Godzilla Minus One

"Minus One" beralih ke halaman ini. Untuk kegunaan lain, lihat −1 (disambiguation).

Godzilla Minus One
Nama lain
Nama Jepang
Katakana	ゴジラ マイナスワン
Transkripsi Revised Hepburn Gojira Mainasu Wan
Sutradara	Takashi Yamazaki
Produser	Minami Ichikawa Shūji Abe Kenji Yamada Kazuaki Kishida Gō Abe Keiichirō Moriya
Ditulis oleh	Takashi Yamazaki
Efek visual oleh	Takashi Yamazaki Kiyoko Shibuya
Pemeran	Ryunosuke Kamiki Minami Hamabe Yuki Yamada Munetaka Aoki Hidetaka Yoshioka Sakura Ando Kuranosuke Sasaki
Penata musik	Naoki Satō
Sinematografer	Kōzō Shibasaki
Penyunting	Ryūji Miyajima
Perusahaan produksi	Toho Studios Robot Communications
Distributor	Toho
Tanggal rilis	18 Oktober 2023 (2023-10-18) (Shinjuku Toho Building) 03 November 2023 (2023-11-03) (Jepang)
Durasi	125 menit
Negara	Jepang
Bahasa	Bahasa Jepang
Anggaran	US$10–12 juta
Pendapatan kotor	US$107 juta

Godzilla Minus One (Jepang: ゴジラ-1.0（マイナスワン）code: ja is deprecated , Hepburn: Gojira Mainasu Wan) adalah sebuah film epik kaiju Jepang 2023 kaiju film directed, written, and with visual effects by Takashi Yamazaki. Diproduksi oleh Toho Studios dan Robot Communications serta didistribusikan oleh Toho, merupakan film ke-37 dalam waralaba Godzilla, film Godzilla Toho ke-33, dan film kelima dalam waralaba era Reiwa. Film ini dibintangi Ryunosuke Kamiki, Minami Hamabe, Yuki Yamada, Munetaka Aoki, Hidetaka Yoshioka, Sakura Ando dan Kuranosuke Sasaki. Pada film ini, Jepang pasca-perang harus berhadapan dengan kebangkitan Godzilla.

Setelah menyelesaikan film The Great War of Archimedes (2019), Yamazaki ditunjuk untuk membuat film Godzilla. Dia menghabiskan waktu tiga tahun menulis naskah cerita, mengambil pengaruh dari Godzilla (1954), Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), Shin Godzilla (2016), dan film dari Steven Spielberg serta Hayao Miyazaki. Yamazaki sebelumnya menggambarkan Godzilla pada Always: Sunset on Third Street 2 (2007) dan wahana taman tema di Seibu-en di 2021. Pada Februari 2022, Robot mempublikasikan bahwa Yamazaki akan segera menyutradrai film kaiju. Syuting digelar di Kantō dan Chūbu dari Maret hingga Juni 2022. Efek visual dibuat oleh Shirogumi Chōfu studio selama delapan bulan.

Godzilla Minus One tayang perdana di Shinjuku Toho Building pada 18 Oktober 2023, dan dirilis di Jepang pada 3 November, untuk merayakan ulang tahun ke-70 waralaba ini. Toho International kemudian merilis film ini di Amerika Utara pada 1 Desember. Film ini telah mendapatkan penghasilan kotor lebih dari US$107 juta secara global dengan bujet US$10–12 juta, menjadi film Jepang dengan pendapatan terbesar kelima tahun 2023 dan melewati Shin Godzilla sebagai film Godzilla Jepang paling sukses. Film ini menerima ulasan bagus untuk efek visual, penyutradaraan, jalan cerita, karakter, skor musik dan komentar sosial, dan dielukan sebagai salah satu film terbaik tahun 2023 dan film terbaik pada waralaba Godzilla. Film juga mendapatkan banyak penghargaan, termasuk 12 nominasi pada 47th Japan Academy Film Prize (memenangkan delapan), tiga nominasi pada 17th Asian Film Awards (memenangkan dua), dan memenangkan Efek visual terbaik pada Academy Awards ke-96.

Plot

Pada tahun 1945, di penghujung Perang Dunia 2, pilot kamikaze Kōichi Shikishima mendaratkan pesawat Mitsubishi A6M Zero-nya di sebuah pangkalan udara Jepang di Pulau Odo. Kepala mekanik Sōsaku Tachibana menyimpulkan bahwa Shikishima telah kabur dari tugasnya dengan berpura-pura mengalami kerusakan teknis. Pada malam itu, Godzilla, seekor mahkhluk besar seperti dinosaurus, menyerang garnisun. Shikishima terperangah dan tidak bisa membawa dirinya untuk menembak monster itu dari pesawatnya dan kemudian pingsan. Tachibana, satu-satunya penyintas lainnya dari serangan itu, menyalahkan Shikishima karena gagal untuk bertindak.

Operasi tes nuklir Crossroads yang digambarkan menyebabkan mutasi dari Godzilla di film

Shikishima pulang ke rumah dan menemukan bahwa orangtuanya telah terbunuh dalam Pemboman Tokyo. Dihantui rasa bersalah karena selamat, dia mulai membantu seorang wanita, Noriko Ōishi, yang orangtuanya juga tewas dalam pemboman, dan seorang anak bayi yatim piatu, Akiko, yang diselamatkan oleh Noriko, dan mendapat pekerjaan diatas sebuah kapal penyapu ranjau dengan tugas membersihkan ranjau laut bekas Perang Dunia kedua. Sementara itu, Godzilla bermutasi dan diberi kekuatan oleh tes nuklir di Bikini Atoll; dia menenggelamkan USS Redfish dan menghancurkan beberapa kapal lainnya dalam perjalanan ke arah Jepang. Karena ketegangan dengan Uni Soviet, pihak Amerika tidak memberikan pertolongan untuk beberapa kapal Imperial Japanese Navy yang dilucuti yang disetujui Jenderal Douglas MacArthur. Pemerintah Jepang, khawatir akan menimbulkan kepanikan, tidak memberikan peringatan kepada masyarakat mengenai bahaya ini.

Pada Mei 1947, Shikishima dan kru kapal penyapu ranjaunya berlayar menuju ke Kepulauan Ogasawara dan ditugaskan untuk mencegah Godzilla mendekat ke Jepang. Mereka melepaskan sebuah ranjau ke arah mulut Godzilla dan meledakannya, mengakibatkan kerusakan yang cukup besar, namun dengan cepat menyembuhkan diri. Kapal heavy cruiser Takao kemudian menyerang Godzilla, tapi kemudian dihancurkan oleh sinar panas Godzilla. Setelah kembali ke Tokyo, Shikishima memberitau Noriko mengenai pertemuannya dengan Godzilla. Beberapa hari kemudian, Godzilla menyebabkan longsor di Jepang dan menyerang Ginza, tempat dimana Noriko bekerja. Noriko selamat dari serangan awal dan bertemu dengan Shikishima. Marah karena serangan tank, Godzilla menghancurkan sebagian besar distrik dengan sinar panasnya, membunuh belasan ribu orang. Noriko terperangkap dalam ledakan dan dikira tewas. Hancur akibat kehilangan, Shikishima ingin membalas dendam.

