"SHIN GODZILLA" WILL ROAR ACROSS NOR CAL! Listing of Cinemark/Century Cinemas Bookings

シン•ゴジラはカリフォルニア北部に侵入！

Coming to a Bay Area theater near you... And even in Milpitas!

UPDATED 09/09/16: Not long after Funimation Films announced they had acquired the North American theatrical rights to Hideaki Anno's SHIN GODZILLA (currently breaking box-office records in Japan), US fans couldn't sit still and wait for Funimation to list theaters near them booking the film (now available), and took it upon themselves to do their own searches and compile their own lists.

Of course, while cross-referncing online agencies, such as Fandango and Movietickets, yielded results, these all still fell far short of the purported 440 venues Funimation announced in their press release issued last week on September 2nd. The anticipation generated for this film has also urged employees of many theaters to tip others off to bookings and dates.

SHIN GODZILLA is being booked through a number of theater chains, including Cinemark (incorporating the Century Cinemas). And while Cinemark's listing is insane, with multiple dates in Nevada, Arizona, New Mexico, Texas, Oregon, Ohio, etc., I've decided to only list the Northern California theaters from Chico to Monterey. NOTE: This is only Cinemark's bookings and is not to be taken as complete. Newly-added theaters appear in red.

Century San Francisco Centre 9 and XD

845 Market Street, Suite 500
San Francisco, CA 94103

Roxie Theater (October 16th-18th)
3117 16th Street
San Francisco, CA 94103

Century 20 Daly City and XD

1901 Junipero Serra Blvd.

Daly City, CA 94015

Century Tanforan 20
1188 El Camino Real
San Bruno, CA 94066

Century 12 San Mateo

320 East 2nd Avenue

San Mateo, CA 94401

Redwood Downtown 20 and XD

825 Middlefield Road

Redwood City, CA 94063

Century Cinema 16 Mountain View
1500 North Shoreline Blvd.
Mountain View, CA 94043

Century 20 Oakridge and XD

925 Blossom Hill Road

San Jose, CA 95123

Santana Row 6
3088 Olsen Drive
San Jose, CA 95128

Century 14 Vallejo

109 Plaza Drive
Vallejo, CA 94591

Century Laguna 16

9349 Big Horn Blvd.

Elk Grove, CA 95758

Shattuck Cinemas (Landmark Theaters)
2230 Shattuck Ave.
Berkeley, CA 94704

Century at Hayward

1069 B Street

Hayward, CA 94541

Walnut Creek 14 and XD

1201 Locust Street

Walnut Creek, CA 94596

Regal Hacienda Crossings Stadium 20 & Imax 
5000 Dublin Blvd.
Dublin, CA 94568

Century 16 Downtown Pleasant Hill and XD

125 Crescent Drive

Pleasant Hill, CA 94523

Fairfield Stadium 16 Cinemas
1549 Gateway Blvd.
Fairfield, CA 94533

Century at Pacific Commons and XD

43917 Pacific Commons Blvd.

Fremont, CA 94538

Century 20 Great Mall and XD

1010 Great Mall Drive

Milpitas, CA 95035

Century Napa Valley and XD

195 Gasser Drive

Napa, CA 94559

Cinemark Movies 14

3300 N. Naglee Road

Tracy, CA 95376

Cinemark 14 and XD

801 East Ave., Suite 2

Chico, CA 95926

Cinemark Yuba City

1410 Whyler Road

Yuba City, CA 95993

Tower Theater

2508 Land Park Drive

Sacramento, CA 95818

Century 16 Greenback Lane and XD

6233 Garfield Ave.

Sacramento, CA 95841

Century 14 Northridge Mall

350 Northridge Shopping Center

Salinas, CA 93906

Monterey 13

1700 Del Monte Center

Monterey, CA 93940

Santikos Casablanca Theatre 16
11210 Alamo Rance Parkway
San Antonio, CA 78253

Please contact your local theater for dates and times. Do not panic if you do not see your local theater or town represented in this list, more bookings, check out Funimation's official search engine at their official website. Stay tuned to this blog for more updates and information as they happen!

Thanks to Thomas Ng for the heads up!

HAPPY BIRTHDAY, EIJI TSUBURAYA! JULY 10, 1901 - JANUARY 25, 1970

お誕生日おめでとう、円谷英二様！


Eiji Tsuburaya, the Father of Ultraman was born 115 years ago!

The "Father of Japanese Special Visual Effects" was born on July 10, 1901 as Eiichi Tsumuraya in Sukagawa, Fukushima (according to the family register). As with his life, even his date of birth is steeped in legend — official sources have often listed that Eiji Tsuburaya was born on July 7th — a date of fortune in the tradition of Tanabata (meaning "Seven Evenings"), a Japanese star festival derived from the celebration of ancestors, know as Obon. Celebrated on July 7th or August 7th, Tanabata commemorates the meeting of Orihime (Vega) and Hikoboshi (Altair).

