“I don't really have a positive or negative opinion about them [the Heisei Godzilla films]. The special effects technically are very sophisticated, but the films lack imagination. It seems as if all Toho is trying to do is show things being destroyed. I don't fault the members of the production department, though, because I know that that is what Toho's executives are demanding.”

— Ishirō Honda

As quoted by David Milner, "Ishiro Honda Interview" http://www.davmil.org/www.kaijuconversations.com/honda.htm, Kaiju Conversations (December 1992)

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Ishirō Honda6

Japanese film director 1911–1993

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“I don't know much about the score for GODZILLA 1985. However, my impression of GODZILLA VS. BIOLLANTE is a negative one, both in terms of the direction and the music. For example, the music that is heard while the scenes that take place in Saradia are shown is just ridiculous. The composer used European music instead of some modern Arabic music. By the way, during the production of GODZILLA VS. BIOLLANTE, Toho asked for permission to use some of my music in the film. I said that I would allow its use as long as it was not turned into popular music. Toho agreed to that, but just before GODZILLA VS. BIOLLANTE was completed, a Toho representative came to me and said, "Well, your music was turned into popular music." By that time, it was too late to do anything about the situation. After GODZILLA VS. BIOLLANTE was released, my daughter came to me and said, "No matter how much you try to escape from Godzilla movies, Toho always uses your name and your melodies, so why don't you just score the next Godzilla film yourself?"”

Akira Ifukube (1914–2006) Japanese composer

That is why I agreed to work on GODZILLA VS. GHIDRAH. <br class="br">As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

“One thing I can say is either to look at films very carefully, watch a lot of films, or don't see any films at all. Just imagine!”

Masahiro Shinoda (1931) Japanese film director and screenwriter

Source: The Movie Experience: Conversation with actress Shima Iwashita and director Masahiro Shinoda/Advice to Students http://globetrotter.berkeley.edu/conversations/Shinoda_Iwashita/shinoda_iwashita5.html (February 27, 1999)

“More and more film scores are being recorded the way television scores are recorded. The performers are not shown any footage. I personally don't like working that way because if you do not allow the members of the orchestra to see footage on a big screen, they will tend to perform as if they are in a concert hall. They will try not to stand out. They will try to perform as members of an orchestra. What is needed when scoring a movie such as GODZILLA VS. MECHAGODZILLA is playing that is much more aggressive. No matter how much you explain the character of Godzilla to the performers and urge them to play aggressively, they still will play as if they are in a concert hall. However, if you show the performers footage of Godzilla, their playing will dramatically change. That is why I insisted on being allowed to show footage to the performers before I agreed to score GODZILLA VS. GHIDRAH.”

Akira Ifukube (1914–2006) Japanese composer

As quoted by David Milner, "Akira Ifukube Interview II" http://www.davmil.org/www.kaijuconversations.com/ifukub2.htm, Kaiju Conversations (December 1993)

“I have now done seven films as Godzilla, and I believe I have achieved most everything I have wanted to do inside the costume… Most importantly, I have always felt Godzilla should express its emotions, which is very difficult given the range of movements and expressions the suit can make. So, whatever Godzilla does - roaring, spewing his radiation breath, communicating with Godzilla Junior - I always try to add little movements that will show his emotional state, like moving his fingers, or a short glance. The Heisei Godzilla [has] a very different personality than the old Godzilla. He is very animalistic, always in motion. But I believe Godzilla is a very emotional creature.”

Kenpachiro Satsuma (1947) Japanese actor

As quoted by Steve Ryfle (1998), Japan's Favourite Mon-star: The Unauthorized Biography of "The Big G", ECW Press, p. 263-64, ISBN 1550223488

“I really don't care that much about "Beauties." What I really like are Talkers. To me, good talkers are beautiful because good talk is what I love. The word itself shows why I like Talkers better than Beauties, why I tape more than I film. It's not "talkies." Talkers are doing something. Beauties are being something. Which isn't necessarily bad, it's just that I don't know what it is they're being. It's more fun to be with people who are doing things.”

Andy Warhol (1928–1987) American artist

Source: 1975, The Philosophy of Andy Warhol (1975), Ch. 4: Beauty

“I really envy the members of the production departments of American movie studios. Their ideas are better, and they are given much more time to work on films.”

Kenpachiro Satsuma (1947) Japanese actor

As quoted by David Milner, "Kenpachiro Satsuma Interview I" http://www.davmil.org/www.kaijuconversations.com/satsum.htm, Kaiju Conversations (December 1993)

“Believe me, I am still very surprised that I managed to make that film [Close-Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience. Because the film made itself, to a large extent. The characters involved were very real, I wasn't directing the actors so much as being directed by them. So it was a very particular film.”

Abbas Kiarostami (1940–2016) Iranian film director, screenwriter, photographer and film producer

https://www.theguardian.com/film/2005/apr/28/hayfilmfestival2005.guardianhayfestival

“I find it quite difficult to watch the film once it is done, because in your head or imagination it is totally different. In the beginning it is quite hard, and I don't mean hard as in a negative or a positive. It is difficult to see the film being edited and see the real images for the first time coming out of your head and onto the screen. Sometimes you are surprised that he left something in and he took something out. The director is the creator; he's the captain of the ship when it comes to the creative journey of the film, along of course with the producer. So when you start out acting you have to find a way to understand and to deal with that. But as I say I don't mean it as a negative or a positive.”

Marwan Kenzari (1983) Dutch Tunesian actor

Fight Cub: Marwan Kenzari and Nasrdin Dchar Talk Wolf http://thequietus.com/articles/16646-wolf-kenzari-dchar-interview (November 8th, 2014)

“So from there on I made all their science fiction films, and the more I did of these films the more I liked it because the studio left me alone. No one at that time was an expert at making sf films so I claimed to be one. I wasn't, of course, but the studio didn't know that so they never argued with me, no matter what I did. In most of my sf films I tried to create an atmosphere because I think if you shoot an imaginative film--a film in which you ask an audience to believe things that are bizarre--you have to make them believe it. You can't do this with the story or actors alone, you have to create a kind of atmosphere while shooting it in which the audience's credibility will be suspended to the point where they don't say to themselves: "That's impossible!"”

Jack Arnold (director)

Jack Arnold in The Horror People http://eric.b.olsen.tripod.com/arnold.html (1976)

“I don't like film. Film is too clankingly real, too permanent, too industrial for me. … The worst thing about film, from my point of view, is that it cripples illusions which I have encouraged people to create in their heads. Film doesn't create illusions. It makes them impossible. It's a bullying form of reality, like the model rooms in the furniture department of Bloomingdale's.”

Kurt Vonnegut (1922–2007) American writer

"Preface"
Between Time and Timbuktu (1972)

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Ishirō Honda6

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