---- Your comments on being appointed as director of this work.

Doherty:At the moment when he was told, "Do you plan to supervise this work?", I promptly answered "I will do it!" Immediately. This request was truly a pleasure and honor, since my dreams of old days have come true. However, while I was pleased with the request for supervision, I feel a lot of pressure to complete this work (bitter smile).

- As for Godzilla movies in detail, what is your favorite Godzilla movie?

Doherty:It is "Godzilla" of the first work made in 1954. Anyway, the first work is a memorable work that Godzilla was born. Particularly favorite parts are where the tone of the work is beautiful and poetic but while Godzilla is depicted as a terrible being, it is finished in an exciting movie.

 

- I heard that you were also responsible for making screenplays.

Doherty:The most sticking point is how to make a modern Godzilla movie and make it. The spectacle part by a monster and human human drama, the way of balancing these became the biggest challenge.

 

- Have you been struggling with the composition of the work that succeeded to the settings of the previous work, creation?

Doherty:
In my previous work "GODZILLA" (2014), I worked hard to create a wonderful work while inheriting the tone, grand scale, and Godzilla's design that I thought was good. Also, the appearance of Radon, Mothra, and King Ghidorah, which can be said to be Toho's treasures and legacy, in this work was a great source of inspiration in creating a new work.

- Design concept and various settings of the apparition monster.

Doherty:First of all Godzilla, basically follow the design of the Gareth (· Edwards) director version. Regarding the back bille, I thought that the shape of the original Godzilla was beautiful, so I attached the backbone of the original Godzilla to the backbill of Godzilla of the previous work at the photoshop (bitter smile) and conveyed the image to the designer. Also, both legs are made larger, and the tail is also slightly rounded compared to the previous work. This was influenced by the Godzilla movie of Japan and it is from the intention of returning.

- About Radon.

Doherty:Radon is a creature with such a tough body that can withstand the lava of the volcano. The color of the surface is a volcano tick, its texture is imagined to create any lava that can withstand any heat, and its design is conscious of things that are thought to be born organically from Mother Nature Did.

- How about Mothra?

Doherty:With respect to Mothra, with reference to actual insects such as moths, considering the fight between monsters, we made the legs longer than the original by judging that it would be difficult to fight if the antennae and feet were not long. Mothra is beautiful, has femininity, is an image like an elegant and true goddess, but I was conscious of the aspect that it becomes a terribly dangerous creature in the battle. Then the eyeball pattern in both feathers was designed with consciousness of Godzilla 's eyes. Because there was an intention to make audience feel that there is some connection between Godzilla and Mothra.

 

- Finally King King.

Doherty:King Ghidora boldly changed the design of the two wings with an image that makes you feel physically flying and the powerful feeling that no enemies will fly in the air. Each of the three heads has a different personality, the middle head is the leader case, and the left and right heads follow it. The body surface is not a metallic thing but pursuing a natural gold color, with reference to lizards and snakes, especially King Cobra, I originally made it from creatures that have golden skin quality originally. What is important for me is whether those fossils of these living things are found, but what ones that can have reality that I think would actually be possible on this earth? That was one of the guidelines.

- Here's the S.H.MonsterArts of the BANDAI SPIRITS Collector's Division GODZILLA \[2019] What are your impressions after seeing the prototype of each figure?

Doherty:Great! I think that the texture is gorgeous anyway, I think that the spirit of a monster, spirit is realized eminently. Both monsters are good, but Godzilla is particularly good at handling this back burlet! Detail of the moving part is finely finished, this is real art.

- Doherty seems to be particularly favorite radon.

Doherty:Yeah. Radon, which is called "Rodan" in the United States, has had American toys since childhood, and was a favorite monster for me as well. This radon of S.H.MonsterArts is powerful and gorgeous. Moreover, the individuality is extremely felt, and above all, the reproduction of the color is wonderful.

―― How is King Gidora (2019) at S.H.MonsterArts?

Doherty:It is already the highest to the highest! If you use these figures that detail is built precisely so far, you can also make animations of stop motion. Since Godzilla's toy which he had had became an inspiration for film production, I think that monster fans should also make movies using these figures.

- The appearance monsters seem to be drawn as "God" beyond the existence of living things.

Doherty:I also love myths, dragons, and Godzilla from when I was little, it was this work that I could combine these three, and it was important that the appearance monster be treated like a "god". In the setting of the play, the human beings coexisted with monsters several million years ago, but the monster hibernates and the connection between them is lost in the prosperity of only human beings, the existence of monsters It is supposed that the monster will be raised in that time that became a fairytale. While mankind guides the old myth as a guide, it tries to have connection with the monster again. So it is a way of thinking that they are organisms but also the first gods on the planet.

- Main theme of this work.

Doherty:It is "Respect nature!" Nature is a respect for mankind and it is also awe.

- What was the hardest point?

Doherty:I have lots of things (bitter smile). Film production has a side like a durable marathon, and I think that as a director pulling over a thousand people staff, I think that it was to keep the quality, soul and spirit of the movie to the last.

- Finally, please give a message to Japanese Godzilla fans.

Doherty:I am really looking forward to seeing this work by Godzilla fans from now on, but I hope you guys love this work just like you do.

 

--Thank you for today.

Recording date and time: November 30, Heisei 30 (Fri)
Venue: The Peninsula Tokyo
Interview coverage & composition Takashi Nakamura (special-effects writer)

Article Cooperation / Monthly Hobby Japan
Photography / Studio R