Tanabata originated from the Chinese Festival to Plead for Skills (Oi Xi), which came to Japan in the Heian Period (795-1192), and spread to the public during the Edo Period (1603-1867), where it was then combined with Obon traditions. From the Edo Period, girls wished for better sewing and craftsmanship skills, while boys wished for better calligraphy skills, by writing wishes on strips of tanzaku paper, which were hung on bamboo trees. This tradition is still practiced today.

A Japanese claiming they were born on the Tanabata, was akin to an American saying they were born on Independence Day. So, even if Eiji Tsuburaya was not born on July 7th, the myth of being born on the Tanabata certainly was apt, because Tsuburaya would become famous for his multiple artistic and practical skills, which he had in spades — and eventually, the name Tsuburaya would become world-renown with the production of GODZILLA (1954).

For more on the Old Man, order your copy of "Eiji Tsuburaya: Master of Monsters" (Chronicle Books), today!

TAMASHII LAB'S SCIENCE PATROL "SUPERGUN"! Screen-Accurate Replica from Ultraman, 1966

Tamashii Labの「科学特捜隊光線銃 スーパーガン」も初お披露目！


First reveal teased by Bandai Collectors' Twitter account on July 8th.

Tamashii Nations, part of Bandai's Collectors Division, which has had great success with such adult-aimed products in the Tamashii Nations line, has launched a new division, announced at this very weekend's "Ultraman Day in the Suginami Public Hall" (where the "Ultraman is Born" premiere pre-show was held a half-century ago), under the moniker: Tamashii Lab.


Tamashii Lab's unveiling of the upcoming Science Patrol Supergun!

The first project out of their docket was unveiled at the "Ultraman Day" event, the trusty sidearm of the Science Investigation Agency, the "Supergun"! In the photos taken by fans attending the event, and Bandai Collector's Twitter account, this screen-accurate edition of the Supergun will come with two attachments seen in the series: Anti-Gravity Shell and the Balloon Marker.


Tamashii Lab's replica of the Supergun with special attachments.

With a number of garage kits and cottage industry outfits producing screen-accurate versions of the Supergun over the last few years (most out of resin, fiberglass, polystone, and even metal), and with various attachments, Tamashii Lab's over-the-counter product will most likely be the definitive (and perhaps cheaper) version. Although they'd better make the rest of the attachments, too.


Tamashii Lab's Special Attachments for their pending Supergun.

According to the freshman Tamashii Lab's website, "Based on years of advanced modeling techniques that Collectors Division has acquired, Bandai also adds its know-how to develop "most wanted items" from live action productions, exhaustively researched down to the most minute detail.


Original metal Supergun prop with all of the paint details worn off.

"And each and every time, the concepts will also change. Sometimes using the latest technology, and sometimes employing traditional methods. We aim to make products that will prove more surprising than the real thing."


Previous polystone version issued by Stealth Tanaka and A-Toys.

As of this writing, the release date for Tamashii Lab's Supergun was announced for December 2016, with the manufacturer's suggested retail price set at ¥12960 ($122 USD). This new diecast Supergun will feature sound effects of the ray emitter, as well as the cries of 40 monsters from the show, and various sound effects activated by the two PVC attachments. I'd say this is a hands-down winner!


Demo video featuring actor Susumu Kurobe who played Hayata!

CELEBRATING A HALF CENTURY OF "ULTRAMAN"! "Junior TBS News Extra" Newsletter, June 1966

お祝い『ウルトラマン』放送50周年記念

Tokyo Broadcasting System's supplement on the July 17th premiere!

HAPPY BIRTHDAY, SATOSHI "ULTRAMAN" FURUYA! JULY 5, 1943

お誕生日おめでとう、古谷敏！ウルトラマンとアマギ隊員よ永遠に！


At a fit 73, Satoshi "Bin" Furuya still has the right "Ultra Stuff"!

On the eve of the 50th Anniversary of the seminal ULTRAMAN series, read more about the man who played the red and silver hero from the stars, here! This July 15th-17th, Mr. Furuya will be appearing at G-Fest XXIII in Chicago, along with his co-star Hiroko Sakurai, who played Akiko Fuji. If you're a fan, its your duty to come by and wish Mr. Ultraman a very happy ultra birthday!

Read about my thoughts on Mr. Furuya, here.

"ULTRAMAN" TURNS 50 THIS MONTH: JULY 2016! From "Weekly TV Guide" #199, June 24, 1966

お祝い『ウルトラマン』放送50周年記念


"TV Guide" full-page color preview (Tokyo News Service, Ltd.).

