanaka and Fumio Tanaka,

00:35:31.519 --> 00:35:35.099
who are unrelated, as far as I can tell. Tomoyuki

00:35:35.099 --> 00:35:37.480
Tanaka was one of the original creators of Godzilla,

00:35:37.719 --> 00:35:40.480
produced most of the installments for Toho. from

00:35:40.480 --> 00:35:44.039
the original 1954 film through 1995's Godzilla

00:35:44.039 --> 00:35:48.000
vs. Destoroyah. He produced over 200 films, including

00:35:48.000 --> 00:35:51.639
some by Akira Kurosawa. So, you know, just as

00:35:51.639 --> 00:35:54.219
much as Ishiro Honda, if not more so, a legend

00:35:54.219 --> 00:35:57.480
in the history of kaiju movies. The co -producer

00:35:57.480 --> 00:36:01.719
Fumio Tanaka joined Toho Studios in 1964 and

00:36:01.719 --> 00:36:04.559
specialized in sci -fi and horror movies. While

00:36:04.559 --> 00:36:06.519
the film was officially co -produced by both

00:36:06.519 --> 00:36:09.349
of them, Tomoyuki Tanaka was actually busy with

00:36:09.349 --> 00:36:12.590
what was called Expo 70, the world's fair that

00:36:12.590 --> 00:36:15.070
was held just outside of Osaka, I believe, in

00:36:15.070 --> 00:36:18.250
Suita, Japan. So really, Fumio Tanaka was kind

00:36:18.250 --> 00:36:20.690
of the only producer on this movie, or at least

00:36:20.690 --> 00:36:23.969
by far the primary producer, even though Tomoyuki

00:36:23.969 --> 00:36:28.949
is also credited in that role. Special effects

00:36:28.949 --> 00:36:32.889
are by Sadamasa Arikawa, and he was the former

00:36:32.889 --> 00:36:36.650
pupil of Aiji Tsuburaya. And Tsuburaya actually

00:36:36.650 --> 00:36:41.409
died two days after filming started in January

00:36:41.409 --> 00:36:45.769
of 1970. Arikawa then started as a cameraman

00:36:45.769 --> 00:36:49.030
who shot effects sequences for most Toho sci

00:36:49.030 --> 00:36:53.869
-fi films from 1954 through 1965. Ebura, Horror

00:36:53.869 --> 00:36:56.349
of the Deep, was his unofficial debut as special

00:36:56.349 --> 00:36:59.670
effects director, but he officially took on this

00:36:59.670 --> 00:37:03.849
title with Son of Godzilla in 1967. Matt, those

00:37:03.849 --> 00:37:06.429
are two of your favorite Godzilla movies of all

00:37:06.429 --> 00:37:11.610
time. Well, I don't know about that. It's weird

00:37:11.610 --> 00:37:13.530
because, again, I don't want to get into this

00:37:13.530 --> 00:37:16.489
a little bit too early, but the special effects

00:37:16.489 --> 00:37:19.889
in Space Amoeba, I feel like are pretty heavily

00:37:19.889 --> 00:37:22.329
criticized from what I've read, but I think they're

00:37:22.329 --> 00:37:23.849
great. I think they're better than they are in

00:37:23.849 --> 00:37:26.170
Abura or Son of Godzilla, in my opinion, but

00:37:26.170 --> 00:37:29.730
that's a lot of personal preference. So who am

00:37:29.730 --> 00:37:35.469
I to say? Totally, totally. The music is by Akira

00:37:35.469 --> 00:37:39.369
Ifukube. The cinematographer is Taichi Kinkura.

00:37:39.510 --> 00:37:44.510
And the editor is Masahisa Hime. And I wanted

00:37:44.510 --> 00:37:46.449
to call those out because I feel like this is

00:37:46.449 --> 00:37:50.769
a very formally accomplished movie. Cinematography,

00:37:50.789 --> 00:37:52.969
music, editing, all pretty great, I would say.

00:37:53.550 --> 00:37:57.570
Yeah, for sure. Space Amoeba stars Akira Kubo

00:37:57.570 --> 00:38:00.510
as a character named Kudo, a photojournalist.

00:38:00.989 --> 00:38:04.269
Akira Kubo appeared in over 70 films since 1952,

00:38:04.449 --> 00:38:06.750
including Throne of Blood, Invasion of Astro

00:38:06.750 --> 00:38:09.309
Monsters, Son of Godzilla, Destroy All Monsters,

00:38:09.309 --> 00:38:11.949
and Gamera, Guardian of the Universe. So definitely

00:38:11.949 --> 00:38:15.230
a legend in his own right in kaiju movies. Similarly,

00:38:15.429 --> 00:38:19.610
we have Kenji Sahara as Obata, a kind of villainous,

00:38:19.610 --> 00:38:22.889
unscrupulous, you know, businessman character

00:38:22.889 --> 00:38:26.030
in Space Amoeba. He played the lead in Rodan

00:38:26.030 --> 00:38:29.030
14 years earlier, and he appeared in more Godzilla

00:38:29.030 --> 00:38:31.940
films than any other actor. He also played the

00:38:31.940 --> 00:38:34.820
lead in the first Ultraman TV series, Ultra Q.

00:38:35.300 --> 00:38:41.139
So Kenji Sahara, also a legend among kaiju character

00:38:41.139 --> 00:38:45.960
actors. We also have Yoshia Tsuchiya as Dr. Mia.

00:38:46.239 --> 00:38:49.219
Once again, Tsuchiya loved appearing in sci -fi

00:38:49.219 --> 00:38:51.440
films and acted in so many of them, including

00:38:51.440 --> 00:38:54.460
Destroy All Monsters, Godzilla Raids Again, Godzilla

00:38:54.460 --> 00:38:57.150
vs. King Ghidorah. One of my favorite stories

00:38:57.150 --> 00:38:59.250
about him is that he could not appear in the

00:38:59.250 --> 00:39:01.010
original Godzilla because he was starring in

00:39:01.010 --> 00:39:03.769
Seven Samurai at that time, but he really wanted

00:39:03.769 --> 00:39:06.650
to be in Godzilla. He loved monster movies and

00:39:06.650 --> 00:39:09.750
visited the set of Godzilla as often as he could,

00:39:09.789 --> 00:39:11.769
even though production on Seven Samurai was taking

00:39:11.769 --> 00:39:14.750
place at the same time. And I just love how enthusiastic

00:39:14.750 --> 00:39:18.190
he is about monster movies. It's so cool to read

00:39:18.190 --> 00:39:23.190
that. It is. And what's interesting about this

00:39:23.190 --> 00:39:28.280
cast is... You see so many returning actors,

00:39:28.400 --> 00:39:33.760
like fan favorites, I would say. There is, is

00:39:33.760 --> 00:39:37.300
it Akira Kubo? I have to, I don't always recall

00:39:37.300 --> 00:39:40.380
them by name, or sorry, by face all of a sudden.

00:39:40.659 --> 00:39:43.559
But there was an actor in Space Amoeba who's

00:39:43.559 --> 00:39:47.099
one of the reporters in Mothra vs. Godzilla,

00:39:47.380 --> 00:39:50.280
I think, or King Kong vs. Godzilla. He's always

00:39:50.280 --> 00:39:54.500
eating an egg in one of those movies. That does

00:39:54.500 --> 00:39:56.920
sound familiar. Yeah. In that case, it must be

00:39:56.920 --> 00:39:59.019
Mothra versus Godzilla because of the whole egg

00:39:59.019 --> 00:40:03.699
bit. Yeah. Yeah. So it was just like fun to see

00:40:03.699 --> 00:40:08.480
so many familiar faces. Totally. In a way, like,

00:40:08.519 --> 00:40:10.739
you know, Space Amoeba kind of seems like getting

00:40:10.739 --> 00:40:13.139
the band back together for one last hurrah, you

00:40:13.139 --> 00:40:15.260
know, even though Tsuburaya, of course, cannot

00:40:15.260 --> 00:40:17.639
do the special effects for it. Otherwise, a lot

00:40:17.639 --> 00:40:20.719
of like the cast and crew, very familiar faces

00:40:20.719 --> 00:40:25.530
from kaiju cinema lore. The actor is Yu Fujiki

00:40:25.530 --> 00:40:30.369
that I'm talking about. Yes. And he was in movies

00:40:30.369 --> 00:40:34.690
such as, well, Throne of Blood, speaking of Kurosawa,

00:40:34.809 --> 00:40:38.610
but King Kong versus Godzilla, Mothra versus

00:40:38.610 --> 00:40:43.070
Godzilla, Atragon, and Space Amoeba. Yeah. Another

00:40:43.070 --> 00:40:46.619
kaiju alum. So many familiar faces. We do also

00:40:46.619 --> 00:40:51.179
have Atsuko Takahashi as Ayako, who is Kudo's

00:40:51.179 --> 00:40:53.380
kind of love interest, not really love interest.

00:40:53.780 --> 00:40:56.659
Her character is quite underdeveloped, but wanted

00:40:56.659 --> 00:40:59.699
to throw her name out there as well. Yeah, yeah.

00:40:59.860 --> 00:41:03.320
And the character of Riko, I don't know who plays

00:41:03.320 --> 00:41:07.960
Riko, but Riko is that love interest. Yeah. You're

00:41:07.960 --> 00:41:13.059
talking about? Yeah. Oh, no, sorry. I, so. The

00:41:13.059 --> 00:41:15.639
character of Ayako is kind of Kudo's love interest,

00:41:15.840 --> 00:41:18.099
sort of. Like she's the other journalist who

00:41:18.099 --> 00:41:20.059
sort of like tags along with him to the island.

00:41:20.159 --> 00:41:22.599
And like, we don't exactly know why she's doing

00:41:22.599 --> 00:41:25.119
that. Although she's like, she's working for

00:41:25.119 --> 00:41:27.239
a corporation that's trying to open like a tourist

00:41:27.239 --> 00:41:29.920
resort on this island. But I think you're talking

00:41:29.920 --> 00:41:32.760
about Saki, a different character who is Riko's

00:41:32.760 --> 00:41:35.880
love interest. Right, right. They're natives

00:41:35.880 --> 00:41:39.820
on the island. Yeah. And she's played by Yukiko

00:41:39.820 --> 00:41:43.929
Kobayashi. And Yuriko is played by Noritake Saito.

00:41:44.030 --> 00:41:45.829
I could not really find a lot of information

00:41:45.829 --> 00:41:49.090
about either of them, unfortunately. That's all

00:41:49.090 --> 00:41:53.090
right. Now, yeah, so Space Amoeba. The screenplay

00:41:53.090 --> 00:41:56.909
was originally written by A .E. Ogawa in 1966.

00:41:57.530 --> 00:42:00.789
It was called Great Monster Assault at that time.

00:42:01.340 --> 00:42:03.440
It was supposed to be a co -production between

00:42:03.440 --> 00:42:06.280
Toho Studios and United Productions of America,

00:42:06.440 --> 00:42:09.739
or UPA, which was an animation studio and distribution

00:42:09.739 --> 00:42:12.239
company that released most of Toho's films in

00:42:12.239 --> 00:42:15.760
the United States in the 1970s and 80s. I also

00:42:15.760 --> 00:42:18.619
read that UPA created the Mr. Magoo character,

00:42:18.800 --> 00:42:20.800
so that's one of its claims to fame, for better

00:42:20.800 --> 00:42:25.320
or worse. That ended up not happening, though.

00:42:25.360 --> 00:42:27.679
UPA and Toho did not actually collaborate on

00:42:27.679 --> 00:42:31.590
this movie. That original draft that Ogawa wrote

00:42:31.590 --> 00:42:35.949
back in 1966 was a lot more ambitious than the

00:42:35.949 --> 00:42:38.829
finished film that we have before us. Ogawa's

00:42:38.829 --> 00:42:41.250
original draft had alien monsters invading the

00:42:41.250 --> 00:42:43.710
entire planet, conquering entire continents,

00:42:44.010 --> 00:42:46.190
and being attacked with nuclear weapons at the

00:42:46.190 --> 00:42:48.489
end of the film. So the version that we see in

00:42:48.489 --> 00:42:51.190
Space Amoeba is quite a bit more concentrated

00:42:51.190 --> 00:42:56.269
on, is it Sulga Island? Yeah, Sulga Island. Yeah.

00:42:56.789 --> 00:42:59.309
Wow. Would have been something, that original

00:42:59.309 --> 00:43:03.829
movie, probably. Production finally started in

00:43:03.829 --> 00:43:07.429
1969, though Ogawa's script was heavily altered,

00:43:07.630 --> 00:43:10.829
confining the action to Selga Island. Although

00:43:10.829 --> 00:43:12.969
I .G. Tsuburaya's health was in bad condition,

00:43:13.170 --> 00:43:15.090
he did express interest in doing the special

00:43:15.090 --> 00:43:19.409
effects. He was supposed to be the special effects

00:43:19.409 --> 00:43:23.110
supervisor, while Sadamasa Arikawa was to be

00:43:23.110 --> 00:43:26.590
credited as special effects director. But Tsuburaya...