Frustasi karena pemerintah tidak bertindak, salah satu kru kapal penyapu ranjau, mantan teknisi angkatan laut Kenji Noda, membuat rencana untuk menghancurkan Godzilla dengan mengumpannya ke Teluk Sagami sebelum mengepungnya dengan tangki Freon dan memecahnya, menurunkan level air dan menenggelamkannya, dan membiarkan tekanan air menghancurkannya. Jika rencananya gagal, balon akan dikembangkan dibawah Godzilla untuk memaksanya mundur, dan membunuhnya melalui ledakan dekompresi. Untuk menjalankan rencananya, Noda merekrut veteran angkatan laut untuk melucuti kapal perusak IJN. Shikishima juga merekrut Tachibana untuk memperbaiki pesawat tempur Kyushu J7W Shinden yang rusak. Dia berencana membunuh Godzilla dengan serangan bunuh diri dengan cara terbang ke arah mulutnya dan meledakkan bom. Dia meninggalkan Akiko dalam perawatan tetangganya Sumiko sebelum Godzilla kembali.

Saat Shikishima mengumpan Godzilla ke arah jebakan yang diatur oleh dua kapal perusak, Sumiko menerima telegram untuk Shikishima. Godzilla selamat dari penerjunan awal dan melepaskan diri sebelum dipaksa untuk mundur, mengalami cedera serius hasil dari induksi dekompresi, barotrauma. Dengan bantuan armada tugboat, kapal menarik Godzilla ke permukaan. Godzilla yang marah bersiap untuk menghancurkan semua kapal dengan sinar panasnya, namun Shikishima menabrakan pesawatnya ke mulutnya dan menghancurkan bagian kepalanya, membuat energi dari sinar panas menghancurkan badannya. Kru merayakan saat Shikishima melontarkan diri sebelum ledakan dan terjun dengan parasut, setelah mengingat bahwa Tachibana menunjukkannya kursi pelantor yang dipasangnya pada Shinden, dan memohonnya untuk melepaskan rasa bersalah dan hidup kembali.

Saat kembali ke rumah, Sumiko memberi Shikishima telegramnya, yang membawanya ke rumah sakit dan bertemu kembali dengan Noriko, yang selamat dari kerusakan namun memiliki bekas tanda luka di lehernya. Sementara itu, potongan daging Godzilla mulai tumbuh kembali saat mulai tenggelam ke lautan.

Pemeran

• Ryunosuke Kamiki sebagai Kōichi Shikishima, mantan pilot kamikaze
• Minami Hamabe sebagai Noriko Ōishi, pacar Shikishima
• Yuki Yamada sebagai Shirō Mizushima, kru muda diatas kapal Shinsei Maru
• Munetaka Aoki sebagai Sōsaku Tachibana, mantan teknisi Penerbangan Angkatan Laut
• Hidetaka Yoshioka sebagai Kenji Noda, mantan teknisi senjata angkatan laut
• Sakura Ando sebagai Sumiko Ōta, tetangga Shikishima
• Kuranosuke Sasaki sebagai Yōji Akitsu, kapten kapal Shinsei Maru
• Sae Nagatani sebagai Akiko, anak adopsi Ōishi dan Shikishima
• Mio Tanaka sebagai Tatsuo Hotta, kapten dari kapal perusak Yukikaze
• Yuya Endo sebagai Tadamasa Saitō

Produksi

Kru

• Takashi Yamazaki – sutradara, penulis naskah, supervisor efek visual
• Kiyoko Shibuya – pengatur efek visual
• Kōhei Adachi – asisten sutradara
• Nariyuki Ueda – pencahayaan
• Anri Jojo – pengatur seni
• Masahiro Ishiyama – tata warna
• Shō Funahashi – pengatur efek visual bersama
• Masaki Takahashi – pengatur CG
• Tatsuji Nojima – kompositor dan perancang efek lautan
• Kosuke Taguchi – pembuat model Godzilla
• Hisashi Takeuchi – rekaman suara
• Natsuko Inoue – efek suara

Pengembangan

Pada Juli 2016, Toho Co., Ltd. merilis sebuah reboot dari waralaba Godzilla, berjudul Shin Godzilla. Menjadi film yang sukses secara kritik dan komersial, membawa sutradara Hideaki Anno untuk membuat dua film tokusatsu reboot lainnya: Shin Ultraman (2022) dan Shin Kamen Rider (2023). Menurut produser Godzilla Minus One Kenji Yamada, Toho telah merencanakan beberapa film aksi-langsung dari film Godzilla sejak perilisan dan kesuksesan Shin Godzilla, namun semuanya dibatalkan karena tidak ada yang layak untuk dilanjutkan. Pada 2017, direktur bersama Shin Godzilla Shinji Higuchi menyatakan pada konvensi penggemar Amerika, G-Fest bahwa Toho tidak akan mampu memproduksi film Godzilla lainnya hingga 2020; ini karena kontrak mereka dengan Legendary Pictures, yang memproduksi film Godzilla mereka sendiri, yang melarang Toho untuk merilis film Godzilla pada tahun yang sama dengan film Legendary. Pada 2018, eksekutif Toho Keiji Ota menyatakan bahwa Shin Godzilla tidak akan mendapatkan sekuel dan menyatakan ketertarikannya untuk membuat jagat bersama serial Godzilla seperti Marvel Cinematic Universe.

Takashi Yamazaki, sutradara, penulis naskah dan supervisor efek visual dari Godzilla Minus One

Pada 2019, Toho memulis sebuah divisi "Godzilla Room", yang ditujukan untuk merencanakan proyek Godzilla baru. Setelah menyelesaikan filmnya The Great War of Archimedes pada tahun yang sama, produser Minami Ichikawa menunjuk pembuat film terkenal Takashi Yamazaki untuk membuat sebuah film Godzilla. Dia mulai menyiapkan proyek dan awalnya menghabiskan waktu satu tahun mengembangkan naskah. Namun, pandemi COVID-19 memaksa kru untuk menunda syuting untuk beberapa tahun, yang membuat naskahnya ditulis ulang beberapa kali dalam rentang waktu tiga tahun.

Godzilla Minus One adalah kali ketiga Yamazaki membuat produksi karya dengan menggunakan Godzilla. Yang pertama adalah Always: Sunset on Third Street 2 (2007), yang menampilkan monster pada pembukaan yang seperti mimpi. Selama pra-produksi dari Godzilla Minus One, dia juga menyutradarai dan membuat efek untuk Seibu-en Amusement Park, atraksi simulator gerak Godzilla the Ride: Giant Monsters Ultimate Battle (2021).

Pada 18 Februari 2022, Robot Communications mengumumkan film, dengan judul kerja Blockbuster Monster Movie (超大作怪獣映画code: ja is deprecated , Chōtaisaku Kaijū Eiga), melalui sebuah panggilan pemilihan pemeran pada laman resmi mereka. Robot menyatakan bahwa Yamazaki akan menyutradarai dan film akan ditampilkan oleh Toho. Sehari kemudian, penulis HuffPost Kenji Ando menyebut bahwa dugaan penggemar pada media sosial mengenai film tersebut merupakan pembuatan ulang dari film 1954. Ando menyatakan bahwa latar waktunya berada pada Jepang pasca perang antara 1945 dan 1947, dan mengutip komentar dari Yamazaki di sebuah wawancara mengenai penggambaran Godzilla di Always: Sunset on Third Street 2: "Kamu tidak dapat memiliki Godzilla kecuali pada era Shōwa."