Bowing on Japan's TBS television network on July 17, 1966, Tsuburaya Productions' ULTRAMAN was not only an instant and colossal success at home, but also abroad, as it was syndicated to North America and Latin American countries through United Artists Television. Creating generations of fans across the globe, with new incarnations appearing on television and cinema screens, as well as the originals, thrilling both old and new, alike.

As a five year old, I was captivated by those daily doses of ultra kaiju action which flooded into my living room every weekday, and left an permanent mark upon my young psyche. A malady from which I never recovered. Despite vanishing from local airwaves, this wondrous sci-fi action series remained in my mind. In those days, there was little or no merchandise to be found in the US, until a fateful school field trip to San Francisco's Japantown changed everything.

Toys, books, magazines, records, and more were laid before me in now-defunct shops such as Goshado, Nichibei Bussan, and Mikado. Not only was there an entire Ultra Family, an entirely new world superheroes and monsters flooded into my consciousness, and so my fate was sealed. It was not long afterwards that ULTRAMAN returned to Northern California television, and this time, we would not be separated ever again.

While I live and breathe the vast pantheon of Japanese superheroes and kaiju, both great and small, my favorite series and my eternally favorite savior from the stars will always be the original Ultraman — protector of the world! In honor of this anniversary,  I will be posting a number of Ultraman-related pieces all month, so happy anniversary to ULTRAMAN, one of the greatest television series of all time! And remember, it's all your fault (just kidding).

You can stream all 39 episodes of the original, uncut ULTRAMAN, with English Subtitles, for free at Shout Factory TV!

RAGONE HOSTS "SUPER SENTAI SPECTACULAR" 2! Shout Factory Marathon Streaming on May 21st

DISCOVER THE SECRET ORIGIN OF THE "POWER RANGERS"!


Dynamic ad for Shout! Facotry TV's new Super Sentai Spectacular!

For our fourth marathon with Shout! Factory TV, I'll be back hosting a three-hour streaming event featuring the original Japanese episodes of FIVE STAR TASK FORCE: DAIRANGER (1993), which will be blasting out onto digital screens across the web this Saturday, May 21, 2016 at 9:00 am Pacific/Noon Eastern at Shout Factory TV — for free!

This new marathon will feature the first seven episodes from one the original series that inspired the "Power Rangers", in Japanese with English subtitles. After fans have watched these first episodes during the "Super Sentai Spectacular", immediately following, all 50 episodes of DAIRANGER will become available on Shout! Factory TV.

As a returning host, I'll discuss the history of Super Sentai, setting the context as a long-time fan. My first experience with Super Sentai was watching the one that started it all: SECRET TASK FORCE: GORANGER in 1976 through 1977 on Sacramento's KMUV-31, San Francisco's KEMO-20 and Honolulu's KIKU-13. So, I'm a real OF (Original Fan).

As with our previous marathons, this will also be interactive: Join in on the conversation with myself and other Super Sentai fans, using the hashtag #Dairanger while you watch on Twitter, Facebook, and on Pluto TV (Channel 515), or get the Pluto TV app for tablet and TV devices (Roku, Amazon Fire, Fire TV Stick, Android, Chromecast, and Apple Airplay), mobile (iOS, Android and Amazon), and on the web.

So, what's FIVE STAR TASK FORCE: DAIRANGER about?



The three Tribes of the Daos Empire — Shura, Dai and Gorma — were peaceful until the Gorma set out to conquer the planet, launching a magical war between the Gorma and Dai Tribes that lasted for 5,000 years. In the end, both civilizations were lost… until now. The evil Gorma have returned. Now, it’s up to Master Kaku to assemble a team of kids with high levels of Qi to become the protectors of the Earth known as the Dairangers!

Schedule of Episodes:*
09:05 am – L-e-e-et’s Tenshin!!!
09:30 am – I-i-i-it’s Qi-Power!!!
10:00 am – Your Souls, Please!
10:25 am – We’re Naïve!
10:55 am – The Jewels Have Come!
11:25 am – Wind, Cut Through!
11:50 am – Traito-o-or!

*Times listed are Pacific time, approximate and subject to change.

Charge up your Aura Changers, prepare to Qi Power Changeover, and join us for the "Super Sentai Spectacular" on Saturday, May 21st!

RAGONE HOSTS "SUPER SENTAI SPECTACULAR"! New Marathon Streaming Live on January 23rd

DISCOVER THE ORIGIN OF THE "POWER RANGERS"!


Dynamic poster for Shout! Facotry TV's Super Sentai Spectacular!

For our third marathon with Shout! Factory TV, I'll be hosting a three-hour live streaming event featuring the original Japanese episodes of DINOSAUR TASK FORCE: ZYURANGER (1992) which will be blasting out onto digital screens across the web on Saturday, January 23, 2016 at 9:00 am Pacific/Noon Eastern at Shout Factory TV!