00:43:26.889 --> 00:43:29.849
died, as we mentioned before, just two days after

00:43:29.849 --> 00:43:33.489
the filming started. This is interesting. Several

00:43:33.489 --> 00:43:35.750
crew members wanted the film to be dedicated

00:43:35.750 --> 00:43:39.909
to Tsuburaya, but Toho did not allow this, maybe

00:43:39.909 --> 00:43:43.409
because he, meaning Tsuburaya, had actually left

00:43:43.409 --> 00:43:46.949
Toho in 1963 to start his own company, Tsuburaya

00:43:46.949 --> 00:43:51.030
Productions. Either way, Toho's decision to not

00:43:51.030 --> 00:43:54.369
dedicate the film to Tsuburaya enraged several

00:43:54.369 --> 00:43:57.159
crew members, including Honda. who only directed

00:43:57.159 --> 00:44:01.679
one more movie for Toho, and Arakawa, who angrily

00:44:01.679 --> 00:44:06.360
quit the studio after Space Amoeba. It is surprising

00:44:06.360 --> 00:44:08.340
that Toho wouldn't allow that. It just seems

00:44:08.340 --> 00:44:10.079
like it would be sort of an obvious thing. But

00:44:10.079 --> 00:44:13.480
yeah, one of many, as we'll talk about soon,

00:44:13.559 --> 00:44:15.260
one of many interesting things about Toho Studios

00:44:15.260 --> 00:44:18.260
around this time, it was in rough shape, I guess,

00:44:18.280 --> 00:44:21.039
in a nutshell. Yeah, corporate restructuring.

00:44:21.380 --> 00:44:25.610
Do you have notes about? the state of the Japanese

00:44:25.610 --> 00:44:30.210
film industry later on? Yeah, I mean, like limited

00:44:30.210 --> 00:44:33.349
notes, not as much as I would like, but we can

00:44:33.349 --> 00:44:35.510
talk about that a little bit more in a bit. Assistant

00:44:35.510 --> 00:44:39.409
director Saeji Tani said that Toho constantly

00:44:39.409 --> 00:44:41.989
pressured the filmmakers to reduce the budget,

00:44:42.150 --> 00:44:44.969
maybe because kaiju movies had started to become

00:44:44.969 --> 00:44:48.010
less profitable for the studio and also due to

00:44:48.010 --> 00:44:51.050
competition from TV. The production schedule

00:44:51.050 --> 00:44:54.349
was rushed as a result. Yeah, that came up in

00:44:54.349 --> 00:44:57.949
my notes too a lot. This was just kind of a limited

00:44:57.949 --> 00:45:02.010
budget type of project. Yeah, and a rushed production

00:45:02.010 --> 00:45:06.389
schedule as well. Oh, they had originally intended

00:45:06.389 --> 00:45:11.030
to film this movie in Hawaii or Guam? I thought

00:45:11.030 --> 00:45:14.650
it was Guam. Yeah, Guam, but that was not in

00:45:14.650 --> 00:45:17.329
the budget. So instead they filmed in Japan,

00:45:17.449 --> 00:45:22.119
but on an island. like 100 or so miles off the

00:45:22.119 --> 00:45:24.320
coast. So they were still able to get that island

00:45:24.320 --> 00:45:27.699
location. So yeah, this was kind of the last

00:45:27.699 --> 00:45:30.460
sci -fi film made at the height of Toho's studio

00:45:30.460 --> 00:45:33.340
system. Profits were steadily decreasing around

00:45:33.340 --> 00:45:36.340
this time, like movie studios pretty much throughout

00:45:36.340 --> 00:45:39.780
the world. Toho, you know, Daiei Film Studios

00:45:39.780 --> 00:45:42.300
in Japan also faced a similar thing. They produced

00:45:42.300 --> 00:45:45.340
the Gamera film series. And we're not doing financially

00:45:45.340 --> 00:45:47.719
all that well around this time. But, you know,

00:45:47.739 --> 00:45:49.800
they had to compete with television. You know,

00:45:49.820 --> 00:45:52.539
like the content, the subject matter that movies

00:45:52.539 --> 00:45:55.159
could depict were becoming a little bit more

00:45:55.159 --> 00:45:59.059
adult, complicated, sophisticated. Everything

00:45:59.059 --> 00:46:01.320
was changing. It was a tough time for movie production

00:46:01.320 --> 00:46:03.539
and distribution in general throughout the world,

00:46:03.559 --> 00:46:06.860
really. So facing all of that, Toho Studios made

00:46:06.860 --> 00:46:09.619
a lot of changes. cut budgets across the board.

00:46:09.760 --> 00:46:11.840
They had a bunch of labor disputes. And for that

00:46:11.840 --> 00:46:14.780
reason, they had to get rid of a lot of actors

00:46:14.780 --> 00:46:16.860
that were under contract to them. They just like

00:46:16.860 --> 00:46:19.840
voided those contracts, some of them. And they

00:46:19.840 --> 00:46:22.320
also started like an offshoot company called

00:46:22.320 --> 00:46:24.820
Toho Eizo. I don't know if I'm pronouncing that

00:46:24.820 --> 00:46:27.500
right. But that sort of spinoff company specialized

00:46:27.500 --> 00:46:30.760
in kaiju and tokusatsu movies thence forward,

00:46:30.960 --> 00:46:34.360
which is why, you know, Space Amoeba is kind

00:46:34.360 --> 00:46:36.900
of the last kaiju movie that Toho Studios proper.

00:46:37.519 --> 00:46:40.300
ever made. So it's a landmark in that way, for

00:46:40.300 --> 00:46:44.139
sure. Yeah. It sounds like you're getting your

00:46:44.139 --> 00:46:48.980
info vis -a -vis the Shiro Honda biography by

00:46:48.980 --> 00:46:53.139
Steve Reifel and Ed Gazzuzzi. But I am going

00:46:53.139 --> 00:46:56.559
to read you some specific numbers to the well

00:46:56.559 --> 00:46:59.219
-put information that you just laid on us. That

00:46:59.219 --> 00:47:03.960
was well said. But in this book, between 1960

00:47:03.960 --> 00:47:08.289
and 1970, National attendance in Japan, the film

00:47:08.289 --> 00:47:11.710
-going attendance, dropped from 1 billion to

00:47:11.710 --> 00:47:15.210
about 250 million annually, and it was still

00:47:15.210 --> 00:47:19.110
falling in 1970. Kind of reminds me of today's

00:47:19.110 --> 00:47:22.989
current cinematic movie theater landscape. Yeah.

00:47:23.070 --> 00:47:26.389
Then speaking of those contract disputes and

00:47:26.389 --> 00:47:29.679
renegotiations you were talking about. Here we

00:47:29.679 --> 00:47:32.239
go. The number of actors under contract, which

00:47:32.239 --> 00:47:37.400
had exceeded 200 as recently as 1965, would fall

00:47:37.400 --> 00:47:45.119
to 11 by 1972. Wow. Yeah. Over the same period,

00:47:45.139 --> 00:47:48.280
roughly, the number of Toho -produced films fell

00:47:48.280 --> 00:47:53.940
about 50%. Yeah. Daiei declared bankruptcy. Nikatsu,

00:47:54.059 --> 00:47:56.159
which had dominated the youth market with popular

00:47:56.159 --> 00:48:00.239
gangster films. they shifted gears to soft core

00:48:00.239 --> 00:48:04.239
roman porno quote -unquote features that's some

00:48:04.239 --> 00:48:07.360
kinky kong stuff there maybe i don't really know

00:48:07.360 --> 00:48:11.960
but it wasn't pretty for the japanese film landscape

00:48:11.960 --> 00:48:19.639
yeah yeah and you know like it's kind of fascinating

00:48:19.639 --> 00:48:22.480
the first of all those are drastic numbers thank

00:48:22.480 --> 00:48:25.460
you for like you know, putting statistics to

00:48:25.460 --> 00:48:27.360
the, to what was going on. Cause that's, that's

00:48:27.360 --> 00:48:30.599
pretty dire for sure. And I just think it's fascinating.

00:48:30.719 --> 00:48:33.559
Cause like, again, so many studios throughout

00:48:33.559 --> 00:48:36.199
the world, we're facing similar predicaments

00:48:36.199 --> 00:48:38.820
at this time. And in the United States, you know,

00:48:38.840 --> 00:48:40.860
that's the era of new American cinema in the

00:48:40.860 --> 00:48:44.000
late sixties, early seventies, you add, you know,

00:48:44.780 --> 00:48:47.780
breakthroughs in film production, like The Graduate

00:48:47.780 --> 00:48:50.739
was the late 60s, The Godfather the early 70s,

00:48:50.739 --> 00:48:53.280
you have The Last Detail by Hal Ashby a couple

00:48:53.280 --> 00:48:56.559
years later. It's just an unpredictable time,

00:48:56.739 --> 00:48:59.980
and a lot of great art came out of many different

00:48:59.980 --> 00:49:03.059
nations' cinematic industries around this time.

00:49:03.320 --> 00:49:06.170
But financially... you know, things were not

00:49:06.170 --> 00:49:08.730
looking all that great. So just a fascinating

00:49:08.730 --> 00:49:10.590
time. I don't know, I'm rambling a little bit,

00:49:10.670 --> 00:49:13.030
but like a lot of, like everything was changing

00:49:13.030 --> 00:49:15.489
and I'm sure it was kind of like a frightening

00:49:15.489 --> 00:49:18.809
time for movie producers, you know? Yeah, yeah.

00:49:20.610 --> 00:49:22.489
So that's, yeah, that's the context that Space

00:49:22.489 --> 00:49:26.190
Amoeba came out in. And it's, yeah, not surprising

00:49:26.190 --> 00:49:29.610
maybe that it was a rushed production, maybe

00:49:29.610 --> 00:49:32.349
not as polished as some of the earlier Toho productions,

00:49:32.489 --> 00:49:36.739
but still a lot to like about it. The movie was

00:49:36.739 --> 00:49:41.340
released by Toho in August of 1970. It was released

00:49:41.340 --> 00:49:44.800
theatrically in the United States as Yogg, Monster

00:49:44.800 --> 00:49:49.320
from Space in 1971 through American International

00:49:49.320 --> 00:49:52.840
Pictures. Yeah. Have you seen Yogg, the American

00:49:52.840 --> 00:49:57.500
version? No, I don't think so. I don't know.

00:49:57.579 --> 00:49:59.840
I never thought about it. I never thought about

00:49:59.840 --> 00:50:03.019
it being a different cut. Yeah, well, it's like

00:50:03.019 --> 00:50:07.239
81 minutes, the American cut is, and Space Amoeba

00:50:07.239 --> 00:50:10.039
is slightly longer, I think. I'm just curious.

00:50:10.199 --> 00:50:13.239
Sorry, one second. Oh, it's three minutes shorter.

00:50:13.380 --> 00:50:16.539
That's not that bad. I don't know. I'm probably

00:50:16.539 --> 00:50:18.539
not going to watch Yogg anytime soon, but maybe

00:50:18.539 --> 00:50:20.079
down the road I will, and we'll see how they

00:50:20.079 --> 00:50:21.940
compare. Although by then I won't remember Space

00:50:21.940 --> 00:50:24.920
Amoeba, so who knows? How did you watch this

00:50:24.920 --> 00:50:27.500
movie? Because I quickly discovered, and listeners,

00:50:27.639 --> 00:50:29.960
maybe you found yourselves in a similar situation.

00:50:30.599 --> 00:50:34.260
It's not streaming anywhere except the Criterion

00:50:34.260 --> 00:50:37.900
channel. But I had already used my free trial

00:50:37.900 --> 00:50:40.300
like five years ago and they remembered. I was

00:50:40.300 --> 00:50:42.599
like, dang it. But then I found it on the Internet

00:50:42.599 --> 00:50:46.960
Archive. I found an English dubbed version. Maybe

00:50:46.960 --> 00:50:50.900
that was Yogg. Yeah, that could be. I did watch

00:50:50.900 --> 00:50:53.079
it on the Criterion channel. I apologize. I should

00:50:53.079 --> 00:50:55.320
have reached out to make sure you had access

00:50:55.320 --> 00:50:57.539
to the movie. But yeah, so I watched the Japanese

00:50:57.539 --> 00:51:01.179
language version of it. All right. So you might

00:51:01.179 --> 00:51:08.199
have seen Yogg. I saw Yogg. We're covering all

00:51:08.199 --> 00:51:12.340
of our bases here on Camp Kaju. Did you remember

00:51:12.340 --> 00:51:15.380
to get your big bag of melted butter for the

00:51:15.380 --> 00:51:20.139
crustaceans in this movie? I forgot about that.