Toho menyatakan bahwa proyek kaiju tanpa nama Yamazaki adalah sebuah film Godzilla pada 3 November 2022, pada sebuah acara yang merayakan ulang tahun waralaba ke-68 yang dikenal sebagai "Hari Godzilla". Perusahaan juga menyatakan bahwa filmnya telah menyelesaikan pengambilan gambar dan memasuki pasca-produksi dengan target perilisan pada 3 November 2023. Yamazaki juga bertindak sebagai penulis naskah film dan supervisor efek visual. Selama konferensi pers pada 13 Desember 2022, Kepala perencanaan Tohom Hisashi Usui menyiratkan bahwa film baru ini akan terhubung dengan film tahun 1954. Pada Juli 2023 siaran pers menyatakan judul film, cuplikan, dan poster, Yamazaki memuji nada dan visinya untuk film tersebut:

Jepang pasca perang kehilangan segalanya. Film ini menampilan eksistensi yang memberikan The film depicts an existence that gives keputusasaan yang belum pernah ada sebelumnya. Judul Godzilla Minus One dibuat dengan pemikiran ini. Untuk mendapatkan penggambaran ini, staff dan saya telah bekerja bersama untuk membuat sebuah latar dimana Godzilla terlihat sebagai 'takut' sendiri sedang berjalan ke arah kita, dan dimana keputusasaan bertumpuk di puncak dari keputusasaan itu sendiri. Aku merasa ini adalah hasil dari semua film yang telah aku buat sampai saat ini, dan layak untuk mendapatkan 'pengalaman' daripada hanya 'dilihat' di bioskop. Saya berharap anda akan mendapatkan pengalaman yang paling mengerikan dari Godzilla dalam lingkungan terbaik.

Toho mendaftarkan hak dagang untuk judul dalam bahasa Jepang pada hari yang sama dengan rilis pers, juga mendaftarkan berbagai macam pembacaan alternatif seperti Gojira Minus Itten Zero (ゴジラマイナスイッテンゼロcode: ja is deprecated ). Judul Bahasa Inggirs-Jepang untuk Godzilla Minus One dibayangkan oleh produser Shūji Abe, dan Yamazaki percaya bahwa Abe mengambil pengaruh dari novel fiksi ilmiah Tadashi Hirose, Minus Zero. Judulnya, menurut sang sutradara, memiliki beberapa arti, secara eksplisit merujuk kepada bagaimana kehancuran oleh Godzilla merubah posisi Jepang dari "situasi nol pasca-perang" ke "minus"; ketika mengutip alasan lainnya untuk judul ini, Yamazaki menyebut bahwa film ini mengambil tempat sebelum film Godzilla original tahun 1954 dan itu menekankan tema kehilangan secara keseluruhan.

Penulisan

Yamazaki said that the worldwide anxiety and government unreliability during the COVID-19 pandemic was one of his major inspirations for the story and that he hopes these events are reflected clearly in the finished film. He steered clear of setting the film in modern Japan and having to draw inspiration from the 2011 Fukushima nuclear disaster as he believed it would become too similar to Shin Godzilla (2016). Instead, Yamazaki decided to set the film in postwar Japan, allowing Godzilla Minus One to explore anti-nuclear and anti-war themes, as well as the themes of trauma, hope, guilt, and redemption. He also stated that Godzilla symbolizes the Japanese perspective of nuclear holocaust, akin to the original 1954 Godzilla film. Yamazaki decided to include the heavy cruiser Takao, Shinden fighter, destroyers Yukikaze and Hibiki because he likes military history and had never depicted them before.

Yamazaki was inspired by Shusuke Kaneko's Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001)—which he has cited as one of his favorite Godzilla films—while writing the screenplay for Godzilla Minus One. At its screening, he reflected in a discussion with Kaneko: "I had forgotten the contents of GMK for a while, but it seems like I self-consciously thought about it when writing the scenario for -1.0. Without realizing it, I was under considerable influence". He also stated that Godzilla Minus One was also heavily influenced by the 1954 film, Shin Godzilla (2016), Steven Spielberg's Jaws (1975) and War of the Worlds (2005), and the films of Hayao Miyazaki. Godzilla (2014) director Gareth Edwards identified Spielberg's films Close Encounters of the Third Kind (1977) and Jurassic Park (1993), and Christopher Nolan's Dunkirk (2017) as other evident influences on the film.

Regarding writing the film's ending, Yamazaki felt that "It's more cinematic if it doesn't end neatly and properly" and remarked, "It's not just so a sequel can be made, it's also so the characters are kept alive in the hearts of the audience."

A novelization of the film, written by Yamazaki, was published in Japan by Shueisha on November 8, 2023. According to Yamazaki, the novel features a scene set Odo Island he proposed for the film but was left unfilmed since Toho refused to allow him to do pick-ups.

Pemilihan pemeran

During preproduction, producer Minami Ichikawa offered Ryunosuke Kamiki and Minami Hamabe to play the film's leads, Kōichi Shikishima and Noriko Ōishi, prior to them playing similar roles in the NHK drama series Ranman (2023). According to Yamazaki, the media criticized this casting, believing it would be too similar to their roles in Ranman, when announced the two would star in the film at a press conference on September 4, 2023. Yamazaki also revealed that he cast Kuranosuke Sasaki as Captain Yōji Akitsu because of his performances in Asadora such as Hiyokko (2017), which had a major influence on him.

Yamazaki sought to cast talented individuals who were able to give convincing performances of people living during the Shōwa period and could making Godzilla's presence in the film seem more realistic. His casting decisions were influenced little by the previous Godzilla films, since this movie was about the lives of ordinary Japanese in the 1940s rather than politicians, bureaucrats, scientists, and the Self-Defense Forces. The reason for this was that Yamazaki wanted audiences to empathize with and connect with the characters despite the post-war setting.

Ōishi and Shikishima's adopted daughter Akiko was originally planned to be a boy. After meeting two-year-old child actress Sae Nagatani, however, Yamazaki decided to change this in order for her to play the role. When questioned how he managed to get Nagatani to cry for some scenes, the director responded "I found a genius".

Desain

The design of Godzilla in Minus One is a variation of the one in Godzilla the Ride. Inspired by the Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack design, Yamazaki initially envisioned his design having "half-moon shaped eyes", but modeling head Kosuke Taguchi gave it "almond-shaped" ones instead, with the final design having "golden, almond-shaped eyes". Yamazaki also elaborate that since the crew created this Godzilla in digital form: "it allowed for much more detail than what was possible with any type of handcrafted version. So we were able to increase the resolution of the scales, for example, and make them feel really, really sharp and give it this aggressive texture. And in terms of the bottom half of Godzilla, we made it feel very heavy and dense in a way that made the viewer feel like this mountain and triangular silhouette was walking and moving through a space So imagine the [Imperial] Star Destroyer from Star Wars."

Yamazaki attempted to make this Godzilla the most horrifying version yet. The crew designed Godzilla to be ferocious, violent, and dynamic, with a static, god-like aspect. Its dorsal fins were made more "spiky and ferocious" than the incarnation in Godzilla the Ride, as if its regenerative energy had become disorderly. Yamazaki stated that the team also tried to make Godzilla the "deadliest in history" adding that it is "discerning today, experiencing the freshness and fear felt by audiences at the time".

Syuting

The replica of the Kyushu J7W Shinden used in the film on display at the Tachiarai Peace Memorial Museum

Principal photography took place on location in the Kantō and Chūbu (in the Aichi and Nagano prefectures) regions of Honshu, starting on March 17, 2022, and wrapping circa June 11. According to Robot's website, the film would be set between 1945 and 1947, so there would be restrictions on the extras' costume sizes, hairstyles (declaring that long-haired men would require perms), and hair colors (declaring that hair dyeing would not be allowed). The film's maritime sequences were filmed at Lake Hamana and in the Enshū Sea. Between April and June 2022, several community businesses near the Tenryū River helped the crew modify and maintain boats to shoot navy scenes in Enshū. Other shooting locations include the City Hall in Okaya, Nagano, the Tsukuba Naval Air Group Memorial Museum in Kasama, the Former Kashima Naval Air Base Site in Miho, and the Shimodate General Sports Park in Chikusei.