This new marathon will feature seven episodes of the original series that inspired the "Power Rangers" franchise, presented in Japanese with English subtitles. After fans have watched these first episodes during the "Super Sentai Spectacular", all 50 episodes of ZYURANGER will be available on Shout! Factory TV for free streaming.

As a returning host, I'll discuss the history of the franchise, setting the context as a long-time fan. My first experience with Super Sentai was watching the first show that started it all: SECRET TASK FORCE: GORANGER in 1976 through 1977 on KMUV-31 (Sacramento), KEMO-20 (San Francisco) and KIKU-13 (Honolulu). So, I'm an OF (Original Fan).

As with our previous marathons, this will also be interactive: Join in on the conversation with myself and other Super Sentai fans, using the hashtag #Zyuranger while you watch on Twitter, Facebook, and on Pluto TV (Channel 515), or get the Pluto TV app for tablet and TV devices (Roku, Amazon Fire, Fire TV Stick, Android, Chromecast, and Apple Airplay), mobile (iOS, Android and Amazon), and on the web.

So, what's DINOSAUR TASK FORCE: ZYURANGER about?

When the sinister witch Bandora is released from her prison after 170 million years, five ancient warriors are woken from suspended animation to once again defend Earth from Bandora and her evil horde. Armed with enchanted weapons and giant mechanical deities known as the Guardian Beasts, it’s up to these warriors to defeat Bandora and her monsters before she can exact revenge upon the Earth for the death of her son.

Schedule of Episodes:*
09:05 am – The Birth
09:30 am – The Revival
10:00 am – Fight in the Land of Despair
10:25 am – Reawaken, Legendary Weapons
10:55 am – Scary Riddles
11:25 am – Arise, Daizyuzin
11:50 am – I Can See! I Can See!

*Times listed are Pacific time, approximate and subject to change.

Grab your Dino Bucklers, fire up the Guardian Beasts, and join us for the "Super Sentai Spectacular" on Saturday, January 23rd!

HAPPY BIRTHDAY, HARUO NAKAJIMA! The Original Godzilla: January 1, 1929

お誕生日おめでとう ゴジラさん、中島春雄！


Nakajima prepares to play Godzilla in this publicity shot, 1954.

Read more about the incredible Mr. Godzilla, here!

"NEW GAMERA" WILL BE REVEALED AT NYCC '15! October 8th on the Live Stage (Booth #656)

明日に角川映画はNYコミコンで新作『ガメラ』を発表します。

Gamera's getting off his back and going to New York Comic-Con.

Everyone has been awaiting a new Gamera film for the half-century Anniversary, and Kadokawa Daiei Studios Co., Ltd. (which owns the entirety of the Daiei Studios and their catalogue, including Gamera) was prepping a big announcement last May for a release in 2015 — which I covered, here — but never materialized. Most non-Japanese fans wondered why, not knowing the megalithic Kadokawa Group (the biggest publisher and film producer in Japan) was going through a series of major upheavals.

On June 22, 2013, nine subsidiary companies in the Kadokawa Group were merged (eight of them now operating as branding companies) and rechristened Kadokawa Corporation, while Kadokawa Productions was subsequently dissolved and integrated into their intellectual properties business headquarters. The restructuring continued when Kadokawa merged with Dwango, which owns Niconico (the Japanese version of YouTube), forming a new holding company, Kadokawa Dwango on May 14, 2014.

New York Comic-Con's listing for Kadokawa's Gamera presentation.

Now that the dust has settled, the plan to celebrate the colossal chelonian's 50th Anniversary is moving forward. Tomorrow, reps from Kadokawa Daiei will be hosting a half-hour presentation on the NYCC Live Stage (Booth #656) at the New York Comic-Con to announce a new "pilot film". What that intimates is a test film or a teaser for a full-blown feature film, that obviously, will not be ready in time for Gamera's official anniversary this year (the original film was released on November 27, 1965).

With the announcement taking place in less than 24 hours, there's no need to fret or speculate; I'm sure we'll see the announcements flow via the interwebs, tomorrow...

Sponsored by Shout! Factory and Famous Monsters of Filmland!

Meanwhile, don't forget I'll be hosting another "Kaiju Marathon" for Shout! Factory TV on October 17th — this time, we're presenting "Gamera's Revenge"! — streaming eleven of the terrible terrapin's feature films all day, absolutely free, starting at 8:00 am Eastern (stay tuned for more information)!

RAGONE STOMPS INTO CHI-TOWN FOR G-FEST! 22nd Annual Chicago Kaiju Con July 10th-12th

大怪獣ラゴーニ、シカゴの「Gフェス」に現わる！　


This year's incredible G-Fest Charity print by Chris Scalf!

