InterBEE REVIEW2011 (EN)

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actors, two cameramen, and two producers. Mr. Edwards says locally recruited extras were used for all of the other supporting roles. The shooting had a “road movie” feel to it, with Latin American settings and the staff piling into a van to move around. The back-grounds behind the actors were left untouched during filming, so the movie captured the townscapes and passersby going about their day-to-day activities. There was actually a rationale behind this bold shooting method: “Even when some unusual situation occurs, people other than those directly involved go about their regular lives. This gave the movie a greater sense of reality.” But what made it possible to smoothly carry out shooting that would subsequently require CG integration was the fact that the director had experience in VFX. Usually a tremendous effort in post-production is required or a VFX expert has to work closely with the camera crew on the set. “The shooting staff, including myself, all knew about CG integration, and so at the time of shooting we could form angles of field that took the integration into account. Consequently the produc-tion efficiency was also good, and we did not have any unnecessary shooting. Normally the VFX creator looks at the data he is handed after the shooting and tears his hair out, but we were able to proceed as if we were firing arrows before the targets were in place, and then setting up the targets later.” Following these exper iences, Mr. Edwards is at last set to work on a Hol-lywood movie. As he loves SF movies, he says he has respect and affection for Godzilla. “Given that Godzilla came about in Japan, there are a large number of Japanese fans and I’m guessing they will cast a stern eye on the movie. I want to make my own ‘Godzilla movie’ that is not tied down by the images that have existed up to now, while showing respect for the fact Godzilla is a global character that came out of Japan.” Up to now Mr. Edwards has been attracting attention for making creative movies on a small budget. I ask him if the scale and the budget of the Godzilla movie will be greater than the work he has done before, or whether he will make a low-budget Hollywood movie: “As a director, it is not as though my personal goal is to make low-budget movies. Up until now I could create a low-budget arrangement by introducing digital technology, and that matched my goal of making creative movies in an environment with a greater degree of freedom. This time round, I plan to undertake the production by concen-trating on creating the kind of stylish movie I want to make, while making full use of digital technology. Where the production structure for movies is con-cerned I believe it is acceptable to pursue the optimum style for the respective work. It’s vital to constantly absorb new technologies and expressions and to create an environment that allows those innovations to be reflected smoothly in the filmmaking process. In making Godzilla, I want to rise to the challenge with gripping content. I want to make something that Japan’s Godzilla fans will enjoy watching once it is completed.”An optimum production styleshould exist for every movie15

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