During production, scenes featuring the Kyushu J7W Shinden were partly realized through the construction of a 1:1 scale replica of the aircraft, of which only a single example exists and is located outside Japan in the collection of the Steven F. Udvar-Hazy Center in Chantilly, Virginia. Yamazaki noted that "Initially, the budget didn't allow for any portion of the [airplane] to be built" but "thinking outside the box, having a plan B, we were able to find a museum that was willing to purchase the prop after the film was made, which offset the production budget it would have taken to produce the plane in the first place". Thus, following the completion of shooting, the replica was transported to and put on display at the Tachiarai Peace Memorial Museum in Chikuzen, Fukuoka in July 2022. Toho donated the replica under anonymity, only revealing their involvement in the construction of the model after Godzilla Minus One released.

Efek visual

All 610 of the film's visual effect shots were handled by a crew of 35 artists at Shirogumi's Chōfu studio, under the supervision of Yamazaki and direction of Kiyoko Shibuya. According to the Los Angeles Times, between a quarter and a third of the film's budget was spent on visual effects.

Eight months were spent on creating the visual effects. A TV Shinshu special about Yamazaki released in 2023 indicated that the team began creating the effects for the film in July 2022. Shirogumi revealed by opening a recruitment call for visual effects designers and compositors in August 2022, that post-production had begun and visual effects were taking place from that same month until January 2023; they later changed the dates to between November 2022 and February 2023. Their website named the 3D animation software Houdini and Maya for design and Nuke for compositing. Yamazaki had made a 3D maquette design on ZBrush, with Taguchi augmenting the design by adding his own elements, including the insertion of polygons and rendering displacement maps using Redshift. Then, the team retopologized the maquette design and finalized the displacement maps with Mudbox. After the visual effects were finished, post-production concluded in late May 2023.

The ocean sequences were originally not intended to be as sizeable in the film until compositor Tatsuji Nojima, who composes computer-generated water at home as a hobby, presented Yamazaki with some of his own water simulations, inspiring the director to rewrite its climax and include more scenes set at sea. The team strived creating these sequences, especially Godzilla's destruction scene. Yamazaki reflected that "It put a huge strain on all of our rendering engines, so we created so much data in the process that when we added it all up it was easily over a petabyte. In the end, we erased the data from the scene where it was done, and made it while opening the hard disk."

Yamazaki admitted to Shinji Higuchi, co-director and effects director of Shin Godzilla, that the film's destruction sequences and on-screen deaths were inspired by the Shibuya sequence in Gamera 3: Revenge of Iris; Higuchi had also directed that film's effects. Some of the characters present on-screen during Godzilla's rampage were created using Houdini; around 60 extras were 3D scanned to be replaced by a digital duplicate. He also paid homage to previous Godzilla films by not using any "muscle simulation" for the monster, which he said is "very common in animating creatures".

Musik dan efek suara

Artikel utama: Godzilla Minus One (soundtrack)

Yamazaki's frequent collaborator Naoki Satō scored the film. Rambling Records released Godzilla Minus One Original Soundtrack, on CD in Japan on October 28, 2023, with a limited edition vinyl following on November 24. On January 19, 2024, Toho announced that Waxwork Records is set to release the score on vinyl, with pre-ordering starting that same day.

When composing the score, Satō took inspiration from Studio Ghibli's anime movies for the poignant scenes and the music of Akira Ifukube to accentuate the kaiju sequences. He also remade some of Ifukube's tracks from Godzilla (1954), King Kong vs. Godzilla (1962) and Mothra vs. Godzilla (1964) for some scenes.

Natsuko Inoue handled the sound effects. She felt it was her mission to recreate the original Godzilla's roar using a modern sound system. Having tried many methods to keep the sound intact, Inoue decided that it wasn't strong enough, so she opted to record outdoors and use the echoes to enhance it. She decided to play the roar at the ZOZO Marine Stadium to create the fresh sound effect she desired, believing it was the only stadium that could meet the requirements they needed as it had huge speakers, no ceiling, was spacious, and was slightly sloped. Reminiscing on enhancing the roar at the stadium, Inoue said "I'll never forget the emotion I felt when I played it from the biggest speaker behind the electronic bulletin board"; Yamazaki recalled, "I felt a shiver in the pit of my stomach when I thought that people who actually saw Godzilla would hear this sound." After the crew played the sound at the stadium, they received several complaints from nearby residents.

Producer Gō Abe stated that sound effects from the Ichibata Dehani 50 series were utilized for the scene where Godzilla attacks a 63 series train, as the crew sought to enhance the postwar setting through practical sounds.

Pemasaran

On June 12, 2023, the film's Twitter account began a daily countdown for all of Toho's live-action Godzilla films, starting with its previous live-action film Shin Godzilla. On July 11, Toho lifted the embargo on its secret kaiju film project, which was revealed as Godzilla Minus One. The film was announced with a teaser trailer, poster (which was primarily designed by Yamazaki), and the release date for the United States. Merchandise for the film was unveiled the next day with a full-body shot of Godzilla.

On July 13, Tamashii unveiled its Godzilla toy for its S.H. MonsterArts line; the toy was sculpted by Yuki Sakai under Yamazaki's supervision and based on 3D data from the film. A series of pre-release products and an exhibit promoting the film was at the exhibition "The Visual World-crafting of YAMAZAKI Takashi [sic], Film Director" in Yamazaki's hometown of Matsumoto in Nagano Prefecture, from July 15 to October 29. A 2-meter tall Godzilla statue was exhibited at the 2023 Summer Wonder Festival on July 30. At the request of Toho, Hiroaki Fukushi spent roughly one month creating a statue of Godzilla, dubbed "Godzilla Neputa", to promote the film at the Aomori Nebuta Matsuri from August 4 to 8.

Toho released its official trailer alongside the theatrical release poster, and details on the central cast and staff members on September 4. On September 14, 15 shots and a visual of Godzilla from the film were released; ticket sales (via Mubichike Online) and flyers for its November 3 release were released the following day. On September 14, SciFi Japan reported that the film had remained the top trending film on social media sites in Japan and the U.S., with the trailer accumulating over 9 million views on YouTube.

During a press conference on September 25, Hamamatsu, the city bordering Lake Hamana (where some scenes in the film were shot), announced that it would promote the film to make the location a tourist attraction by preparing for "location cruising" at the lake in late October. On October 7, behind-the-scenes footage of the making of Godzilla Minus One was broadcast on Channel 4 of TV Shinshu, as part of a television special on Yamazaki, which was narrated by Hidetaka Yoshioka. Toho declared on October 16 that Godzilla Minus One would be the first Japanese movie screened in the 270-degree panoramic film format ScreenX.

On October 18, Yamazaki and the film's stars attended its red carpet premiere along Godzilla Street in Kabukichō, Shinjuku; the red carpet was 50.1 meters in length, which is the fictitious height of Godzilla in Godzilla Minus One. In addition, the "giant Godzilla truck" was revealed for the first time on the red carpet; it would later travel around Tokyo promoting the movie. Television stations across Japan began airing a television special on Godzilla Minus One in late October. It features interviews with Yamazaki, Kamiki, and Hamabe, and behind-the-scenes footage. On October 23, Yamazaki, Kamiki, and Hamabe attended the red carpet at the opening of the 36th Tokyo International Film Festival. To promote the film in Japan, soft drink manufacture Cheerio released a new Chūhai drink called the "Godzilla Energy Chu-hi [sic]" on November 6.