Yes, it's time to return to the the Windy City, Chicago (it's really in Rosemont at the Crown Plaza O'Hare) for the annual event known as "G-Fest", the longest-running all-kaiju event in North America. I've been asked to return as a convention guest, but this year, I've been given the moniker of "Special Guest Presenter" (sure, I'll take that, thank you).

For the 22nd show, I'll be stationed at my booth in the Dealer's Room (between my pals, Bob Eggleton and Michael Cherkowski's "Vampire Robots"), and will be signing copies of the paperback edition of "Eiji Tsuburaya: Master of Monsters" while supplies last — and yes, you can bring your pre-purchased copies (I'll deface those for free, too).

There's going to be a lot happening, especially with the guests from Japan, autograph signings, fan sessions, presentations, panels, a costume contest, vendors and more (see the convention links for details). Here's a list of my whereabouts for the weekend:

—FRIDAY JULY 10, 2015—

2:00 PM - 4:00 PM • Book Signing (Dealer’s Room)

4:30 PM - 5:45 PM • Book Signing (Dealer’s Room)

6:00 PM - 6:30 PM • Opening Ceremonies (Ballroom 2)

6:45 PM - 7:00 PM • Book Signing (Dealer’s Room)

—SATURDAY JULY 11, 2015—

10:00 AM - 11:45 PM • Book Signing (Dealer’s Room)

12:00 PM - 1:00 PM • “50 Years of Gamera” (Ballroom 2)

1:45 PM - 2:45 PM • Book Signing (Dealer’s Room)

3:00 PM - 5:00 PM • “Monster Zero” Live!” (Ballroom 2)

5:15 PM - 7:00 PM • Book Signing (Dealer’s Room)

—SUNDAY JULY 12, 2015—

10:00 AM - 12:30 PM • Book Signing (Dealer’s Room)

1:00 PM - 2:30 PM • Awards Luncheon (Ballroom 1)

2:45 PM - 4:00 PM • Book Signing (Dealer’s Room)

Hope to see some of you in Chicago for this year's crazy kaiju convention!

HAPPY BIRTHDAY, EIJI TSUBURAYA! JULY 10, 1901 - JANUARY 25, 1970

お誕生日おめでとう、円谷英二様！


Goofing around on the set of FRANKENSTEIN VS. BARAGON (1965).

The “Father of Japanese Special Visual Effects” was born on July 10, 1901 as Eiichi Tsuburaya in the town of Sukagawa, Fukushima. As with his life, even his date of birth is steeped in legend — official sources have often listed that Eiji Tsuburaya was born on July 7th — a date of fortune in the celebration of Tanabata (meaning “Seven Evenings”), a Japanese star festival derived from Obon (a celebration of ancestors). Tanabata is usually celebrated on July 7th or August 7th, to commemorate the meeting of Orihime (Vega) and Hikoboshi (Altair).

Tanabata originated from the Chinese Festival to Plead for Skills (Oi Xi), which came to Japan in the Heian Period (795-1192), and spread to the public during the Edo Period (1603-1867), where it was then combined with Obon traditions. From the Edo Period, girls wished for better sewing and craftsmanship skills, while boys wished for better calligraphy skills, by writing wishes on strips of tanzaku paper, which were hung on bamboo trees. This tradition is still practiced today in Japan.

Even if Eiji Tsuburaya was not born on July 7th, the myth of being born on the Tanabata certainly was apt, because Tsuburaya would become famous for his multiple artistic and practical skills, which he had in spades — and eventually, the name Tsuburaya would become world-renown with the production of GODZILLA (1954).

Order your copy of "Eiji Tsuburaya: Master of Monsters" (Chronicle Books), today!

HAPPY BIRTHDAY, SATOSHI "BIN" FURUYA! JULY 5, 1943

お誕生日おめでとう、古谷敏！ウルトラマンとアマギ隊員よ永遠に！


Alas, poor Ultraman! I knew him, Officer Amagi...

At the age of five or six, ULTRAMAN came into my life through our living room television set, my life would never be the same. While I loved dinosaurs, monsters, the space age, and having already met Godzilla kith and kin, it was the weekday broadcasts of the silver and red superhero, which drove me to obsess over science fiction and fantasy films and teleseries from the land of the rising monsters.

And the actor who brought this savior from the stars to life was Satoshi "Bin" Furuya.

Born in Tokyo's upscale Azabu Ward (now a part of the Minato Ward), Furuya was picked as one of Toho Studio's 15th Annual "New Faces" (along with his ULTRAMAN co-star Masanari Nihei), after graduating from Toho's Acting School in 1960. Cast in several small or background parts, in films such as Ishiro Honda's MOTHRA (1961), he garnered his first screen credit (as "Ken") in the Jun Fukuda crime thriller, THE HOWLING JAILBREAKERS (1962).