00:51:20.420 --> 00:51:22.920
Yeah. I had a Ziploc bag full of melted butter

00:51:22.920 --> 00:51:25.320
and I poked a hole in it and I just like squirted

00:51:25.320 --> 00:51:27.480
it into my mouth while I was watching it. It

00:51:27.480 --> 00:51:29.719
was great. Highly recommended. That's the ideal

00:51:29.719 --> 00:51:31.980
way to watch this movie. The only way to watch

00:51:31.980 --> 00:51:35.599
basically, but I still have butter all over my

00:51:35.599 --> 00:51:37.980
face and my clothes. It's I'm a total master.

00:51:38.280 --> 00:51:43.059
Yeah. That's not true. Sorry. I'm glad you brought

00:51:43.059 --> 00:51:44.780
back the melted butter though. That's good. It's

00:51:44.780 --> 00:51:48.550
good. Well, let's get us back on track here.

00:51:49.889 --> 00:51:52.889
It's time for our sponsor break. Camp Kaiju is

00:51:52.889 --> 00:51:55.090
sponsored by Zach Linder and the Zach Pack, powered

00:51:55.090 --> 00:51:57.869
by Coldwell Banker Realty, your source for real

00:51:57.869 --> 00:52:00.989
estate, home rehab, fixing and flipping for investor

00:52:00.989 --> 00:52:03.929
clients and residential buyers. Reach out to

00:52:03.929 --> 00:52:05.710
the Zach Pack today for real estate services,

00:52:06.130 --> 00:52:09.190
follow the Zach Pack on social media, and contact

00:52:09.190 --> 00:52:12.289
the Zach Pack for investment opportunities. Link

00:52:12.289 --> 00:52:15.690
in the show notes. Vincent, do we have anything

00:52:15.690 --> 00:52:19.530
in Minya's mailbox today? Yeah, since I feel

00:52:19.530 --> 00:52:23.309
like Space Amoeba is kind of light on, it's more

00:52:23.309 --> 00:52:26.070
light on production history than some of our

00:52:26.070 --> 00:52:29.809
more recent films. Let's read a longer email

00:52:29.809 --> 00:52:34.130
from Don, Superfan Don. This is in response to

00:52:34.130 --> 00:52:39.469
our Gamera episode way back in May, June. So

00:52:39.469 --> 00:52:42.289
Don says, hey there, campers. I really enjoyed

00:52:42.289 --> 00:52:44.969
this episode. I was certainly familiar with Gamera,

00:52:45.010 --> 00:52:47.690
but had not watched any of the movies, so I wanted

00:52:47.690 --> 00:52:50.349
to watch it before this episode aired. I started

00:52:50.349 --> 00:52:53.150
watching Gamera the Invincible, but soon realized

00:52:53.150 --> 00:52:56.349
how bad it was. I'm going to interrupt. I think

00:52:56.349 --> 00:52:58.110
this is exactly what we're talking about, Matt.

00:52:58.250 --> 00:53:01.530
The American cut versus the Japanese. Yep. All

00:53:01.530 --> 00:53:03.969
right, I continue. I started watching Gamera

00:53:03.969 --> 00:53:06.190
the Invincible, but soon realized how bad it

00:53:06.190 --> 00:53:09.070
was. Fortunately, I was interrupted by something

00:53:09.070 --> 00:53:12.409
and I turned that sorry bit of cinema off. After

00:53:12.409 --> 00:53:15.590
a while, I returned to YouTube and this time

00:53:15.590 --> 00:53:18.829
I started up Gamera the Giant Monster. What a

00:53:18.829 --> 00:53:21.809
difference. I enjoyed it very much. I certainly

00:53:21.809 --> 00:53:24.170
agree with you both. It's a great movie. Not

00:53:24.170 --> 00:53:27.489
perfect, but definitely a classic. I read somewhere

00:53:27.489 --> 00:53:31.920
that they made a Gamera trilogy in the 90s. I've

00:53:31.920 --> 00:53:33.780
been listening for a while. I started with the

00:53:33.780 --> 00:53:36.420
Beast from 20 ,000 Fathoms episode. I have always

00:53:36.420 --> 00:53:38.900
loved the work of Ray Harryhausen and done some

00:53:38.900 --> 00:53:41.940
animation, both stop action and hand drawn, and

00:53:41.940 --> 00:53:44.199
that made his work even more impressive to me.

00:53:44.460 --> 00:53:47.000
I have since caught up to the current episodes,

00:53:47.179 --> 00:53:49.579
obviously. I am now listening to some earlier

00:53:49.579 --> 00:53:51.880
ones. You guys really impressed me with your

00:53:51.880 --> 00:53:53.960
depth of knowledge in the background of the movies

00:53:53.960 --> 00:53:58.260
and the casts and crew. Keep up the great work.

00:53:59.039 --> 00:54:05.309
Don. Thank you, Don. Yeah, that's awesome. He's

00:54:05.309 --> 00:54:07.690
totally right that there's a vast difference

00:54:07.690 --> 00:54:11.070
between Gamera the Invincible and Gamera Guardian

00:54:11.070 --> 00:54:12.789
of the Universe. That's the Japanese title, right?

00:54:14.369 --> 00:54:19.309
No, Gamera the Giant Monster. Oh, that's what

00:54:19.309 --> 00:54:21.510
it is. I'm sorry. Yeah, but there's a vast difference.

00:54:22.699 --> 00:54:25.139
You know, they shot some new scenes for the American

00:54:25.139 --> 00:54:27.179
version. They, like, obviously dubbed a lot of

00:54:27.179 --> 00:54:29.300
it. And it's, like, significantly worse. It's

00:54:29.300 --> 00:54:32.340
amazing how different those two movies are. Yeah.

00:54:32.400 --> 00:54:37.500
How dull the American one is. Yeah. Like, board

00:54:37.500 --> 00:54:41.199
meetings. Just inane jabber. You're just like,

00:54:41.260 --> 00:54:45.360
what? You've lost all the momentum. You've lost

00:54:45.360 --> 00:54:48.159
all the suspense. Get back to the giant monster.

00:54:48.519 --> 00:54:51.880
What are we doing here? Right. That's the main

00:54:51.880 --> 00:54:55.420
attraction. Yeah. Yeah. Yeah. Fully agreed, Don.

00:54:55.539 --> 00:54:59.019
Yeah. That's fun. Thank you, Don. We always appreciate

00:54:59.019 --> 00:55:01.559
your comments. Keep them coming. Folks listening,

00:55:01.719 --> 00:55:05.139
don't let Don be the only one writing to us.

00:55:05.219 --> 00:55:08.159
Join in on the fun. Let us know your thoughts

00:55:08.159 --> 00:55:10.860
on Space Amoeba on any of our past episodes.

00:55:10.920 --> 00:55:13.880
You can listen to wherever you podcast. Go back

00:55:13.880 --> 00:55:18.639
to the catalog. Be kind. Please rewind and let

00:55:18.639 --> 00:55:20.780
us know what you think. Man, be kind, please

00:55:20.780 --> 00:55:23.800
rewind. Even that makes me excited about video

00:55:23.800 --> 00:55:28.139
stores, you know? Yeah, I know. I love to hear

00:55:28.139 --> 00:55:31.920
it. That's great. How's Peter Lorre doing? He's

00:55:31.920 --> 00:55:38.099
alive. God, still? Hey, whoa. What's his beef?

00:55:38.579 --> 00:55:40.579
Does he have to come live with me for a little

00:55:40.579 --> 00:55:43.039
bit? That might be a good idea, actually, yeah.

00:55:43.500 --> 00:55:48.940
Oh, okay. Well, before I make any promises, you

00:55:48.940 --> 00:55:53.239
know. I'm sorry, Peter. I didn't mean it. You

00:55:53.239 --> 00:55:56.619
know, it could be a Patreon perk. You can sponsor

00:55:56.619 --> 00:55:59.539
Peter Lorre and let him crash at your house.

00:56:00.639 --> 00:56:03.340
But it has to be in a dank cellar, and you have

00:56:03.340 --> 00:56:05.440
to lock him up and feed him fish heads. Those

00:56:05.440 --> 00:56:09.679
are the requirements. Well, you know, he escaped

00:56:09.679 --> 00:56:13.739
the lilac. He was swallowed, and then he cut

00:56:13.739 --> 00:56:16.480
himself out. All right. Well, I'm glad he's okay.

00:56:16.599 --> 00:56:18.889
I'm glad he's still alive. That's good. I take

00:56:18.889 --> 00:56:20.570
it. Yeah, I don't think he's happy with you,

00:56:20.590 --> 00:56:24.329
though. No, I'm sure he's not. Yeah, that's fair.

00:56:27.010 --> 00:56:29.050
It's it's only going to get worse. That's all

00:56:29.050 --> 00:56:32.250
right. So it goes. Well, we'll see what happens

00:56:32.250 --> 00:56:35.969
tonight. He's talking about another poverty row

00:56:35.969 --> 00:56:40.769
picture show movie called Revenge of the Zombies.

00:56:41.670 --> 00:56:46.269
Dead men can't die, but live to follow a madman's

00:56:46.269 --> 00:56:51.739
will. Cool. Hmm. I'm intrigued. Yeah. John Carradine.

00:56:51.800 --> 00:56:54.360
He's going to be doing some crazy mad doctor

00:56:54.360 --> 00:56:57.380
things. And I think, Oh, they're Nazis involved.

00:56:57.920 --> 00:57:06.000
Oh man. And 43. Wow. Timely. Not spreading. When

00:57:06.000 --> 00:57:09.860
Dr. Von Alterman's wife, Lila dies mysteriously

00:57:09.860 --> 00:57:12.300
at his spooky mansion, her relations suspect

00:57:12.300 --> 00:57:15.369
murder. They also suspect the doctor is turning

00:57:15.369 --> 00:57:17.909
her into a zombie to join the army of living

00:57:17.909 --> 00:57:21.130
dead he hopes to devote to the Nazi cause. However,

00:57:21.409 --> 00:57:24.789
Lila, though dead, has developed a will of her

00:57:24.789 --> 00:57:27.730
own. Man, I'm pretty intrigued by this movie.

00:57:27.829 --> 00:57:31.090
It reminds me of Shockwaves, which is also about

00:57:31.090 --> 00:57:33.369
zombie Nazis that played at the trial on a couple

00:57:33.369 --> 00:57:35.809
weeks ago, maybe like a month ago at this point.

00:57:36.329 --> 00:57:39.889
That's right. Yeah. So zombie Nazis, apparently,

00:57:40.110 --> 00:57:42.469
you know, a recurring theme throughout film history.

00:57:42.920 --> 00:57:45.820
Yeah, who knew? There is a rich cinematic tradition

00:57:45.820 --> 00:57:52.500
of zombie Nazis. Oh, wow. I cannot wait to hear

00:57:52.500 --> 00:57:56.039
Peter Lorre hold forth on this topic. Let's give

00:57:56.039 --> 00:58:10.760
it to him. Welcome to the Poverty Row Studios.

00:58:11.639 --> 00:58:15.719
on the other side of Hollywood, where the stars

00:58:15.719 --> 00:58:18.679
were dimmer and the red carpets dripped with

00:58:18.679 --> 00:58:22.480
blood. Together, we will watch the best of the

00:58:22.480 --> 00:58:25.699
worst. Movies known for their limited budgets,

00:58:26.119 --> 00:58:29.860
outlandish concepts, and questionable performances,

00:58:30.340 --> 00:58:34.820
but with enough haunted houses, zombies, ape

00:58:34.820 --> 00:58:38.539
men, and devil bats to keep you up at night.

00:58:39.199 --> 00:58:42.960
This is the Poverty Row Picture Show, and I dare

00:58:42.960 --> 00:58:50.300
you to sleep through these nightmares. Greetings,

00:58:50.639 --> 00:58:54.800
ghouls and gals, monsters and madmen. My name

00:58:54.800 --> 00:58:57.739
is Peter Lorre, and I am back, you dirty, rotten

00:58:57.739 --> 00:59:01.860
scoundrels. Oh, you thought you had heard the

00:59:01.860 --> 00:59:05.559
last of me? You thought a puny petunia could

00:59:05.559 --> 00:59:11.980
finish me? The excrement of a horticultural kaiju?

00:59:12.280 --> 00:59:18.000
Well, allow me to defy the odds. Once more, I

00:59:18.000 --> 00:59:21.480
returned to review monster movies for Camp Kaiju,

00:59:21.579 --> 00:59:24.679
and with no help from that rat bastard Matthew

00:59:24.679 --> 00:59:28.199
Cole Levine. Sure, he goes to the fisherman's

00:59:28.199 --> 00:59:31.039
docks each and every morning to gather the delectable

00:59:31.039 --> 00:59:33.440
fish heads, but at what price to my dignity?

00:59:34.019 --> 00:59:38.769
When I needed him most, he was not there. This,

00:59:38.889 --> 00:59:42.530
dear listeners, is unforgivable and I will have

00:59:42.530 --> 00:59:46.869
my day. You hear me, world? I will have my day.