Pilihan penayangan

On August 24, it was announced that, as a prelude to the release of Godzilla Minus One, Yamazaki had selected "4 Godzilla Works" for screenings in September and October. An accompanying "talk show" took place before each screening, with Shin Godzilla and Shin Ultraman (2022) director Shinji Higuchi serving as the guest for the screening of the original 1954 Godzilla film, and suitmaker Keizō Murase serving as the guest for the screening of Ghidorah, the Three-Headed Monster (1964). The third and fourth Godzilla films selected by Yamazaki for screenings are Shusuke Kaneko's Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), and a new black-and-white version of Shin Godzilla created by Hideaki Anno, Higuchi and Katsuro Onoue, respectively. Kaneko and Anno were also the guests at the talk shows for their respective films.

Proyek kolaborasi

The film was promoted at the Tokyo Dome in collaboration with the Yomiuri Giants in their match against the Tokyo Yakult Swallows, taking place on October 1. A "special collaboration" video and a 3.6-meter statue of Godzilla were displayed at the venue. On September 27, Fujita Kanko stated in a press release that the Hakone Kowakien Yunessun hot spring theme park in Hakone, Kanagawa Prefecture would hold an event in collaboration with the film from October 20, 2023, to January 8, 2024.

Rilis

Teatrikal

Godzilla Minus One had its red carpet and worldwide premiere at Toho Cinemas' theater inside the Shinjuku Toho Building on October 18, 2023. First responses praised the film as a "masterpiece". It was the closing film at the 36th Tokyo International Film Festival on November 1, where it was shown with English subtitles. To celebrate the franchise's 70th anniversary, the film was released nationwide in Japan on November 3, the same date as the first Godzilla film's wide release in 1954. It was shown in 500 theaters nationwide—including in IMAX, Dolby Cinema, 4DX, MX4D, and ScreenX formats—making it one of Toho's largest domestic distributions to date. Selected Japanese cinemas screened the film with English-subtitled on November 23.

The American red carpet premiere and screening was at the Directors Guild of America Theater Complex in Los Angeles on November 10, with Yamazaki and Kamiki in attendance. It was also screened by Polygon at Santa Ana's Frida Cinema on November 27, the Japan Society in Manhattan on November 28, and in selected large screens throughout the U.S. the next day. Toho's American subsidiary Toho International released it in the United States with English subtitles on December 1, making it their first theatrical stateside self-distribution. Although it initially opened in 2,308 American theaters with the intention of being shown for only a week, the film was extended to over 2,600 theaters on December 15 and remained in U.S. theaters for months due to its popularity and positive reviews. The film concluded its U.S. run on February 1, 2024, supposedly because of Toho and Legendary Entertainment's contract on the Godzilla character and since Legendary's Godzilla x Kong: The New Empire is set for release eight weeks later. However, as part of Collider and Landmark Theatres' FYC screening series, the film was shown at the Landmark Theatres Sunset in Los Angeles on February 19, featuring a Q&A with Yamazaki afterwards.

The film was released in other Western countries on December 1. These countries included Australia and New Zealand (via Sugoi Co); Austria, Germany, Liechtenstein, Luxembourg, and Switzerland (via Peppermint Anime); and Benelux, France, Italy, the Nordics, Poland, and Spain. The New Zealand premiere was on November 22, in Queen Street, Auckland. Sato Company released it in Brazil on December 14, 2023 while Anime Limited released it in the United Kingdom and Ireland on December 15.

The film did not release theatrically in Southeast Asia, with Toho reportedly having "no plans" to release the film in that region.

Edisi hitam dan putih

Toho released a black-and-white version of the film, titled Godzilla Minus One/Minus Color (ゴジラ-1.0（マイナスワン）／C（マイナスカラー）code: ja is deprecated , Gojira Mainasu Wan/Mainasu Karā), in Japanese theaters on January 12, 2024; Toho International released this version in the United States on January 26, 2024, where it played until February 1.

Godzilla Minus One colorist Masahiro Ishiyama was assigned to create Minus Color. Yamazaki proposed that Godzilla's atomic breath remain in color for the black-and-white edition, similar to how Akira Kurosawa's black-and-white crime film High and Low (1963) features red smoke in one scene. However, this concept was rejected by the rest of the crew. In regards to the Minus Color version, the director said in a statement: "Rather than just making it monochrome, it is a cut-by-cut. I had them make adjustments while making full use of various mattes as if they were creating a new movie." Minus Color is an attempt to make it more of a documentary-style horror film, and homage to the 1954 film. This version was also the last credit for producer Shūji Abe, who died on December 11, 2023. At the 96th Academy Awards, Yamazaki and the visual effects team paid tribute to Abe, saying he was "lost too soon".

Media

On March 4, 2024, it was announced that Godzilla Minus One is slated to be released on Ultra HD Blu-ray, regular Blu-ray and DVD formats in Japan on May 1. The Ultra HD Blu-ray was revealed as a "deluxe edition" with both the color and black-and-white versions and multiple bonus features; Yamazaki had previously teased the possibility of a "version that has everything, like the super duper deluxe version" when asked if the potential home video release would include both theatrical editions of the film. Forbes reported on March 8 that a UHD box set of the film is also set to be released in the United States.

Penerimaan

Box office

Godzilla Minus One debuted at number one at the Japanese box office, grossing ¥1,04 billion (US$7,8 million) from 648,577 tickets during its first three days. During its opening weekend, it grossed US$1,2 million from 49 IMAX theaters, making it the largest opening for a live-action Japanese film in the format. It remained at number one for three consecutive weekends, but was overtaken by Tonde Saitama ~Biwako Yori Ai o Komete~ in its fourth weekend. In January 2024, the Motion Picture Producers Association of Japan reported that Godzilla Minus One was the fifth-highest-grossing Japanese film of 2023. As of March 3, 2024, the film has grossed ¥6,01 billion (US$39,9 million) from 3.92 million tickets in Japan, making it the highest-grossing live-action film released in Japan during 2023.

Deadline Hollywood stated that Godzilla Minus One was a sleeper hit but its wide release became "one of the most successful ever from Japan". In the United States and Canada, the film was released alongside Animal, Renaissance: A Film by Beyoncé, Silent Night, and The Shift, and was projected to gross over US$10 million from 2,308 theaters in its opening weekend. The film made US$4,7 million on its first day, including $2.1 million from its Wednesday and Thursday previews. It went on to debut to US$11 million, finishing in third and breaking the United States opening weekend record for a live-action Japanese film. In North America, it quickly attained the biggest debut for foreign film in 2023, surpassing Demon Slayer: Kimetsu no Yaiba – To the Swordsmith Village's opening. and became the most successful live-action Japanese movie in history. On December 17, Godzilla Minus One became the sixth-highest-grossing Japanese film of all time in the United States. Soon after, it became one of the over 50 films to gross over US$40 million in the U.S. during 2023. The film holds the American box office record for the highest-grossing Japanese-language film, and surpassed Bong Joon-ho's Parasite (2019) as the third highest-grossing foreign-language film of all time. Meanwhile, in its opening weekend, the film debuted at second place in Brazil and grossed £816,891 in the United Kingdom.

Godzilla Minus One far exceeded Toho's expectations at the worldwide box office and contributed to their yearly theatrical income exceeding ¥100 billion (US$680 million) for the first time ever. Toho's CEO Hiroyasu Matsuoka felt the film "benefited from less competition on release due to the strike in Hollywood". Outside of Japan, it grossed US$56,418,793 in the United States and Canada; US$1,355,174 in Australia; US$204,195 in Germany; US$5,552,898 in Mexico; US$225,061 in the Netherlands; US$221,531 in Portugal, US$154,198 in Italy; US$217,897 in New Zealand; US$122,150 in Norway; US$228,148 in Spain; and US$3.185.119 in the United Kingdom. Overall, it surpassed Shin Godzilla as the highest-grossing Japanese Godzilla film ever, grossing roughly US$107 million globally.