After appearing in a number of kaiju eiga (such as GHIDRAH), Furuya's towering stature and physical proportions didn't go unnoticed by Eiji Tsuburaya, who thought the tall thesp would be a wonderful monster suit actor for the series ULTRA Q (1966). Furuya resisted, at first, but who could refuse working for Japan's visual effects wizard? He soon found himself under the wing of Haruo Nakajima, Godzilla himself. After ULTRA Q, Eiji thought that Furuya would be the perfect choice to portray the titular character of his next series: ULTRAMAN.

And the rest, as they say, is history — Furuya was the first and the best Ultraman. Shortly after the conclusion of the series, all of the young actor's efforts and suffering beneath the suffocating suit, was rewarded by Tsuburaya Productions for their next series. This time, featured — sans masks — in the main cast of ULTRA SEVEN (1967) as "Officer Amagi" of the Ultra Guard; a character who has endeared himself to a generation of Japanese fans to this very day.

But, to me, he will always be the one and only Ultraman!

SHOUTING KAIJU & STREAMING SUPERHEROES ULTRA Q & ULTRA SEVEN on Shout! Factory TV!

ストリーミング『ウルトラQ』と『ウルトラセブン』VOD !


Watch episodes of ULTRA Q online anywhere or on your TV via Roku!

Launching this past February, Shout! Factory TV is a free "premiere digital entertainment streaming service that brings timeless and contemporary cult favorites to pop culture fans," with the "highest quality video available for all titles," free-to-consumer ad supported, original videos, special bonus behind-the-scenes featurettes, and live programming (such as the Mystery Science Theater 3000 Turkey Day Marathon).


Watch episodes of ULTRA SEVEN online or on your TV via Roku!

On July 1st, the service uploaded all 28-episodes of the classic 1966 kaiju-fantasy series ULTRA Q (click link to start viewing), precursor to ULTRAMAN, and 48-episodes of the 1967 sci-fi superhero series ULTRA SEVEN (click to start viewing), which followed ULTRAMAN, produced by Eiji Tsuburaya's world-renown Tsuburaya Productions, and are fully subtitled in English!

So, for any of those of you in North America who passed on picking up the either or both of these series on DVD from the Shout! Factory label — here's your chance to see both of these classic series and find out what all the fuss is about. So, tune in and kaiju out!

"TITANS" SET TO ATTACK NORTH AMERICA Hollywood World Premiere on July 14th!

実写版『進撃の巨人』7月15日にアメリカ上陸！


July's World Premiere in Hollywood will supersede Japanese debut.

The first of director Shinji Higuchi's two-part ATTACK ON TITAN live action feature films will be released theatrically throughout North, Central and South America this fall by US-based label, Funimation Entertainment, who is also partnering with Toho to host the World Premiere at the Egyptian Theatre in Hollywood on July 14th (before its Tokyo premiere on July 21st and general public Japanese release on August 1st).


Leading man, Haruma Miura, will attend the Hollywood premiere.

Director Higuchi (SINKING OF JAPAN), the man who's gearing up to shoot Toho's next Godzilla film, will be joined on the red-carpet by the film's stars, Haruma Miura and Kiko Mizuhara. Before the big premiere in Hollywood, Mr. Higuchi will be promoting the film this year's San Diego Comic-Con International by signing autographs at the Funimation Entertainment booth (#4135) on July 12th.


Co-star Kiko Mizuhara will also walk the red carpet on July 14th.

ATTACK ON TITAN will also be hitting Australian cinemas in August via Madman Entertainment, while the second film, END OF THE WORLD, will have its Japanese bow on September 19th. At this time, there has been no word of a release for the second film on this side of the Pacific (although it's a safe bet to say its in the hands of Funimation). Stay tuned for more information and news as it develops!

(Source: Funimation Entertainment)

THE DIRECTORS OF "GODZILLA 2016" SPEAK: "I'll Give You the Greatest Worst Nightmare!"

樋口真嗣：「来年、最高で最悪の悪夢を皆様にお届けします」！

These men are planning to destroy Japan next summer. Again.

Yesterday, when Toho released their announcement to the press that Hideaki Anno and Shinji Higuchi were teaming together to co-direct the next domestic Godzilla film to be produced in Japan, jaws could be heard dropping across the Pacific. Yes, the man who pushed the state of miniature visual effects to the next level, and the man who revolutionized storytelling in anime, were to be bringing the Big G back home — in tandem with Legendary's trilogy directed by Gareth Edwards.