00:59:48.349 --> 00:59:53.110
But until that day when Matthew knows the cost

00:59:53.110 --> 00:59:56.570
of his negligence, I will continue to review

00:59:56.570 --> 00:59:59.829
monster movies of the poverty row studios of

00:59:59.829 --> 01:00:05.309
classic Hollywood. This week, we feature a zombie

01:00:05.309 --> 01:00:10.760
thriller from Monogram Pictures. 1943's Revenge

01:00:10.760 --> 01:00:14.019
of the Zombies, starring John Carradine as a

01:00:14.019 --> 01:00:17.900
Nazi scientist hell -bent on creating a zombie

01:00:17.900 --> 01:00:23.219
army to crush the Allies. The story bears a strong

01:00:23.219 --> 01:00:26.000
resemblance to previous films featured on the

01:00:26.000 --> 01:00:30.280
Poverty Row picture show The Mad Monster, George

01:00:30.280 --> 01:00:34.860
Zuko creating a werewolf army, and King of the

01:00:34.860 --> 01:00:38.650
Zombies, the latter also featuring African -American

01:00:38.650 --> 01:00:43.650
actor Mantan Morland. In Revenge, Morland plays

01:00:43.650 --> 01:00:47.090
the same comedic relief, albeit less incorporated

01:00:47.090 --> 01:00:51.150
into the overall plot, but no less the saving

01:00:51.150 --> 01:00:55.070
grace of this film. Overall, however, Revenge

01:00:55.070 --> 01:00:57.769
of the Zombies plays like a reprint of King of

01:00:57.769 --> 01:01:00.469
the Zombies, but with a sense of been there,

01:01:00.710 --> 01:01:04.130
done that. Nevertheless, the picture has some

01:01:04.130 --> 01:01:07.960
wicked moments of camp and visual thrills. Rare

01:01:07.960 --> 01:01:10.619
elements indeed in these movies of the poverty

01:01:10.619 --> 01:01:14.639
row. For that reason, I would recommend Revenge

01:01:14.639 --> 01:01:17.840
of the Zombies. Perhaps a Mantan Moreland double

01:01:17.840 --> 01:01:21.159
feature is in store with King of the Zombies

01:01:21.159 --> 01:01:25.880
playing first. Yes, yes, this is shaping up to

01:01:25.880 --> 01:01:28.820
be quite the movie night. If anyone out there

01:01:28.820 --> 01:01:31.519
wishes to have me over, I will bring the popcorn.

01:01:31.820 --> 01:01:35.719
I will also never leave, especially if I shuffle

01:01:35.719 --> 01:01:38.530
off to the bathroom. and happen to open the wrong

01:01:38.530 --> 01:01:42.469
door and discover a guest bedroom with a firm

01:01:42.469 --> 01:01:47.190
mattress and throw pillows and a sultry silk

01:01:47.190 --> 01:01:53.409
count and no potted plants. Oh, yes. Well, until

01:01:53.409 --> 01:01:56.809
then, we will discuss our next film on the Poverty

01:01:56.809 --> 01:02:00.469
Row Picture Show, a little film called Voodoo

01:02:00.469 --> 01:02:20.750
Man. Yes, it stars the Unholy Three, The Mysterians!

01:02:21.889 --> 01:02:25.469
You are now inside a flying saucer. Our destination,

01:02:25.789 --> 01:02:28.510
the planet Earth. We are the Mysterians. Our

01:02:28.510 --> 01:02:31.409
race is old, dying, our planet dead. Only you

01:02:31.409 --> 01:02:33.949
of Earth, you and your women, can give us life.

01:02:34.070 --> 01:02:40.980
And what we want, we take. The Mysterians, the

01:02:40.980 --> 01:02:43.320
greatest science fiction picture man's imagination

01:02:43.320 --> 01:02:46.659
ever conceived. The Mysterians, swooping down

01:02:46.659 --> 01:02:49.360
from outer space, blowing up from the lower depths.

01:02:49.440 --> 01:02:52.099
The Mysterians, creatures who knew the uttermost

01:02:52.099 --> 01:02:54.639
secrets of the atom before our planet was born.

01:02:54.840 --> 01:02:57.239
Love -hungry spacemen come to seize our women

01:02:57.239 --> 01:03:00.099
that their dying race may live. It started in

01:03:00.099 --> 01:03:04.400
the east, soon it swept the west. The all -out

01:03:04.400 --> 01:03:07.199
horror of interplanetary war. See giant robots

01:03:07.199 --> 01:03:09.989
no earthly weapon can destroy. Rip a path of

01:03:09.989 --> 01:03:12.369
destruction across the land. See the forces of

01:03:12.369 --> 01:03:14.510
nature harnessed to the invader's will. Wipe

01:03:14.510 --> 01:03:16.789
entire cities from the face of the world. See

01:03:16.789 --> 01:03:20.630
the earth itself crumble beneath your feet. The

01:03:20.630 --> 01:03:23.230
Mysterians. Threatening our civilization with

01:03:23.230 --> 01:03:25.070
weapons beyond the relief of modern science.

01:03:25.230 --> 01:03:27.710
Flying ray guns that blast everything before

01:03:27.710 --> 01:03:30.050
them. An impregnable fortress that hides in the

01:03:30.050 --> 01:03:32.289
earth. Gamma rays that melt the heaviest elements.

01:03:32.610 --> 01:03:35.070
As men and machines disintegrate before your

01:03:35.070 --> 01:03:37.929
eyes. The Mysterians. What power can stop their

01:03:37.929 --> 01:03:40.570
ruthless advance? See the blazing holocaust of

01:03:40.570 --> 01:03:43.750
an Earth gone mad. See on the giant screen in

01:03:43.750 --> 01:03:48.409
flaming color. The Mysterium. Thank you, Peter.

01:03:48.610 --> 01:03:51.309
Glad you're still alive. I'm sorry. I take it

01:03:51.309 --> 01:03:54.269
back. We're back to Space Amoeba. This is probably

01:03:54.269 --> 01:03:58.090
a movie that is not very heavy on themes. But

01:03:58.090 --> 01:04:00.429
are there any that you want to talk about? Well,

01:04:00.449 --> 01:04:02.869
I think there are. Well, here's the thing. I

01:04:02.869 --> 01:04:05.210
think this movie presents some themes in some

01:04:05.210 --> 01:04:10.179
of the dialogue. But. Does it carry enough weight

01:04:10.179 --> 01:04:16.199
to devote the proper space to discussing those

01:04:16.199 --> 01:04:18.980
themes, to honoring those themes? I don't think

01:04:18.980 --> 01:04:21.519
so. But let me give you a couple of examples.

01:04:22.599 --> 01:04:28.800
So first off, there is a commentary about the

01:04:28.800 --> 01:04:34.440
Japanese homeland and its relation to these island

01:04:34.440 --> 01:04:39.119
communities. The Empire of Japan at one point

01:04:39.119 --> 01:04:42.519
in this film and Selga Island is fictional, but

01:04:42.519 --> 01:04:45.440
the Japanese characters go to Selga Island and

01:04:45.440 --> 01:04:50.199
they talk about how despite the colonization

01:04:50.199 --> 01:04:53.840
that had happened during the war, these islanders

01:04:53.840 --> 01:04:56.500
are still willing to help us out. So I think

01:04:56.500 --> 01:04:58.980
there's a, on the surface, there's commentary

01:04:58.980 --> 01:05:02.539
about the push and pull between colonizers and

01:05:02.539 --> 01:05:07.400
native communities. Yeah. Do you have any thoughts

01:05:07.400 --> 01:05:10.139
about that? Yeah, I think you're right. I think

01:05:10.139 --> 01:05:12.019
that is one of the more compelling themes about

01:05:12.019 --> 01:05:14.960
the movie. There's even a moment where the doctor,

01:05:15.099 --> 01:05:17.400
I can't remember exactly what kind of doctor

01:05:17.400 --> 01:05:19.059
he is. I don't know if it's ever said, but like

01:05:19.059 --> 01:05:22.579
he is talking to one of the Islanders. There

01:05:22.579 --> 01:05:24.199
are other people on the boat as they're going

01:05:24.199 --> 01:05:27.000
towards Selga Island. And he turns to, I think

01:05:27.000 --> 01:05:32.059
it's Rico is the, or Reco? Rico? Rico, sorry.

01:05:32.579 --> 01:05:35.460
He's like, oh, yeah, the natives on this island

01:05:35.460 --> 01:05:37.239
are very peaceful. There are no hostilities.

01:05:37.260 --> 01:05:39.159
Isn't that right, Rico? And then he looks behind

01:05:39.159 --> 01:05:43.260
him, and Rico just looks away. He's totally silent,

01:05:43.320 --> 01:05:44.860
and he seems kind of angry, and he doesn't say

01:05:44.860 --> 01:05:47.239
anything in response. And I thought that was

01:05:47.239 --> 01:05:50.880
an interesting moment. You know, it seems true

01:05:50.880 --> 01:05:53.079
that the islanders are very peaceful. They have

01:05:53.079 --> 01:05:55.800
no reason to fight with one another. And then,

01:05:55.820 --> 01:05:58.579
of course, you have all these Japanese mainlanders

01:05:58.579 --> 01:06:01.960
who, you know, took part in World War II, obviously,

01:06:01.960 --> 01:06:06.679
and are trying to open up a tourist resort on

01:06:06.679 --> 01:06:09.019
this island. They're very capitalistic. They're

01:06:09.019 --> 01:06:11.059
in it partially for the money, maybe not entirely.

01:06:11.519 --> 01:06:15.199
That brief moment, I thought, was very illuminating.

01:06:15.280 --> 01:06:18.420
I think there's a lot of tension between the

01:06:18.420 --> 01:06:21.300
natives on this island, on Selga Island, and

01:06:21.300 --> 01:06:25.320
the Japanese characters from the mainland. It's,

01:06:25.320 --> 01:06:28.099
yeah, like those hostilities are never extremely

01:06:28.099 --> 01:06:31.260
clearly elucidated, but they're there. And I

01:06:31.260 --> 01:06:33.139
feel like it's one of the more interesting subtexts

01:06:33.139 --> 01:06:36.079
about the movie. For sure. And it's like, to

01:06:36.079 --> 01:06:39.119
me, it's typical Honda. Like I know this is a

01:06:39.119 --> 01:06:42.059
different screenwriter than say with Mothra versus

01:06:42.059 --> 01:06:44.940
Godzilla, but, or King Kong versus Godzilla,

01:06:45.099 --> 01:06:49.119
but you've got the same ideas of capitalism and

01:06:49.119 --> 01:06:53.699
greedy business people versus more traditional.

01:06:54.769 --> 01:06:58.449
cultures on that note there's there is another

01:06:58.449 --> 01:07:02.550
dichotomy between the scientists and then the

01:07:02.550 --> 01:07:06.469
islanders witch doctor which is at least in the

01:07:06.469 --> 01:07:09.489
in the dub that's how they refer to the the shaman

01:07:09.489 --> 01:07:13.869
type character yeah just a skepticism of traditional

01:07:13.869 --> 01:07:17.210
medicine and traditional healing powers which

01:07:17.210 --> 01:07:22.550
again is you know prejudiced and and short -sighted

01:07:23.279 --> 01:07:28.659
From the Japanese mainlanders. Yeah. You know,

01:07:28.679 --> 01:07:30.820
there's an interesting moment with the female

01:07:30.820 --> 01:07:32.519
character. I'm going to look at the character's

01:07:32.519 --> 01:07:35.119
name again here real quick. Ayako, like she's

01:07:35.119 --> 01:07:37.019
a very thin character, but like there's a moment

01:07:37.019 --> 01:07:39.719
where they're on the island and there's like

01:07:39.719 --> 01:07:42.679
a ceremony where the islanders are like praying

01:07:42.679 --> 01:07:44.840
to their witch doctor to like protect them against.

01:07:45.400 --> 01:07:47.179
the monsters that are like suddenly surrounding

01:07:47.179 --> 01:07:49.880
them. And one of the characters, I think it's

01:07:49.880 --> 01:07:52.739
Obata, is like kind of dismissive of the ceremony.

01:07:52.760 --> 01:07:55.599
And he's like, oh, what are these weirdos doing

01:07:55.599 --> 01:07:57.980
now, basically? And she's like, oh, I think it's

01:07:57.980 --> 01:08:00.440
great. They're like, you're so cynical. They're

01:08:00.440 --> 01:08:02.800
praying for luck. And I want to pray with them,

01:08:02.880 --> 01:08:05.119
you know? Like, that's maybe the only moment

01:08:05.119 --> 01:08:06.840
in the movie where Ayako has a little bit of

01:08:06.840 --> 01:08:09.219
depth. And I feel like she's presented as like...

