PG-13 | | Action, Adventure, Fantasy
The crypto-zoological agency Monarch faces off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah.
"It was really cool to work with [director] Michael Dougherty because he's a very big fan, obviously, of Godzilla and the whole universe behind it. So, that was really cool to work with someone who was paying so much attention to detail," Alejandro Diego, a producer at Ollin VFX, said. "We actually were told that there are some Easter eggs that are in the movie, so it was kind of fun for us to try to find them. We found one, I think, but we don't know" Not only was this a fun little exercise for the crew helping bring this colossal story to life, it was also a learning experience for Alejandro, who was more than happy to add fresh intel to his growing mental database of the Godzilla mythos. "Like most people, I knew about Godzilla and had seen some of the movies when I was a kid. I'd seen some other ones, the Japanese versions. Nowadays you look at them and you laugh at how fake they look. That was really about it," he said. "It was nice to learn a lot more about it. It's a great franchise and I think they've done a good job of staying true to the background of it while, at the same time, making a modern movie that audiences of today will like. I didn't realize that there were so many Titans. In the older versions, I had always seen Godzilla and maybe one or two [others]. This time around, there's a lot more [monsters]. I really liked the fact that [while Godzilla is] the king at the end of the day, there's a lot of others, much more than I certainly knew about before. " Based in Mexico City and one of the biggest special effects vendors in Mexico, Ollin is mainly responsible for the more subtle aspects of feature films such as environment enhancement, atmospheric construction, and set extension. While these tasks are smaller in the grand scheme of things (especially when compared to the giant kaiju and their epic battles seen in King of the Monsters), it does not mean that the work they do is any less important. Indeed, it's often those minute details that wrap up the fantastic illusion into a tight and neat bow that then transports the viewer into another world of believable impossibility. When all was said and done, Diego and his team had worked on over 500 VFX shots, a staggering amount, for this blockbuster project. For example, Ollin was in charge of crafting the skies through which the specialized military/Monarch aircraft carries the main characters from Point A to Point B. "We had to create the whole exterior clouds, sky, sun, to make it look like they're basically flying," Diego added. "Originally, they were gonna rent a plane and shoot that footage of outside skies and clouds. [Michael] was a little doubtful about whether or not it could really be done in CG and if it would look real and right. That was the first thing he asked [from us; he said], 'It has to be photoreal.' That was quite a test and he liked it very much when he saw it; the ability, of course, of being able to then being always able to digitally change the lighting to make it look like it's another time of day. If you wanna change the shape of a cloud or how quickly you're passing through it, all those things, of course, give you a lot more control when you're doing it with a computer. When the look was right, [Michael] was very happy that he could play around with that environment and make it look exactly like he wanted." Other Ollin duties included the extension of the underwater base from which Monarch tracks the movements of Godzilla; adding more snow to the scene where Ghidorah breaks free from his frozen prison in Antarctica (this involves taking light fragmentation and the stickiness of snow into account); and creating the time lapses in Las Vegas and San Francisco where the radiation given off by the Titans has sparked rapid plant growth. Despite only appearing for a few seconds onscreen, this last responsibility proved to be one of the most challenging CG undertakings for the Mexico City-based VFX house. "There were thousands of trees and plants," Diego said. "We couldn't afford to manually put in each one one-by-one and then tweaking them in order for them not to look like they were all replicated from one another Some of them started larger, some of them started thinner, some of them had one branch, two branches, four branches, and then the way they grew was also at different speeds and different directions and different ways to make it look natural. If you look at a forest of trees, even though they're similar, each one is unique. Your eye and your mind is very well-trained if they're all the same, you might not be able to actually pinpoint that, but an alarm will go off in your brain to tell you that something's off and that this is not real We ended up having them make it look really natural, but we had to also get a computer programmer to basically help us out because there were so many elements.
An-drew! An-drew! An-drew! An-drewww!
Godzilla, Mothra, Rodan and the other Titans are classified under the genus "Titanus". In reality, the genus is reserved for a group of very closely related species (lions, tigers and leopards), so seeing arthropods, reptiles, mammals and cephalopods all lumped together into such a specific group makes no sense, however it could be interpreted as a code-name and not as a strict scientific name. Alternately, since all the Titans are functionally a single specimen species, one could postulate "Titanus" is a phylum, and Godzilla's "proper" scientific name is "Titanus gojira gojira gojira gojira gojira," being the single extant specimen of his Class, Order, Family, Genus, and Species. This still requires some extreme massaging of scientific nomenclature to work.
Godzilla, Ghidorah, Mothra and Rodan are credited as themselves.
English, Japanese, Chinese, Spanish
$47,776,293 2 June 2019