I don't think anyone on this side of the Pacific, after more that two decades of whatever Toho threw at fans, realize the gravity of this paring. Visually, they may have a better idea once the first of Higuchi's pair of live action ATTACK ON TITAN films hit Japanese screens this summer. As for Anno, who is also penning the screenplay, all you have to do is look at his body of work to see there's a big change coming. A very big change. Something that we might never thought we'd see.

As the press release related, the film will be shooting this fall and will be released "Summer 2016." More information has been gleaned from the Extras Casting Call that has already gone out from the CineBazar casting agency, which has opened applications for potential extras needed between September and November. This indicates the film's Principal Photography will be completed before December, giving Higuchi and Anno several months to shoot and render the visual effects.

Personally, while I've always looked towards the new productions with a sense of cautious optimism, notably, the Gareth Edwards film, I'm very excited for the potential of this new incarnation, especially as we get closer to production time this fall. Until then, perhaps we can get a sense of what these two hardcore fans of the Showa Godzilla (1954-1975) have in mind, from their two written statements issued by Toho:

HIDEAKI ANNO
WRITER/SUPERVISING DIRECTOR


December 2012. After the production of EVANGELION: 3.0 YOU CAN (NOT) REDO, I was broken. A so-called depression set in. It was the comeuppance for six years that drained my soul. 2013 came and went. That was a year in which negative memories rumbled back, over and over. While I could represent myself, it became impossible for me to even physically go near the studio, even once, because of the burden of the next film [EVAGELION 4]. Early 2014. I was finally able to return to the studio. Then, I gradually got back into working, because of that year of self-rehabilitation.

So, it’s 2015. After 20 years after the premiere of the old EVA; and you've been waiting more than two years since you last bought your tickets, so I’m working towards realizing the completion of the new EVANGELION theatrical features (why am I promoting it, already?). To those who follow me, and all the anime fans, it’s only through your continued support that gives me the motivation to move forward, again, towards the finale. Sincerely, I thank you.

And, now, at the same time, I’m also starting work putting together a visual effects fantasy film. This all started at the end of January, 2013. A representative from Toho contacted me directly, saying, “We’d like to direct a new Godzilla film.” At the time, I was still recovering from EVA 3.0, and right on the spot, flatly refused the offer, “It’s impossible. Even to begin work on the next EVA is impossible.” 

Eventually, it was Toho’s sincerity and the enthusiasm of my ally, Director Shinji Higuchi, and I decided to take the job as Director that March. My prayer is that this will not be just a repeat of science fiction visuals of the past, and the wish we put into the Tokusatsu Museum Exhibit, was to embody the idea of giving back to the creators and artists who came before us, which was our intention and our responsibility. And when that epiphany occurred to me, my resolution was to undertake this task.

Now, one does because they can, not because they cannot. I made my decision because this is a new, once-in-a-lifetime chance. This is not EVA. This is not an original creation of my own, and is something I’ve never done before — this is why I decided to do it.

That May, I began my work with pen to paper. And I decided on how I was going to depict the principal subject. And in the following month, June, I submitted my G-Project Memos and Story Proposals to Toho, and then began working on the Plot Outline, etc. 

Godzilla exists in a world of science fiction, not only of dreams and hopes, but he's a caricature of reality, a satire, a mirror image. Recently, Japan has also been careless in the way it has attempted to depict him. In all honesty, Japanese production budgets and schedules are so tight, compared to the world’s capitol [Hollywood], not to mention the constraints imposed on filmmakers in terms of content. Frankly, I’m not sure how far outside the lines we can go.

However, movies have pride, even trifling little films; therefore, just as in the case of the new EVAs, I’m going in full force. When I think about what I’ve accomplished, the twists and turns befitting a screenplay, everything has led to this point. I write this with the hope that the reader might understand at least to some degree that no matter what a creator says, it’s just an excuse, but I’m under pressure to make a visual effects fantasy film representative of modern Japan, with the full awareness of our current situation, which will be subjected to intentions both good and bad.

Finally, to all those of you who have given me support, to all the fans who’ve purchased tickets to my films, to everyone who has given me the will to continue with my works, I’m eternally grateful. Thank you.

SHINJI HIGUCHI
DIRECTOR/VISUAL EFFECTS DIRECTOR


The thought of this resurrection has my chest pounding. Almost three decades have passed since I snuck into this film industry, and had no idea what would transpire before me, because I was so idealistic. The difference between my first, carefree world of amateur filmmaking, compared to the reality of the ups and downs of the industry, I feel as though I’ve been a hero running for 30 years. But, at last, the time has come! 

I’ve come to see those reckless heroes of my high school and college days hit mid-life. It all seems like a dream, but now I must come back to reality. There’s no more room for idle talk. “What you really want to do, what you really need to do, what you should never do, what you may not be able to do,” are the thoughts that’ve fought in my head, and held me back.