01:08:09.579 --> 01:08:12.739
one of the few Japanese characters who has sympathy

01:08:12.739 --> 01:08:15.039
and compassion and tries to have understanding

01:08:15.039 --> 01:08:18.100
for this community. It's very brief, but I like

01:08:18.100 --> 01:08:21.420
that moment as well. Yeah. You mentioned Obata.

01:08:21.800 --> 01:08:25.539
At the end, he is mind -controlled by the space

01:08:25.539 --> 01:08:30.140
amoeba. And I don't think the movie pulls it

01:08:30.140 --> 01:08:32.359
off successfully. It comes off rather cheesy,

01:08:32.659 --> 01:08:35.479
but I appreciate what it's going for, and Honda's

01:08:35.479 --> 01:08:40.619
going for it. And it is... in the dialogue where

01:08:40.619 --> 01:08:44.079
they talk about Obata's internal struggle between

01:08:44.079 --> 01:08:50.159
his soul and his humanness versus this extraterrestrial

01:08:50.159 --> 01:08:52.920
force. I think that's a theme worth talking about.

01:08:53.060 --> 01:08:57.460
What makes a human human? Space Amoeba argues

01:08:57.460 --> 01:09:00.399
we're more than just organs and nerves and body

01:09:00.399 --> 01:09:05.939
parts. We have a soul, as stated in Space Amoeba,

01:09:07.310 --> 01:09:10.970
makes us more than just any other living creature

01:09:10.970 --> 01:09:15.390
so i found that interesting and then obata does

01:09:15.390 --> 01:09:19.930
overcome this alien force in his brain and he

01:09:19.930 --> 01:09:23.189
he sacrifices himself and he jumps into a volcano

01:09:23.189 --> 01:09:26.390
which again i don't think is pulled off very

01:09:26.390 --> 01:09:32.949
well i think it's rather campy but i deeply admire

01:09:32.949 --> 01:09:37.079
what the attempt is because it, it reminds me

01:09:37.079 --> 01:09:40.260
of like terror of Mechagodzilla. I just watched

01:09:40.260 --> 01:09:43.800
it, but the Dr. Mufune's daughter, she's the

01:09:43.800 --> 01:09:48.100
Android. At the end of that movie, she also sacrifices

01:09:48.100 --> 01:09:50.000
herself. So I think that's a recurring theme

01:09:50.000 --> 01:09:53.039
in Honda's work, sacrificing yourself for the

01:09:53.039 --> 01:09:55.460
greater good. But in terror of Mechagodzilla,

01:09:55.520 --> 01:09:57.760
the whole movie is grounded in a very dramatic

01:09:57.760 --> 01:10:00.640
weight, maybe to its detriment, but it's like

01:10:00.640 --> 01:10:04.159
a very serious movie. But when Space Amoeba,

01:10:04.380 --> 01:10:07.899
it's just the tone. It's just like such a campy

01:10:07.899 --> 01:10:12.159
kaiju movie. And then at the end, we try to do

01:10:12.159 --> 01:10:16.300
something serious with sacrifice. And for me,

01:10:16.359 --> 01:10:20.319
it's not pulled off effectively. Yeah, I think

01:10:20.319 --> 01:10:22.819
that's fair. I do really like his sacrifice,

01:10:22.939 --> 01:10:27.220
though. And I, you know, Obata is like the story

01:10:27.220 --> 01:10:29.600
in this movie doesn't make really any sense at

01:10:29.600 --> 01:10:32.350
all. Like, at least it. Like, especially with

01:10:32.350 --> 01:10:35.350
the human characters. Like, early on, Obata just,

01:10:35.430 --> 01:10:37.750
like, shows up in an office where there's no

01:10:37.750 --> 01:10:39.789
reason why he would be there. And, like, all

01:10:39.789 --> 01:10:41.510
these characters are, like, just suddenly, like,

01:10:41.550 --> 01:10:43.149
thrust together. And it's like, wait a minute.

01:10:43.189 --> 01:10:46.090
Why is this photojournalist and this woman who

01:10:46.090 --> 01:10:49.510
works for this corporation and this, like, anthropologist

01:10:49.510 --> 01:10:52.090
who's apparently also a corporate spy, they just

01:10:52.090 --> 01:10:56.739
suddenly show up together? So yeah, that's one

01:10:56.739 --> 01:10:58.739
of the reasons that the story does not work and

01:10:58.739 --> 01:11:02.300
the characters are pretty hard to buy. But then

01:11:02.300 --> 01:11:05.380
the movie does try to deepen the characters,

01:11:05.460 --> 01:11:07.920
at least the Obata character with that ending

01:11:07.920 --> 01:11:10.229
that you talked about. I don't know. It's pretty

01:11:10.229 --> 01:11:13.069
touching. I think the actors do what they can.

01:11:13.270 --> 01:11:15.529
I think they know that like the screenplay doesn't

01:11:15.529 --> 01:11:17.909
make a lot of sense. And probably they were like

01:11:17.909 --> 01:11:19.649
so rushed in the shooting of this movie that

01:11:19.649 --> 01:11:21.109
they didn't even have time to care. They were

01:11:21.109 --> 01:11:23.510
like, let's just shoot this scene and get it

01:11:23.510 --> 01:11:25.029
over with. You know, they kind of had to do that.

01:11:25.130 --> 01:11:28.050
But like, yeah, I don't for me, it kind of works.

01:11:28.069 --> 01:11:31.529
And I like the conflation of like camp, but also

01:11:31.529 --> 01:11:35.819
like an attempt at, you know. like human character

01:11:35.819 --> 01:11:37.979
or whatever and like i also picked up in the

01:11:37.979 --> 01:11:39.699
line of dialogue that you talked about where

01:11:39.699 --> 01:11:42.819
it's like is a is a man more than just a collection

01:11:42.819 --> 01:11:46.140
of cells you know like he has a soul also and

01:11:46.140 --> 01:11:49.140
you brought up terror of mecha godzilla but that

01:11:49.140 --> 01:11:51.239
actually reminded me of godzilla versus bialante

01:11:51.239 --> 01:11:54.859
where there's the young like psychic woman character

01:11:54.859 --> 01:11:57.159
who can like telepathically communicate with

01:11:57.159 --> 01:12:00.079
godzilla and then i don't remember all the details

01:12:00.079 --> 01:12:03.300
but at the end there are like all these spores

01:12:03.300 --> 01:12:06.520
kind of that like fly into the air. And to me,

01:12:06.520 --> 01:12:08.159
that's like a depiction of a soul, you know,

01:12:08.159 --> 01:12:11.460
like maybe even Godzilla's soul. And it's probably

01:12:11.460 --> 01:12:14.020
giving Space Amoeba a little bit too much credit

01:12:14.020 --> 01:12:17.020
to like connect those themes because I do Godzilla

01:12:17.020 --> 01:12:19.159
versus Biollante is great. I love that movie.

01:12:19.180 --> 01:12:22.399
And I feel like that's 1000 times better than

01:12:22.399 --> 01:12:24.439
Space Amoeba. Maybe that's an exaggeration. But,

01:12:24.439 --> 01:12:26.619
you know, I mean, like there are some cool ideas

01:12:26.619 --> 01:12:28.720
in Space Amoeba and it doesn't totally pull them

01:12:28.720 --> 01:12:31.539
off, but I'm glad that it tries, you know. I

01:12:31.539 --> 01:12:37.539
am with you 100%, 1 ,000%. Yeah, but I liked

01:12:37.539 --> 01:12:40.880
that line too. And the Obata character, initially

01:12:40.880 --> 01:12:43.960
pretty ridiculous, but ultimately kind of touching,

01:12:44.079 --> 01:12:47.539
you know? Yeah. Yeah. But yeah, I agree those

01:12:47.539 --> 01:12:49.340
are the main themes. This is not necessarily

01:12:49.340 --> 01:12:51.239
a theme of the movie, but as we already talked

01:12:51.239 --> 01:12:52.899
about, I also just think it's such a fascinating

01:12:52.899 --> 01:12:55.819
reflection of where the studio system was at

01:12:55.819 --> 01:12:58.840
in 1970. Definitely in Japan, but also really

01:12:58.840 --> 01:13:00.680
kind of throughout the world. It's fascinating

01:13:00.680 --> 01:13:03.439
for that reason as well, I think. I do want to

01:13:03.439 --> 01:13:06.039
mention, though, like, the form and the aesthetic

01:13:06.039 --> 01:13:09.020
in this movie is really beautiful. Like, especially

01:13:09.020 --> 01:13:11.180
considering, like, how rushed the production

01:13:11.180 --> 01:13:15.140
was, it's really a formally impressive movie,

01:13:15.220 --> 01:13:17.619
in my opinion. And, like, maybe that sounds ridiculous.

01:13:17.760 --> 01:13:19.899
There's so much that's, like, campy and ridiculous

01:13:19.899 --> 01:13:22.359
and over the top in this movie. But, like, I

01:13:22.359 --> 01:13:24.199
have a lot of examples here on our Google Doc

01:13:24.199 --> 01:13:26.239
of, like, individual scenes that are just, like,

01:13:26.729 --> 01:13:30.029
perfectly shot and edited and scored. And like,

01:13:30.029 --> 01:13:31.810
and I know I was maybe like a little bit too

01:13:31.810 --> 01:13:34.409
hard on Eberra Horror of the Deep and Jun Fukuda.

01:13:34.510 --> 01:13:36.430
And we talked about that whenever that was like

01:13:36.430 --> 01:13:38.949
a month ago. But I think then you watch a movie

01:13:38.949 --> 01:13:40.789
like this and you're like, oh man, a Shiro Honda

01:13:40.789 --> 01:13:44.770
knows how to make a movie. Like it's, you know,

01:13:44.789 --> 01:13:48.569
it's, it's, it's suspenseful. It's like funny,

01:13:48.649 --> 01:13:51.630
sometimes unintentionally, but sometimes very

01:13:51.630 --> 01:13:55.199
purposefully, I think. So I'll just choose one

01:13:55.199 --> 01:13:56.840
of these examples to talk about here because

01:13:56.840 --> 01:14:00.760
I put too many in here. But I'll use the example

01:14:00.760 --> 01:14:03.899
of like when the Japanese mainlanders go to Selga

01:14:03.899 --> 01:14:06.319
Island, the first time they see the space amoeba.

01:14:06.880 --> 01:14:09.180
when it's not actually possessing any sea creature,

01:14:09.300 --> 01:14:12.859
is like a blob of blue light underneath the water,

01:14:12.899 --> 01:14:16.340
basically. And it's stunningly beautiful. There's

01:14:16.340 --> 01:14:19.779
this atmospheric cave, and we cut from a sort

01:14:19.779 --> 01:14:21.899
of distant shot of the characters to a close

01:14:21.899 --> 01:14:25.319
-up of the blue amoeba, and the water's bubbling

01:14:25.319 --> 01:14:29.220
up, and there's this cool neon glow. It reminded

01:14:29.220 --> 01:14:31.260
me a little bit of The Fog by John Carpenter,

01:14:31.399 --> 01:14:33.359
which in my opinion is like a horror movie about

01:14:33.359 --> 01:14:35.979
light and shape and color and movement, like

01:14:35.979 --> 01:14:39.420
pure formal cinematic properties, you know? And

01:14:39.420 --> 01:14:41.000
this might, I don't know, it sounds a little

01:14:41.000 --> 01:14:42.560
over the top, but I feel like Space Amoeba is

01:14:42.560 --> 01:14:45.560
kind of the same thing where it's like, you know,

01:14:45.560 --> 01:14:48.680
at least in that scene, the threat is just like...

01:14:49.260 --> 01:14:52.079
pure visual cinematic form. It's gorgeous. And

01:14:52.079 --> 01:14:54.260
I love that scene. And there are a lot of other

01:14:54.260 --> 01:14:56.899
moments like that in this movie. And Shiro Honda

01:14:56.899 --> 01:15:00.720
is just a wonderful filmmaker. And even if the

01:15:00.720 --> 01:15:03.439
plot of the movie is pretty ridiculous, he's

01:15:03.439 --> 01:15:05.279
still able to make a pretty great movie, I think.

01:15:06.140 --> 01:15:08.279
Dude, I think you just sold me on this movie.

01:15:08.579 --> 01:15:12.239
Give it up. That was awesome. Well, I don't know.

01:15:12.300 --> 01:15:13.920
I mean, maybe I liked it a little more than I

01:15:13.920 --> 01:15:17.399
should. But it's... I just love it. It's extremely

01:15:17.399 --> 01:15:19.819
well made in my opinion. But you're right. And

01:15:19.819 --> 01:15:23.619
it's just because like I watched this movie having

01:15:23.619 --> 01:15:27.600
seen almost every other Ishiro Honda kaiju movie.

01:15:27.899 --> 01:15:31.859
So like my bar for him is so high that I think

01:15:31.859 --> 01:15:37.439
Space Amoeba is a very uncharacteristically subpar.