Ulasan kritik

The performances of Ryunosuke Kamiki and Minami Hamabe garnered critical praise, with each winning a Blue Ribbon Award and being nominated for a Japan Academy Film Prize.

Gendai Business and Real Sound reported that Godzilla Minus One received mixed reviews in Japan, while Western sources indicated critical acclaim overseas. According to The Hollywood Reporter, American critics concertedly praised its tiny-budgeted visual effects, touching human drama, and the usage of the kaiju metaphor for social commentary, with many favoring it over recent Hollywood productions. CBR reported that the film is widely considered one of the best films of 2023 and the greatest Godzilla movie ever made. Di situs web agregator ulasan Rotten Tomatoes, 98% pada 171 ulasan para kritikus adalah positif, dengan nilai rata-rata 8.4/10. Konsensus situs web berbunyi: "With engaging human stories anchoring the action, Godzilla Minus One is one kaiju movie that remains truly compelling between the scenes of mass destruction." Di situs Metacritic, yang menggunakan sistem penilaian rata-rata tertimbang, film ini mendapatkan skor 81 dari 100, berdasarkan 35 kritikus, yang menunjukkan "pengakuan universal". American audiences surveyed by CinemaScore gave the film an average grade of "A" on an A+ to F scale, and polls by PostTrak gave it a 92% overall positive score, with 83% saying they would definitely recommend the film.

Screen International critic Tim Grierson felt "there's a reverence shown to Godzilla Minus One's gruesome colossus; audiences may cheer the havoc it wreaks, but Yamazaki understands Godzilla's sombre societal implications." Time Out's reviewer gave the film 4 out of 5 stars, calling it "heartfelt and often awe-inspiring" and Godzilla "one scary bastard". Katie Rife of IGN said the film is more "hopeful" than Shin Godzilla with "more swell, in the score and on the heart strings; less terror and more pride, even (or perhaps especially) while evoking a vulnerable period in Japan's history". The Austin Chronicle critic Richard Whittaker elucidated that the film's largely emotionally-driven storyline and monster action make it comparable to Akira Kurosawa's Ikiru (1952) and Ishirō Honda's Godzilla (1954) respectively. In The Washington Post's review, the film was compared to Top Gun: Maverick (2022), and reviewer Lucas Trevor cited both films as reminders of the prominence of movies that combine "concise and creative action with emotionally resonant characters", but concluded that Godzilla Minus One is "quite possibly the better movie of the two".

Variety's Richard Kuipers said the film's "emotionally engaging storyline" and "heat-ray-breathing action", makes it a "high point in the long-running series". Collider described it as a "solid monster movie that hardly ever makes a wrong step" due to its "balances sweeping spectacle and tense action with the more complicated themes of war and loss". James Berardinelli lauded the film's effects, spectacle, screenplay, set and sound design, cinematography, and character development; dubbing it "an excellent Godzilla movie – arguably among the best ever to grace the screen". Kevin Maher, reviewing the film for The Times, deemed that "the Japanese have effectively humiliated Hollywood by delivering the best mega-monster movie since Peter Jackson's King Kong in 2005" and noted how "the average Hollywood Godzilla movie costs almost US$200 million and looks worse than this". Andy Lea, writing for Daily Express, gave the film a full five stars rating. Lea, similarly to Maher, felt "this Japanese Godzilla tramples its American rivals into the dust" and expressed how the "action scenes are tense and thrillingly orchestrated and the characters refreshingly three-dimensional".

Dana Stevens esteemed that "Kamiki's anguished, vulnerable performance is one crucial part of what makes this protagonist so memorable". In addition, Stevens recognized that Yamazaki spent a long time writing the screenplay, which allowed him to "fret about things other than radioactive reptiles", such as "how to earn a living in a war-ravaged economy", or if Kamiki's character is "ready to accept the love that Noriko and their adopted daughter are so eager to give him". Meanwhile, Daisuke Satō from IGN Japan praised Kamiki's performance but believed that the other characters, especially Hamabe's Noriko, were overly stereotypical examples of Japanese people during the Shōwa era. He found the film's representation of the female characters controversial and felt uneasy about their acceptance by modern-day audiences. Matt Schley of The Japan Times also criticized the characters, calling them "less impressive" and "one-note" compared with the visuals, adding that: "Much of the script, like the rousing speech near the film's conclusion where a former navy commander urges his men to stand and fight, is eye-roll-inducing stuff." In his review for the South China Morning Post, James Marsh noted that while some criticism has been directed towards the film "pushing a pro-military agenda", the protagonists are "united in vehement criticism of their government, which pressured so many ordinary citizens into wasting their lives for a questionable cause". Marsh later ranked Godzilla Minus One as the best Asian film of 2023.

For IndieWire's annual critics poll, of which 158 critics worldwide voted in, Godzilla Minus One was placed No. 30. Many critics on RogerEbert.com, including Matt Zoller Seitz, listed it amongst their favorite films of the year and Leonard Maltin also recommended the film when writing about his favorite films of 2023. The Quad-City Times named it the "best thing anyone put on screen in 2023". Writers for Collider ranked it the year's best Japanese film, fourth best foreign language movie, second best science fiction film, and eleventh best film overall. In addition, Collider ranked it No. 22 on their "25 Best Movies of the 2020s So Far". Cinema Today called Godzilla Minus One "without a doubt the No. 1" film released in Japan during 2023 on their "Top 20 Movies" list; Deadline listed the film amongst their "Top International Films Of 2023" list; Digital Trends and MovieWeb ranked it the second best action film of that year, with the latter calling it "one of (if not the) greatest monster movies in decades"; Paste ranked the film the third best science fiction movie of the year; Time Out ranked it the fourteenth best film of 2023; and TheWrap included it on their list of "The 10 Best Action Movies of 2023". The Academy of Motion Picture Arts and Sciences included it on their "Best Picture Reminder List" for the 96th Academy Awards. Forbes also ranked it the greatest live-action Godzilla film of all time. On the contrary, the Japanese film magazine Film Art ranked it the third worst on their list of "The Ten Best and Ten Worst Japanese Films of 2023".

Industry response

Godzilla Minus One attained praise from industry figures. Hideaki Anno, co-director of Shin Godzilla, called the film "well-made" and praised the film's technical prowess, saying that Japan has improved in the field of visual effects. Godzilla (2014) director Gareth Edwards admitted to feeling "jealous", adding that "this is what a Godzilla movie should be" and that the film should be "mentioned as a candidate for the best Godzilla movie of all time". At the film's American premiere, Godzilla: King of the Monsters (2019) director Michael Dougherty told Yamazaki and Kamiki that the film was "amazing". Seth Green said "It's a movie filled with a lot of emotions, and I was very moved by it." Guillermo del Toro noted the film's "Theatre-sized ambition and fulfillment" and called it "A Miracle". Filmmakers Adam Wingard (director of Godzilla vs. Kong and Godzilla x Kong: The New Empire), Joe Dante, James Ponsoldt, and Juel Taylor listed the film amongst their favorite films of 2023.

Steven Spielberg, who was a major influence on the film, praised it and is said to have been obsessed with it.