01:15:37.920 --> 01:15:40.739
But then what you're talking about, there are

01:15:40.739 --> 01:15:45.159
absolutely truly memorable. compositions in this

01:15:45.159 --> 01:15:49.159
film and the one of your examples also is on

01:15:49.159 --> 01:15:54.760
my list when Rico he suffers like PTSD he's in

01:15:54.760 --> 01:15:59.420
shock after surviving the Gizora attack and he's

01:15:59.420 --> 01:16:02.020
brought to the native village and the whole like

01:16:02.020 --> 01:16:05.039
the lighting in that scene is perfect it's dark

01:16:05.039 --> 01:16:08.899
but like torchlight is lighting the scene and

01:16:08.899 --> 01:16:13.229
the music the There's like a swell of drums and

01:16:13.229 --> 01:16:17.149
like very, very like heart palpitations. Like

01:16:17.149 --> 01:16:18.970
you're just like, this is something, something's

01:16:18.970 --> 01:16:22.289
going on here. Yeah. And then as what your example

01:16:22.289 --> 01:16:24.750
is a series of closeups as natives spy through

01:16:24.750 --> 01:16:27.550
holes in the wall. Man, it's Kudo actually, not

01:16:27.550 --> 01:16:30.689
Rico. But yeah, you just get a series of quick

01:16:30.689 --> 01:16:33.529
shots. Or is it Rico? It might be Rico. Sorry,

01:16:33.689 --> 01:16:35.550
I think I'm wrong in my note here. Sorry about

01:16:35.550 --> 01:16:37.789
that. Okay, no, it's okay. Just a series of quick

01:16:37.789 --> 01:16:41.060
shots of eyes through peepholes. And I'm like,

01:16:41.119 --> 01:16:44.579
oh, oh, this is this is interesting. This is

01:16:44.579 --> 01:16:49.479
visually thoughtful. This is awesome. Yeah, I

01:16:49.479 --> 01:16:51.279
think that's exactly right. Visually thoughtful.

01:16:51.460 --> 01:16:54.020
Like you can tell how much care and preparation

01:16:54.020 --> 01:16:57.039
is put into like the entire construction of the

01:16:57.039 --> 01:17:00.579
movie. And like, you know, plot characters, some

01:17:00.579 --> 01:17:02.500
other stuff is maybe not quite as impressive

01:17:02.500 --> 01:17:04.659
in this movie. But the formal craftsmanship is

01:17:04.659 --> 01:17:08.060
fantastic. There's another note I wrote. And

01:17:08.060 --> 01:17:10.779
I got a sense, because of scenes like that, I

01:17:10.779 --> 01:17:13.859
got a sense that, look, Honda knows he's working

01:17:13.859 --> 01:17:17.800
with constraints. He knows this script is not

01:17:17.800 --> 01:17:21.840
where it should be. But he, as I wrote, is shooting

01:17:21.840 --> 01:17:26.859
the heck out of Ghizora. He's doing all he can

01:17:26.859 --> 01:17:30.720
to, like, punch it up, to do something interesting

01:17:30.720 --> 01:17:35.670
with nothing. Script -wise, this movie offers

01:17:35.670 --> 01:17:42.510
hardly anything. To depict Ghizora, there's a

01:17:42.510 --> 01:17:47.810
lot of POV looking up at the monster to establish

01:17:47.810 --> 01:17:51.350
size and scope. There's a lot of rear projection

01:17:51.350 --> 01:17:57.109
to depict the monster. He is just doing all he

01:17:57.109 --> 01:18:03.750
can with the camera. It's admirable. Yeah, totally,

01:18:03.869 --> 01:18:07.829
yeah. I always like it when skilled directors

01:18:07.829 --> 01:18:11.850
are maybe assigned something, you know, like

01:18:11.850 --> 01:18:13.789
you said, it could use some work. The script

01:18:13.789 --> 01:18:16.050
is in kind of rough shape, but I always love

01:18:16.050 --> 01:18:18.050
it when skilled directors are assigned something

01:18:18.050 --> 01:18:21.890
that is not in great shape, and they still treat

01:18:21.890 --> 01:18:23.890
it like it's going to be the greatest movie ever

01:18:23.890 --> 01:18:25.949
made, you know? I love it when directors do that.

01:18:26.470 --> 01:18:30.569
Yeah, and you can tell. Yeah. Yeah. And there

01:18:30.569 --> 01:18:32.550
are other examples too, but I might save a couple

01:18:32.550 --> 01:18:35.409
of those for my breakdown towards the end. Same,

01:18:35.409 --> 01:18:39.109
same. Yeah. But yeah, formally a really beautiful

01:18:39.109 --> 01:18:41.689
movie. Speaking of which, should we jump into

01:18:41.689 --> 01:18:44.470
our individual breakdowns? I think that's a good

01:18:44.470 --> 01:18:47.409
call. Okay. Well, yeah, that's a good segue.

01:18:47.529 --> 01:18:49.770
Maybe I'll just kind of jump right into my good

01:18:49.770 --> 01:18:52.529
stuff. And then you can talk about what you like

01:18:52.529 --> 01:18:54.729
about the movie. But there's another example.

01:18:54.890 --> 01:18:57.630
It's when Obata is first possessed by the space

01:18:57.630 --> 01:19:00.369
amoeba. And there's like a series of dissolves

01:19:00.369 --> 01:19:02.909
where it's like Obata is lying down on the ground.

01:19:03.170 --> 01:19:05.569
And there's like a menacing voiceover that like

01:19:05.569 --> 01:19:09.319
the space creature is... is giving on the soundtrack

01:19:09.319 --> 01:19:11.340
which doesn't make a lot of sense why would the

01:19:11.340 --> 01:19:14.239
space amoeba speak in japanese and how anyway

01:19:14.239 --> 01:19:16.539
like that's that's just like it doesn't make

01:19:16.539 --> 01:19:19.020
any sense but anyway like visually like it's

01:19:19.020 --> 01:19:21.060
a series of dissolves where like we start kind

01:19:21.060 --> 01:19:23.880
of farther away from obata and then we just get

01:19:23.880 --> 01:19:26.640
closer and closer and he's like lying still on

01:19:26.640 --> 01:19:29.439
the ground as this like space creature is like

01:19:29.439 --> 01:19:32.260
speaking from inside of him And it's a very poetic,

01:19:32.300 --> 01:19:35.100
nightmarish moment. I really love that scene,

01:19:35.159 --> 01:19:38.859
too. And like you were saying, again, the screenplay

01:19:38.859 --> 01:19:42.979
doesn't make any sense, but Honda really makes

01:19:42.979 --> 01:19:44.859
that as good as it can possibly be, just through

01:19:44.859 --> 01:19:49.440
visual form alone. So I love that. Ifukube's,

01:19:49.440 --> 01:19:51.859
sorry, Ifukube's score, I think is especially

01:19:51.859 --> 01:19:55.720
great this time around. And I read some reviews

01:19:55.720 --> 01:19:57.460
that kind of criticized it a little bit for not

01:19:57.460 --> 01:19:59.779
really being very original. And I guess that's

01:19:59.779 --> 01:20:02.680
probably valid, but like there, I don't know,

01:20:02.680 --> 01:20:04.779
like it's really evocative. There's sort of like

01:20:04.779 --> 01:20:08.220
an island drumming theme, which sounds vaguely

01:20:08.220 --> 01:20:10.239
offensive and maybe it is, but it's also like

01:20:10.239 --> 01:20:13.199
extremely rich and kind of like imaginative.

01:20:13.199 --> 01:20:15.100
I didn't really expect that. So that's very cool.

01:20:15.479 --> 01:20:17.380
And then I think like the creature effects are

01:20:17.380 --> 01:20:19.500
actually pretty great in this movie. So shout

01:20:19.500 --> 01:20:22.840
out to, make sure I get his name right, Sadamasa

01:20:22.840 --> 01:20:25.699
Arikawa. I think the creature effects of the

01:20:25.699 --> 01:20:28.979
three animals that we see in this movie, which

01:20:28.979 --> 01:20:32.119
are a cuttlefish, a crab, and a snapping turtle,

01:20:32.300 --> 01:20:35.680
they're a lot of fun. I think like some of the

01:20:35.680 --> 01:20:37.760
closeups of the turtle, especially when it's

01:20:37.760 --> 01:20:39.840
like neck elongates and it kind of like shoots

01:20:39.840 --> 01:20:42.079
its head out, you know, like alien style from

01:20:42.079 --> 01:20:44.699
the movie Alien. You know, campy and frightening

01:20:44.699 --> 01:20:48.340
at the same time. I think Gezira, the cuttlefish,

01:20:48.500 --> 01:20:51.159
actually looks pretty great. You know, it's like

01:20:51.159 --> 01:20:54.039
kind of seamless editing between like underwater

01:20:54.039 --> 01:20:58.079
footage of Gezira and then like some closer shots

01:20:58.079 --> 01:21:00.779
of stuntmen like inside of a creature suit, basically.

01:21:01.100 --> 01:21:03.699
All that is edited together really well, in my

01:21:03.699 --> 01:21:06.359
opinion. And I love the close -ups of Gezira's

01:21:06.359 --> 01:21:08.359
like red -yellow eyes, you know? Like they just

01:21:08.359 --> 01:21:12.789
look so cool, so stylish, so fun. So, yeah, again,

01:21:12.869 --> 01:21:15.930
just in a nutshell, I'll say this is like a beautiful,

01:21:16.090 --> 01:21:18.750
very well -made movie, and there's so much imagination

01:21:18.750 --> 01:21:24.289
in the visual style of it. Nice, nice. Do you

01:21:24.289 --> 01:21:27.029
have any more? That's it for my good category.

01:21:27.189 --> 01:21:31.930
Yeah, I'll second you in terms of Gizora with

01:21:31.930 --> 01:21:36.350
the tentacle puppets, like the props that come

01:21:36.350 --> 01:21:41.050
in through the huts to scoop up characters. Like

01:21:41.050 --> 01:21:43.989
those are really good looking and very real.

01:21:44.069 --> 01:21:49.369
And those are fun scenes to watch. I loved seeing

01:21:49.369 --> 01:21:52.829
these actors doing their thing, familiar faces.

01:21:54.029 --> 01:21:57.250
I liked, yeah, like the characters didn't make

01:21:57.250 --> 01:22:01.350
sense, but they were all doing their own thing.

01:22:01.430 --> 01:22:04.789
They stood out enough to me. Yeah, and I think

01:22:04.789 --> 01:22:09.159
what Honda's doing with his direction. is dramatic

01:22:09.159 --> 01:22:14.399
and dynamic. Yeah. Yeah. I mean, I'm kind of

01:22:14.399 --> 01:22:16.880
repeating myself, but they're all things worth

01:22:16.880 --> 01:22:21.680
repeating. For sure. Yeah. Yeah. And I, I agree.

01:22:21.739 --> 01:22:23.760
The actors are very charismatic. I think the,

01:22:23.840 --> 01:22:26.819
like there's a scene where, again, I have to

01:22:26.819 --> 01:22:31.880
get the names right. Sorry. Kudo and. So Kudo

01:22:31.880 --> 01:22:34.180
and Ayako are, like, on a ship on their way to

01:22:34.180 --> 01:22:35.899
Selga Island, and they haven't gotten there yet.

01:22:36.079 --> 01:22:38.619
And they're kind of, like, having this fun, flirtatious

01:22:38.619 --> 01:22:41.100
conversation. And Kudo's like, oh, I'm an expert

01:22:41.100 --> 01:22:42.939
at speaking with monsters. And she kind of laughs

01:22:42.939 --> 01:22:44.680
a little bit. And she's like, oh, yeah, you're

01:22:44.680 --> 01:22:46.220
going to write a great book about this, right?

01:22:46.520 --> 01:22:49.000
And, like, the movie kind of slows down to just,

01:22:49.020 --> 01:22:50.739
like, show their relationship. And it's really

01:22:50.739 --> 01:22:53.460
charismatic. Like, I think those two actors are

01:22:53.460 --> 01:22:55.380
great. And I really appreciated that, like, for

01:22:55.380 --> 01:22:57.590
just a minute. The movie is like, hey, look at

01:22:57.590 --> 01:22:59.130
these two people having fun with each other.

01:22:59.210 --> 01:23:01.909
Maybe they're developing feelings for each other,

01:23:01.989 --> 01:23:03.930
you know? Like, I wish the movie had gone more

01:23:03.930 --> 01:23:06.010
in that direction. But I like that little bit

01:23:06.010 --> 01:23:10.260
of that that we get. Yeah, yeah. But there's

01:23:10.260 --> 01:23:15.039
a lot of bad stuff too. You know, it does kind

01:23:15.039 --> 01:23:17.439
of seem like a movie of like wasted potential.

01:23:17.479 --> 01:23:19.260
Like I'm sure like the rushed production schedule

01:23:19.260 --> 01:23:22.180
again, kind of impacted that a little bit. I

01:23:22.180 --> 01:23:24.760
think as usual, the human characters are not

01:23:24.760 --> 01:23:28.100
really very interesting compared to the monsters

01:23:28.100 --> 01:23:30.680
that are around them. Again, the construction,

01:23:30.840 --> 01:23:32.939
like the building of the plot early on is just

01:23:32.939 --> 01:23:34.560
like, wait a minute, who are these people and

01:23:34.560 --> 01:23:36.880
what's going on? Kind of a little bit all over

01:23:36.880 --> 01:23:42.380
the place. You know, I mean, yeah, plot and screenplay,

01:23:42.520 --> 01:23:46.220
really no effort was put into them at all. Towards

01:23:46.220 --> 01:23:49.399
the end, it's like, wait a minute, why are bats

01:23:49.399 --> 01:23:52.720
so important? Why is echolocation or sonic waves

01:23:52.720 --> 01:23:55.859
or whatever, why is that the thing that defeats

01:23:55.859 --> 01:23:59.460
the monsters? You can tell they did not think

01:23:59.460 --> 01:24:03.000
that through. You know, like in a way, I think

01:24:03.000 --> 01:24:05.140
the movie moves fast enough that like it's OK,

01:24:05.260 --> 01:24:07.180
like you kind of don't totally care about that.

01:24:07.340 --> 01:24:09.619
But if you think about it for even like two seconds,

01:24:09.739 --> 01:24:12.079
you're like, oh, this. Yeah, this does not hold

01:24:12.079 --> 01:24:14.560
together, you know? Oh, I immediately latched

01:24:14.560 --> 01:24:17.220
on to that. Like it was just such a shortcut

01:24:17.220 --> 01:24:22.439
of science mumbo jumbo. Like, yeah, echolocation.

01:24:22.640 --> 01:24:25.699
That's that's the thing that will stop the monster.

01:24:25.859 --> 01:24:29.489
And you're as an audience just like, OK. Sure.

01:24:29.569 --> 01:24:31.970
I've seen enough of these movies. I'll buy it.

01:24:32.050 --> 01:24:36.529
Let's continue. Right. It might not be the most

01:24:36.529 --> 01:24:38.770
ridiculous thing in any kaiju movie, but it's

01:24:38.770 --> 01:24:44.789
up there. Yeah. Yeah. I was not as taken with

01:24:44.789 --> 01:24:49.449
the Gezora suit, it seems like, as you were,

01:24:49.550 --> 01:24:53.890
which is ironic because I like the later suits

01:24:53.890 --> 01:24:58.800
for the turtle and the crab. I feel like those

01:24:58.800 --> 01:25:02.920
suits are very detailed and realistic, but Gizora

01:25:02.920 --> 01:25:07.079
to me, it comes down to the eyes. Like the eyes

01:25:07.079 --> 01:25:11.500
are so googly eyed and fake. It's just rubber,

01:25:11.619 --> 01:25:14.920
like painted rubber. But then you look at the

01:25:14.920 --> 01:25:20.020
turtle, Kamibus, those eyes are like glass and

01:25:20.020 --> 01:25:25.479
they're properly made up props. And I don't know,

01:25:25.520 --> 01:25:28.579
it's just like. You know, I think this movie

01:25:28.579 --> 01:25:31.340
missed Tsuburaya. I think had Tsuburaya been

01:25:31.340 --> 01:25:36.279
involved, it could have been even even more like

01:25:36.279 --> 01:25:38.800
top tier where you want a Honda movie to live.

01:25:38.939 --> 01:25:42.399
And I think it suffers without Tsuburaya. And

01:25:42.399 --> 01:25:45.000
I just my biggest thing, my biggest thing. Oh,

01:25:45.079 --> 01:25:47.260
this is a fun thing. This is a and this might

01:25:47.260 --> 01:25:51.579
be a Yogg specific note because the dub is so

01:25:51.579 --> 01:25:55.220
bad. Not the dub, like syncing, like the syncopation

01:25:55.220 --> 01:25:58.430
is really good, actually. But the voice actors

01:25:58.430 --> 01:26:03.590
sound like Americans trying to do English and

01:26:03.590 --> 01:26:08.430
Australian accents. Like the accents are bad.

01:26:09.350 --> 01:26:17.829
And it was very campy and funny. I do like watching

01:26:17.829 --> 01:26:20.170
the American version and the English dub sometimes

01:26:20.170 --> 01:26:22.989
for that reason. But it's distracting sometimes

01:26:22.989 --> 01:26:26.800
too. But I've never heard an English. I swear

01:26:26.800 --> 01:26:29.020
one of these characters was Australian or trying

01:26:29.020 --> 01:26:31.199
to be Australian. It was weird. It was like a

01:26:31.199 --> 01:26:32.939
weird choice. Why would you choose to do that?

01:26:33.260 --> 01:26:36.300
Just make them American. Okay, my biggest thing

01:26:36.300 --> 01:26:44.859
is... Sorry, one more. Obata, he's this corporate

01:26:44.859 --> 01:26:48.619
spy. And it's revealed that his whole plan of

01:26:48.619 --> 01:26:53.699
villainy is to steal the hotel plans. And I kind

01:26:53.699 --> 01:27:00.510
of went... okay like that's it yeah i don't i

01:27:00.510 --> 01:27:03.649
don't care about your capitalist schemes right

01:27:03.649 --> 01:27:12.310
who cares yeah and if i can just add on to that

01:27:12.310 --> 01:27:14.050
real quick like i i just think it's funny that

01:27:14.050 --> 01:27:16.710
like And Kudo, I think, is the one who sees him

01:27:16.710 --> 01:27:18.630
steal those plans. And he calls him out on it.

01:27:18.649 --> 01:27:21.270
He's like, hey, you stole those plans. And the

01:27:21.270 --> 01:27:22.569
other guy's like, yeah, you're right. I did.

01:27:22.670 --> 01:27:25.369
Here they are. And that's the end of that storyline,

01:27:25.609 --> 01:27:28.489
basically. Then Obata is like, hey, we're all

01:27:28.489 --> 01:27:30.189
in a predicament now. Let's work together. And

01:27:30.189 --> 01:27:32.329
Kudo's like, fine. And that's it. That's the

01:27:32.329 --> 01:27:35.170
end of that storyline. I expected Obata to pull

01:27:35.170 --> 01:27:37.609
a gun on them or something. But it turns out

01:27:37.609 --> 01:27:41.250
he was a nice guy. Right. He's just a capitalist.

01:27:41.489 --> 01:27:44.659
You can't blame him. Yeah. So that's actually

01:27:44.659 --> 01:27:46.319
pretty funny now that we're laughing about it.

01:27:47.039 --> 01:27:50.100
Okay, my big general note is that I don't think

01:27:50.100 --> 01:27:52.560
there's enough script here to sustain a feature

01:27:52.560 --> 01:27:56.340
-length movie. And it goes back to Honda doing

01:27:56.340 --> 01:27:58.600
all he can. I think the pacing of this film is

01:27:58.600 --> 01:28:02.899
very languid to me. It's slow. And I think it's

01:28:02.899 --> 01:28:06.279
because Honda is literally just trying to fill

01:28:06.279 --> 01:28:10.600
runtime. Yeah, I bet the printed copy of the

01:28:10.600 --> 01:28:14.590
script is like 50 pages. hondo's like oh my god

01:28:14.590 --> 01:28:20.029
there's also a lot of like repeat scenes like

01:28:20.029 --> 01:28:23.510
how many times does a monster come ashore we

01:28:23.510 --> 01:28:26.289
have an attack and then we have a debrief and

01:28:26.289 --> 01:28:28.750
then the same thing happens again and the same

01:28:28.750 --> 01:28:31.989
thing happens again i just like this is indicative

01:28:31.989 --> 01:28:38.600
of a very shallow script yeah yeah Which was

01:28:38.600 --> 01:28:40.760
probably made even like shallower throughout

01:28:40.760 --> 01:28:42.920
the production process as the producers like

01:28:42.920 --> 01:28:45.439
cut scenes over and over again, you know? Yeah.

01:28:45.939 --> 01:28:48.479
I will say the underwater scene is also cool.

01:28:48.579 --> 01:28:51.960
That's a good thing. I'm glad it went there with

01:28:51.960 --> 01:28:55.420
the budget they had. Yeah. Like the moment where

01:28:55.420 --> 01:28:58.359
Gezira is burned and then like goes underwater

01:28:58.359 --> 01:29:00.260
and like it kind of has like a trail of smoke

01:29:00.260 --> 01:29:02.960
behind it underwater. Looks fantastic. I love

01:29:02.960 --> 01:29:06.369
that whole scene. Yep. Yep. Yeah. Yeah. But yeah,

01:29:06.409 --> 01:29:09.350
no, screenplay -wise, it's just like, man, you

01:29:09.350 --> 01:29:12.010
needed to spend, like, there were three drafts

01:29:12.010 --> 01:29:13.369
of the screenplay, and I feel like there needed

01:29:13.369 --> 01:29:15.850
to be, like, 20 more to get this to, like, a

01:29:15.850 --> 01:29:19.229
filmable spot, you know what I mean? Yeah, and,

01:29:19.229 --> 01:29:22.409
like, the opening is pretty impressive. Like,

01:29:22.470 --> 01:29:25.350
we have this space probe flying into outer space,

01:29:25.409 --> 01:29:27.550
and it's flying up to Jupiter, and then this,

01:29:27.569 --> 01:29:32.010
like, blue phantasmal force seeps into the rocket.

01:29:32.399 --> 01:29:34.060
or the probe or whatever. And you're like, Oh,

01:29:34.159 --> 01:29:36.140
that's a cool idea. Like that's a good start

01:29:36.140 --> 01:29:38.560
to a monster movie. And then that opportunity

01:29:38.560 --> 01:29:41.199
is wasted. So you're, you're right. I agree with

01:29:41.199 --> 01:29:43.659
you there. Yeah. Yeah. I could, I could pick

01:29:43.659 --> 01:29:46.859
it apart a little bit more, but why, why beat

01:29:46.859 --> 01:29:52.279
a dead, a dead Kaiju? You, you certainly can

01:29:52.279 --> 01:29:53.979
pick it apart more if you want to. We have a

01:29:53.979 --> 01:29:58.439
little time. We're good. All right. It's yeah.

01:29:58.960 --> 01:30:01.159
Suffice it to say it's a rough movie. It could

01:30:01.159 --> 01:30:03.800
have used a lot more polishing for sure. Yeah.

01:30:05.600 --> 01:30:09.739
And there is so much camp in this movie. Like

01:30:09.739 --> 01:30:12.840
all of it is campy, but let's see here. I'm trying

01:30:12.840 --> 01:30:16.420
to find one of my favorite examples. There's

01:30:16.420 --> 01:30:19.699
early on. There's a scene where like a guy like

01:30:19.699 --> 01:30:21.699
puts his hand in the water and he's like, it's

01:30:21.699 --> 01:30:24.039
ice cold. And the other guy's like, yeah, the

01:30:24.039 --> 01:30:26.399
temperature drops at night. And I just thought

01:30:26.399 --> 01:30:27.939
that was a really funny line. Like, yeah, of

01:30:27.939 --> 01:30:29.920
course it does. Like everybody knows that, right?

01:30:30.279 --> 01:30:32.199
The temperature drops at night. There's another

01:30:32.199 --> 01:30:36.560
moment where Saki is like consoling Riko once

01:30:36.560 --> 01:30:39.880
they find Riko and he's like very, he's in shock

01:30:39.880 --> 01:30:41.779
at this like monster attack. He can't speak.

01:30:41.880 --> 01:30:44.500
He's in a daze, all this stuff. And Saki is like

01:30:44.500 --> 01:30:47.380
very tearfully trying to console him. And one

01:30:47.380 --> 01:30:49.859
of the other characters is like, that's too bad.

01:30:50.039 --> 01:30:52.539
They were probably lovers. And I thought that

01:30:52.539 --> 01:30:55.460
line was really funny too. Why do you feel the

01:30:55.460 --> 01:30:58.680
need to say that out loud? My campy is also related

01:30:58.680 --> 01:31:02.380
to Rico because this poor man is in need of emergency

01:31:02.380 --> 01:31:07.319
services, medical help. Yeah. He's just getting

01:31:07.319 --> 01:31:11.800
pushed along through the plot. At one point,

01:31:11.840 --> 01:31:15.899
it might be a wedding. I don't know what it was.