Kevin Smith named it "by far the best Godzilla movie that I've ever seen"; he thought the human drama was "as interesting as some of the most horrifying Godzilla scenes" and compared the ocean sequences to Jaws (1975). Several filmmakers, including John Landis, spoke to Yamazaki and three other members of the visual effects crew while they were at the Academy of Motion Picture Arts and Sciences on January 13, 2024, and some expressed to them that they believed the movie is the best of 2023. Monarch: Legacy of Monsters creators Matt Fraction and Chris Black commend the film's storyline and themes, with Black feeling it was equal to their show and Legendary's Monsterverse films. Blumhouse Productions founder and CEO Jason Blum named it his favorite movie of the year and expressed his desires for Yamazaki to make a Blumhouse film. Yamazaki encountered Steven Spielberg—whom was a significant influence on the film—at the 2024 Oscar Nominees Luncheon. According to The A.V. Club, Spielberg is "obsessed" with the film and told Yamazaki: "I saw it once in my home, and then I had to go see it again in IMAX, then Dolby Atmos".

Video game designer Hideo Kojima hailed the film, saying that "Godzilla, the plot, the VFX, Ifukube's music, Ms. Hamabe's appearance, and the applause afterward" were "nothing but pluses", joking that "the result was +120 points, so I would like to change the title". One Piece creator Eiichiro Oda said that the film was "great" and it inspired him to watch other entries in the series afterwards. Manga artist Aka Akasaka called the human drama "wonderful" and admitted that he cried during some scenes. Television producer Nobuyuki Sakuma said that it was "both old and new" and "the power of Godzilla gave me goosebumps many times". Yoshifumi Naoi, the bassist of alternative rock band Bump of Chicken, called it a "truly terrific movie", adding: "in many ways, my body is numb even after watching it". Comedian Shohei Osada watched the film three times, declaring it "too interesting".

Writing for Deadline Hollywood, Pete Hammond stated that the film "astounded" Hollywood and the filmmakers' use of their low budget impressed the Visual Effects Governors.

U.S. performance

Several American media analysts and journalists have noted how the film's critical and commercial success in the United States has outdone recent Hollywood tentpoles, particularly superhero films, and how the film delivered quality visual effects on a budget below US$15 million, a low figure compared with Hollywood films. Comscore's senior analyst Paul Dergarabedian attributed the film's success to "outside-of-the-box thinking or movies that have a unique point of view, or not trying to just replicate what was successful before". He compared the film to similarly successful 2023 films —such as Oppenheimer, Barbie, and Sound of Freedom— that also offered fresh and unorthodox experiences. Dergarabedian argued that audiences do not have fatigue from Godzilla or action films but fatigue from "bad movies". Saba Hamedy from NBC News said that the film proved that action films based on recycled characters can still find success. In addition, Japanese film critic Naoto Mori attributed the film's success to the fact that it was released during a period when Hollywood superhero movies bombed because they had a poor response from theatergoers and overly large budgets. Mori suggested that Godzilla Minus One was viewed as the opposite of those films since it demonstrated that films do not require enormous budgets to be visually captivating and have a "suitably profound story".

Anggaran

Perselisihan mengenai perkiraan

Aku ingin mengatakan dalam pembelaan Toho, bujetnya kurang dari US$15 juta, tetapi itu merupakan bujet yang cukup tinggi untuk standar produksi film Jepang.

— Takashi Yamazaki, MovieMaker

Sejak dirilisnya film, bujet film menjadi topik bahasan utama. Dilaporkan memiliki bujet dibawah 10% dari yang dikeluarkan untuk film Godzilla sebelumnya, Godzilla vs. Kong (2021), yang diproduksi oleh Studio Amerika Legendary Entertainment. Pada 14 November 2023, Yamazaki membantah bujet film mencapai ¥1 miliar, menyatakan bahwa bujetnya lebih tinggi. Beberapa media —termasuk Variety, IGN, the BBC, The Times, Slate, dan The Hollywood Reporter— kemudian mengklaim bahwa bujet film adalah US$15 juta (kisaran ¥2,2 miliar), namun, Yamazaki membantah angka ini pada Tokyo Comic Con 2023, dan menyatakan lebih rendah dan mengatakan "Aku berharap sebanyak itu". Kritikus film Makoto Matsuzaki mengklaim bahwa bujet film "sekitar ¥2 miliar" sementara Motohiko Tokuriki, menulis untuk Yahoo! Japan, Atsuo Nakayama, menulis untuk Nikkei xTREND, dan Nobuhiro Hosoki, menulis untuk Eiga.com, semua meyakinkan bahwa bujetnya adalah ¥1,5 miliar (US$10 juta). Pada Januari 2024, Hindustan Times juga melaporkan bahwa bujetnya US$10 juta dan Vulture menyatakan bahwa "laporan mengenai bujet Minus One bervariasi, namun berada diantara $10 dan $15 juta". Yamazaki later confirmed to Vulture that the budget was in fact within US$10–15 million, dengan Forbes kemudian melaporkan bahwa bujetnya sekitar kurang lebih $12 juta. The A.V. Club cited it as US$10–12 million, dan menambahkan bahwa angka tersebut "cukup tinggi untuk industri film Jepang".

Yamazaki menolak membocorkan jumlah anggaran sebenarnya untuk film tersebut karena dia khawatir "semua orang akan menginginkan saya membuat film untuk jumlah tersebut".

Undang-undang tenaga kerja Jepang

Sebagai tanggapan atas kepercayaan beberapa jurnalis barat bahwa efek visual film melebihi film Hollywood dengan biaya sekitar US$200 juta dengan anggaran yang sangat kecil jika dibandingkan, beberapa menyarankan bahwa bujetnya yang rendah dan sedikitnya jumlah animator merefleksikan kondisi kerja yang keras di industri film Jepang. Sam Williamson dari Collider attributed the film's box office success to its low budget, addressing that Japan's labor laws incentivize studios to keep costs low at the expense of the cast and crew. Williamson noted that Japanese actor Kanji Furutachi had once stated that Japan lacks unions for actors and filmmakers, which brings a "low-quality environment with long hours and low wages" and rise to exploitation. Likewise, Kevin Slane of Boston.com felt the explanation for the film's visual effects being superior to that of the majority of Marvel Studios' US$200 million movies on a roughly US$12 million budget, to the likelihood that the visual effects crew had faced cruel working conditions.

Yamazaki remarked that Japanese studios are either dubbed "white" or "black", with a "white" studio being one that "doesn’t exploit its employees" while a "black" studio "makes you work overnight at all hours and really doesn’t pay you well". Shirogumi, the studio responsible for the film's visual effects, is literally named "white team" in Japanese, which Yamazaki suggested means that "we want to believe we are setting up standards and an environment that is very workable for all the artists and everyone who is with us here today". Moreover, he emphasized that the visual effects team had not been mistreated and the team avoided working long hours (mentioning that it is a "very welcoming environment" anyway even if they work overtime) and cited how they assembled a kitchen in the studio to make it "more comfortable and cozy". Yamazaki also spoke of his hopes their visual effect budgets would increase in the future and that this could drive further improvements.

Penghargaan

Godzilla Minus One memenangkan Efek visual terbaik pada Academy Awards ke-96. Merupakan film Godzilla pertama yang dinominasikan untuk Academy Award dan Film Jepang pertama yang menerima nominasi pada kategori tersebut, dengan Yamazaki juga menjadi sutradara pertama sejak Stanley Kubrick (untuk 2001: A Space Odyssey di 1969) yang dinominasikan dan menang pada kategori itu dan membuat Shibuya menjadi wanita kulit berwarna pertama yang dinominasikan dan menang untuk kategori Efek visual terbaik. Pada Austin Film Critics Association Awards ke-19, film ini dipilih sebagai film terbaik keenam sepanjang 2023 dan memenangkan penghargaan untuk Film Internasional terbaik.