01:31:15.979 --> 01:31:18.479
It was like some sort of formal ceremony at the

01:31:18.479 --> 01:31:22.060
village. And he's donned up in flowers with his

01:31:22.060 --> 01:31:25.880
girlfriend. And if they're not getting married,

01:31:25.960 --> 01:31:28.779
I still thought to myself, they're marrying the

01:31:28.779 --> 01:31:32.060
poor guy. He can't speak like he's just being

01:31:32.060 --> 01:31:35.279
pushed along. And then he wakes up or he snaps

01:31:35.279 --> 01:31:37.439
out of it. But that was very funny to me. Just

01:31:37.439 --> 01:31:42.739
come along, Rico, you poor bastard. We'll just

01:31:42.739 --> 01:31:44.840
guide you through life. We'll push you to whatever

01:31:44.840 --> 01:31:47.800
new big life event you have going on. Oh, my

01:31:47.800 --> 01:31:52.800
gosh. Poor Rico. I did also like the line where

01:31:52.800 --> 01:31:55.090
like. You know, we're dealing with Gezira for

01:31:55.090 --> 01:31:57.689
like the first maybe 45 minutes or hour of the

01:31:57.689 --> 01:32:01.189
movie, which is like a scuttlefish, octopus type

01:32:01.189 --> 01:32:03.930
thing. And then like the next monster is like

01:32:03.930 --> 01:32:06.569
a crab thing. And one of the characters is like,

01:32:06.689 --> 01:32:09.649
now what? It's a crab. I really like that line

01:32:09.649 --> 01:32:14.270
a lot as well. Yeah, there are a lot of other

01:32:14.270 --> 01:32:19.300
ones, but like also just like, you know. When

01:32:19.300 --> 01:32:22.319
Gezira, like, grabs somebody in its tentacles,

01:32:22.500 --> 01:32:24.220
like, it's kind of frightening at first because,

01:32:24.300 --> 01:32:26.159
like you said before, we have these close -ups

01:32:26.159 --> 01:32:29.159
of these, like, scaly, gross, slimy tentacles,

01:32:29.159 --> 01:32:31.640
and it looks pretty, maybe not convincing, but,

01:32:31.680 --> 01:32:33.960
like, effective, you know? And then there's,

01:32:33.979 --> 01:32:35.659
like, a wider shot where you can tell it's just,

01:32:35.720 --> 01:32:38.600
like, a small doll or, like, action figure in,

01:32:38.600 --> 01:32:40.739
like, the octopus's tentacle. And it's, like,

01:32:40.840 --> 01:32:44.039
just that combination of, like, horror and silliness

01:32:44.039 --> 01:32:46.220
is one of my favorite things about kaiju movies.

01:32:46.380 --> 01:32:52.260
I love that. Yeah, yeah. But there are a lot

01:32:52.260 --> 01:32:54.960
more examples of camp. So anybody out there,

01:32:55.039 --> 01:32:57.380
if you haven't seen this movie, you are in for

01:32:57.380 --> 01:32:59.500
a treat. Let us know your favorite campy moments.

01:33:00.340 --> 01:33:04.060
That's true. All right, any other campy stuff

01:33:04.060 --> 01:33:06.640
or good or bad that you want to bring up? Nah,

01:33:06.720 --> 01:33:09.800
I'm good. All right. Well, we're at the part

01:33:09.800 --> 01:33:11.819
of the episode where, as always, we give the

01:33:11.819 --> 01:33:14.399
film a rating. Number one, it's a timeless classic

01:33:14.399 --> 01:33:17.020
and stands the test of time. Number two, there

01:33:17.020 --> 01:33:18.859
may be some antiquated moments, but overall it's

01:33:18.859 --> 01:33:21.539
great. It stands the test of time. Number three,

01:33:21.600 --> 01:33:23.819
it may be historically significant or just fun,

01:33:23.979 --> 01:33:26.680
but it does not stand the test of time. And our

01:33:26.680 --> 01:33:29.140
lowest rating, it is not worth revisiting and

01:33:29.140 --> 01:33:32.439
definitely does not stand the test of time. What's

01:33:32.439 --> 01:33:35.340
your verdict, Vincent? You know, I was really

01:33:35.340 --> 01:33:39.159
torn. I was torn between the bottom two, but

01:33:39.159 --> 01:33:43.020
you and your, you're preaching the word of space

01:33:43.020 --> 01:33:47.500
to me, but it converted me. Not too much, but

01:33:47.500 --> 01:33:51.840
I will say that this does have a lot of fun moments

01:33:51.840 --> 01:33:57.739
and some great directorial effort from a great

01:33:57.739 --> 01:34:01.739
director in the later stages of his career, battling

01:34:01.739 --> 01:34:05.739
corporate forces beyond his control, trying to

01:34:05.739 --> 01:34:09.359
subvert his work in every way they can. And he

01:34:09.359 --> 01:34:13.460
pulls it off. Enough. I think there's still way

01:34:13.460 --> 01:34:15.920
too much to be desired with this movie. You can

01:34:15.920 --> 01:34:21.199
see it. Like it, it also seems like the last,

01:34:21.220 --> 01:34:25.579
the last gasp of a dying tradition. And it's

01:34:25.579 --> 01:34:29.079
a little sad. Yeah. It's kind of a sad movie

01:34:29.079 --> 01:34:32.460
in that way. So I'm going to say there's a lot

01:34:32.460 --> 01:34:35.579
of fun moments. It is historically significant,

01:34:35.819 --> 01:34:38.680
but I don't think it ultimately stands the test

01:34:38.680 --> 01:34:41.590
of time. That's kind of a perfect review. I don't

01:34:41.590 --> 01:34:43.229
think I can top that. I think that's very well

01:34:43.229 --> 01:34:47.050
said. I do agree with everything you said, but

01:34:47.050 --> 01:34:50.970
I kind of love this movie. There were times when

01:34:50.970 --> 01:34:52.510
I was watching it where I was like, I'm going

01:34:52.510 --> 01:34:54.710
to give this our highest rating. It's perfectly

01:34:54.710 --> 01:34:57.109
made. It's so fun. It has so much imagination.

01:34:57.909 --> 01:35:03.130
With a little distance and semi -objective criticism

01:35:03.130 --> 01:35:05.069
or analysis or whatever, it's like, oh, this

01:35:05.069 --> 01:35:07.390
screenplay is rough. Could have been a lot better

01:35:07.390 --> 01:35:09.810
than it was. Like, it faced so many production

01:35:09.810 --> 01:35:12.369
hurdles like we already talked about. So it's

01:35:12.369 --> 01:35:14.869
compromised. It's not a masterpiece. It's not

01:35:14.869 --> 01:35:16.750
at the level of the original Godzilla, of course,

01:35:16.789 --> 01:35:18.909
or even like Ghidorah the Three -Headed Monster,

01:35:19.050 --> 01:35:21.170
in my opinion. My second favorite Ishiro Honda

01:35:21.170 --> 01:35:24.689
kaiju movie. But it's great. I love it. It's

01:35:24.689 --> 01:35:27.890
beautiful. It's well -made. I like the actors.

01:35:28.029 --> 01:35:30.850
I like the music. I like the creature effects.

01:35:31.720 --> 01:35:33.899
It does kind of drag at times, but then some

01:35:33.899 --> 01:35:36.560
new image, I think, will come along to grab your

01:35:36.560 --> 01:35:38.760
attention. So I didn't think it was too boring.

01:35:39.399 --> 01:35:42.500
So as tempted as I am to give this our highest

01:35:42.500 --> 01:35:44.659
rating, I'm going to give it our second highest.

01:35:45.140 --> 01:35:47.539
There may be some antiquated moments, some rough

01:35:47.539 --> 01:35:49.840
moments, but overall it's great. I think it stands

01:35:49.840 --> 01:35:52.779
the test of time. I hope to watch it again someday.

01:35:53.199 --> 01:35:57.060
And yeah, I love Ishiro Honda. He's just such

01:35:57.060 --> 01:36:00.630
a good filmmaker. You know, like, yeah, it is

01:36:00.630 --> 01:36:02.609
kind of like the dying gasp of a certain cinematic

01:36:02.609 --> 01:36:05.170
tradition, but then, like, as we know, the next

01:36:05.170 --> 01:36:07.550
era of Godzilla movies, which I think is the

01:36:07.550 --> 01:36:11.109
Heisei era, right, has a lot of good movies,

01:36:11.130 --> 01:36:14.409
like the 1984 return of Godzilla, Godzilla vs.

01:36:14.569 --> 01:36:17.529
Biolante, King Ghidorah vs. Godzilla, or maybe

01:36:17.529 --> 01:36:21.390
that's swapped around. Anyway, you know, this

01:36:21.390 --> 01:36:23.670
was not the end of kaiju movies, of course, just

01:36:23.670 --> 01:36:26.350
the end of a certain era, so fascinating movie,

01:36:26.470 --> 01:36:30.310
and mostly I loved it. That's fantastic. I, I

01:36:30.310 --> 01:36:34.609
love that. I, yeah, I, if, if, if I've gotten

01:36:34.609 --> 01:36:38.390
one thing out of this episode, it's a deeper

01:36:38.390 --> 01:36:41.149
appreciation for a Shiro Honda, which was already

01:36:41.149 --> 01:36:43.590
pretty deep to begin with. Yeah, man, this, this

01:36:43.590 --> 01:36:47.489
guy is so thoughtful even when he's given something

01:36:47.489 --> 01:36:50.930
like this. Yeah. Right. Yeah. Totally. Yeah.

01:36:51.359 --> 01:36:54.319
And that's like true auteur filmmaking where

01:36:54.319 --> 01:36:57.420
it's kind of like assembly line corporate filmmaking,

01:36:57.560 --> 01:36:59.640
but you're still able to inject your own personal

01:36:59.640 --> 01:37:02.720
style into it. That's the sign of a good director.

01:37:03.119 --> 01:37:05.579
I got to watch it on the Criterion channel in

01:37:05.579 --> 01:37:07.899
the Japanese dub, or sorry, the Japanese language.

01:37:07.979 --> 01:37:10.619
I feel like that's going to enhance my experience

01:37:10.619 --> 01:37:13.500
even more. Yeah, I would think so. And maybe

01:37:13.500 --> 01:37:17.199
I'll watch Yogg, Monster from Space. See how

01:37:17.199 --> 01:37:19.229
I feel about that one. Hopefully it won't be

01:37:19.229 --> 01:37:23.470
another Gamera the Invincible incident. Maybe

01:37:23.470 --> 01:37:26.430
that's the difference here. Yeah. All right.

01:37:26.489 --> 01:37:28.649
Thanks, man. Why don't you wrap this bad boy

01:37:28.649 --> 01:37:31.550
up? Yeah. By the way, what are we talking about

01:37:31.550 --> 01:37:34.130
next time on Camp Kaiju? I can't remember. Do

01:37:34.130 --> 01:37:36.390
you remember your next? Yeah, we're talking about

01:37:36.390 --> 01:37:41.510
King Kong Lives from 1986. So cool. I've never

01:37:41.510 --> 01:37:45.409
seen it. I can't wait to see. Talk about Kinky

01:37:45.409 --> 01:37:49.420
Kong. Kong has a girlfriend in this movie. Whoa.

01:37:49.699 --> 01:37:53.939
I don't hear good reviews. This movie, by all

01:37:53.939 --> 01:37:58.300
critiques, is a bad movie, but maybe we'll love

01:37:58.300 --> 01:38:01.060
it. And Ben Cook -Felts is going to join us for

01:38:01.060 --> 01:38:04.859
that episode. Oh, good. Nice. I can't wait. I

01:38:04.859 --> 01:38:07.260
mean, it'll be something. It'll be memorable,

01:38:07.380 --> 01:38:09.899
I'm sure. Maybe I'll watch Kinky Kong as a companion

01:38:09.899 --> 01:38:13.899
piece as well. We'll see. Doing the hard work.

01:38:14.439 --> 01:38:42.359
Yeah, exactly. Yep, yep. Please check out our

01:38:42.359 --> 01:38:45.479
website, CampKaijuPodcast .com, for more information.

01:38:46.569 --> 01:38:49.090
Camp Kaiju is recorded in Minneapolis, St. Paul

01:38:49.090 --> 01:38:51.510
with Minya's Mailbox music by Ben Cook -Felts.

01:38:51.810 --> 01:38:54.710
Thanks, friends. And until next time, stay campy.

01:38:55.930 --> 01:38:57.989
Camp Kaiju is sponsored by Zach Winter and the

01:38:57.989 --> 01:39:00.590
Zach Pack, powered by Coldwell Banker Realty.

01:39:00.710 --> 01:39:03.229
Your resource for real estate, home rehab, fixing

01:39:03.229 --> 01:39:05.090
and flipping for investor clients and residential

01:39:05.090 --> 01:39:07.689
buyers. Reach out to the Zach Pack today for

01:39:07.689 --> 01:39:09.850
real estate services. Follow the Zach Pack on

01:39:09.850 --> 01:39:12.229
social media and contact the Zach Pack for investment

01:39:12.229 --> 01:39:16.039
opportunities. Link in the show notes. I feel

01:39:16.039 --> 01:39:19.100
cold already. The temperature drops at night.

01:39:19.260 --> 01:39:25.140
Stop worrying about everything. Piyama. No water.

01:39:25.619 --> 01:39:29.500
All right. Peel it. Cool as ice. Just a current

01:39:29.500 --> 01:39:31.359
of cold water. Nothing to worry about.