Film ini menerima tiga nominasi pada Asian Film Awards (memenangkan dua; Visual efek terbaik dan Tata suara terbaik), empat Blue Ribbon Awards (memenangkan tiga; Film terbaik, Pemeran pria terbaik untuk Kamiki, dan Pemeran pendukung wanita terbaik untuk Hamabe), empat Hōchi Film Awards (memenangkan Sutradara terbaik untuk Yamazaki), enam Mainichi Film Awards (memenangkan Pengarahan seni terbaik untuk Anri Jojo), dan empat Seattle Film Critics Society Awards (memenangkan tiga; Film Internasional terbaik, Efek visual terbaik untuk Yamazaki dan Kiyoko Shibuya, dan penjahat tahun ini untuk Godzilla). Godzilla Minus One memenangkan delapan dari dua belas nominasi pada 47th Japan Academy Film Prize, termasuk Film terbaik, Naskah cerita terbaik untuk Yamazaki, dan Pemeran pendukung wanita terbaik untuk Sakura Ando, menjadi film dengan penghargaan terbanyak pada upacara tahun itu.

Warisan

Dampak budaya

Menurut Toho, Godzilla Minus One merupakan sebuah "fenomena global", dengan penggemar membuatnya "mendorong ke garis depan budaya pop". Pada Februari 2024, The Hollywood Reporter menyarankan bahwa Godzilla Minus One merupakan sebuah kontribusi signifikan untuk kebangkitan budaya populer Jepang saat ini di dunia barat, bersama dengan film Hayao Miyazaki The Boy and the Heron (2023), musim pertama dari serial aksi langsung Netflix One Piece, dan serial televisi Shōgun (2024). Sebagai tambahan, Collider mengklaim bahwa film "membantu waralaba serial Godzilla menjadi lebih populer dari sebelumnya".

Potensi sekuel

Jika aku menyutradarai film Godzilla berikutnya, aku akan melakukan sekuel terhadap film ini. Sudah ada dua film Godzilla yang berdiri sendiri secara berturut sekarang, jadi mungkin yang berikutnya perlu menampilkan seekor monster jahat.

— Takashi Yamazaki, Hobby Japan

Sutradara Takashi Yamazaki telah mengkonfirmasi bahwa tidak ada pembahasan mengenai sekuel tetapi dia tertarik menyutradarainya jika ada. Dia menambahkan bahwa jika dia akan membuat film Godzilla kedua, dia lebih suka jika merupakan sekuel langsung yang akan melihat "kelanjutan dari cerita karakter" dan bagaimana mereka menjalani hidup setelah peristiwa di Godzilla Minus One. Pada kesempatan lainnya, Yamazaki juga menyebutkan bahwa film berikutnya akan menampilkan kaiju jahat untuk dilawan Godzilla dan menyiratkan bahwa sekuel akan menjelajahi kutukan yang Godzilla tinggalkan di Jepang, mirip dengan yang ditinggalkan oleh Tatari-gami di Princess Mononoke (1997). Minami Hamabe (yang memerankan Noriko Ōishi) menambahkan bahwa film ini akan mengawali beberap serial, dan menyebut "Jika ada serial berikutnya, aku mungkin akan menjadi yang menginjak dan menghancurkan orang-orang".

Kemungkinan sekuel dibahas secara luas pada saat sambutan setelah penayangan dari versi hitam putih film ini di Tokyo pada 12 Januari 2024, dimana beberapa anggota pemeran hadir, sementara Yamazaki hadir secara luring karena sedang berada di Amerika Serikat. Yamazaki mengungkapkan bahwa dia ingin karakter kembali ke laut kembali untuk sekuelnya. Yuki Yamada memberikan ide untuk menggunakan Noriko sebagai kunci untuk menemukan Godzilla, menurut pemahamannya, dia memiliki "sel" monster.

Mengenai sekuel, Yamazaki menyatakan kepada Empire: "Aku ingin melihat seperti apa sekuelnya. Aku tau bahwa peperangan Shikishima sepertinya telah usai, dan kita sudah mencapai tahapan damai dan tenang – tapi mungkin [ini] tenang sebelum badai, dan karakter belum memaafkan apa yang telah terjadi pada mereka." Dia juga menyatakan bahwa "Aku tidak tau apakah orang-orang sudah mematikan nada serius dari kaiju-versus-kaiju dengan drama manusia, dan tantangannya adalah yang ingin aku kembangkan".

Selama tanya jawab Februari 2024 dengan pendiri Collider Steve Weintraub, Yamazaki mengumumkan bahwa dia telah mulai mengembangkan filmnya, tetapi membantah bahwa itu akan menjadi sekuel untuk Godzilla Minus One. Dalam hal kemungkinan untuk membuat sekuel, dia menambahkan: "Secara hipotesis, jika ada sekuel Godzilla, maka aku akan menanggalinya dengan sudah berapa lama dalam rentang waktu kami bahwa karakter itu telah mengalami apa. Sehingga, jika kami menfilmkannya tiga tahun dari sekarang, aku akan mengaturnya tiga tahun dari Godzilla Minus One. Dan aku berharap bahwa Akiko sudah bisa memulai akting sedikit."

Produser Minami Ichikawa percaya bahwa Toho akan memberi mereka waktu untuk memproduksi film Godzilla berikutnya: "Film yang bagus adalah tentang kualitas. Kami menginginkan ide yang bagus, naskah yang sempurna, sutradara yang berbakat serta pemeran yang tepat untuk mengerjakannya secara cermat. Godzilla pantas mendapatkan tingkatan itu secara benar."

Referensi

Sumber

• "ゴジラ-1.0" [Godzilla Minus One]. Figure King. No. 309. World Photo Press. November 30, 2023. ISBN 978-4-8465-3307-6. 
• 『ゴジラ&東宝特撮 OFFICIAL MOOK』 vol.12《怪獣総進撃》 ["Godzilla and Toho Tokusatsu Official Mook" vol. 12: "Destory All Monsters"] (dalam bahasa Jepang). Kodansha. November 10, 2023. ISBN 978-4-06-531493-7. 
• "December 16 issue". Mono Magazine. No. 928. World Photo Press. December 1, 2023. JAN 4910287531233. 
• Toho (November 30, 2023). 【各界からコメント到着】『ゴジラ-1.0』＜大ヒット上映中＞ [[Comments arrived from various fields] "Godzilla Minus One" <Blockbuster screening now>] (dalam bahasa Jepang). Toho Movie Channel. Diarsipkan dari versi asli tanggal December 1, 2023. Diakses tanggal December 1, 2023 – via YouTube. 
• Toho Stella, ed. (October 23, 2023). 『ゴジラ -1.0』劇場用パンフレット [Godzilla Minus One Theater Pamphlet] (dalam bahasa Japanese). Toho. ASIN B0CMG7RWCX. Diarsipkan dari versi asli tanggal January 28, 2024. Diakses tanggal January 28, 2024.  Pemeliharaan CS1: Bahasa yang tidak diketahui (link)
• TV Shinshu (October 7, 2023). 映画監督 山崎貴の世界 [The World of Film Director Takashi Yamazaki] (television special) (dalam bahasa Jepang). TV Shinshu. Diarsipkan dari versi asli tanggal October 21, 2023. Diakses tanggal October 17, 2023 – via TVer. 

Pranala luar

• Situs web resmi (dalam bahasa Jepang)
  • American website
  • United Kingdom website
  • German website (dalam bahasa Jerman)
• Godzilla Minus One on the official Godzilla website
• Godzilla Minus One at Toho (dalam bahasa Jepang)
• Godzilla Minus One di IMDb (dalam bahasa Inggris)
• (Inggris) Godzilla Minus One di AllMovie