It’s a veritable championship over one’s own mind. What now, then? Playtime is over. Nevertheless, with my best friend standing beside me, we will triumph over the pressure that would otherwise make me run far away. I was born in this country which gave life to this great divinity [Godzilla], which destined me to work in visual effects, up until this very moment. I give unending thanks to Fate for this opportunity; so next year, I’ll give you the greatest worst nightmare.

Stay tuned to this blog for more news and updates on production of "Godzilla 2016"!

(Special thanks to the redoubtable Marc Miyake for pinch hitting!)

"EVANGELION" CREATOR HELMS NEW "GODZILLA" Hideaki Anno & Shinji Higuchi Revive the King!

2016年新作『ゴジラ』脚本・総監督 庵野秀明＆監督 樋口真嗣 !


First promotional icon for upcoming film to be released next year!

The news only broke a short time ago in Japan as I begin to type (2:00 PDT), but according to the regarded film site, Oricon, not only has the author of the screenplay for Toho's upcoming, yet untitled, domestic Godzilla movie been announced (of which I first reported outside of Japan, here), but that the film boasts two directors; one credited as the "Supervising Director" and "Screenwriter," while the other has the "Director" and "Visual Effects Director" credits.

The new Godzilla will start shooting this fall and is slated for release in Japan next summer. Both of these exceptional filmmakers are life-long friends, and are very well-known outside of Japan, mostly for their work with the Gainax animation house on such hit anime series as NADIA, SECRET OF THE BLUE WATER (1990) and NEON GENESIS EVANGELION (1995), but they are also no strangers to the world of Tokusatsu (visual effects films): Hideaki Anno and Shinji Higuchi.

Perhaps you don't realize what this means. It is momentous.


Higuchi at Tokusatsu Exhibit conference in 2012. Photo: C/Net Japan

Director Higuchi (b. 1965), who posted photos of an empty Toho Studios conference room this past weekend, is no stranger to the realm of the giant monster movie, supervising and directing the visual effects for highly-lauded "Gamera Trilogy" of the 1990s. His revolutionary vision of miniature effects stunned audiences and turned the industry upon its head. Higuchi has helmed such films as THE SINKING OF JAPAN (2006) and upcoming two-parter ATTACK ON TITAN (2015).

And before you ask, Higuchi's association with the Big G goes back to his serving as an effects assistant on RETURN OF GODZILLA (1984). But, since he was swept up with Gainax, drawing storyboards for Hiroyuki Yamaga's WINGS OF HONNEAMISE (1987) and then NADIA, it wasn't until 1995 that he returned to visual effects, with the ground-breaking "Gamera Trilogy" directed by Shusuke Kaneko. This time, Higuchi's getting his own Godzilla.


Anno at Tokusatsu Exhibit conference in 2012. Photo: C/Net Japan

Coming into the field as a loyal fan of Eiji Tsuburaya's visual effects films, Director Anno (b. 1960), was one of many Tokusatsu Maniacs who was captivated by the Anime Boom of the '70s and '80s, being a hardcore fanatic of the seminal Space Battleship Yamato franchise, Anno would channel most of his energies into that field, creating the singular anime series of the last 20 years. And now, Hideaki Anno is making a Godzilla film. Let that sink in.

On Toho's official Godzilla website, the directors were asked to give a message to fans concerning this latest resurrection, some of which details Anno's conflict in having to delay proceeding on the next (and final) EVANGELION film in order to take up the Big G's reigns, while Higuchi expressed his passionate "Love of Godzilla." But, while both men are determined in their solidarity, what is their state on mind going into this production with so much at stake?

Read the messages from Hideaki Anno & Shinji Highuchi, here!

ULTRAMAN MONUMENT UNVEILED IN FUKUSHIMA New Tributes Unveiled in Tsuburaya's Hometown

来たぞ我らのウルトラマン像 ! 故・円谷監督の出身地に ...


Mayor Hashimoto with 4-year old Ultra Fan, Kosuke Mastsuzaki.

On March 1st in Sukagawa, Fukushima Prefecture, four fiberglass statues were unveiled of Ultraman, Ultra Seven, Gomora and Eleking along the street where the house that Eiji Tsuburaya (1901-1970) was born in once stood — honoring the birthplace of the legendary film-maker who created the traditional Japanese cinema art form of Tokusatsu (special visual effects). Mayor Katsuya Hashimoto, hopes these installations will help attract more tourism to Sukagawa.


Statue of one of the most popular of all the Ultra heroes, Ultra Seven!

Interviewed by the Asashi Shimbun's Naoyuki Takahashi, Hashimoto said, "When the Great East Japan Earthquake struck, we had citizens who helped many others rather than dwelling on their own personal disasters. I want our city to be full of such citizens who embody the Ultraman spirit."


The mighty Gomora roars in the night along peaceful Taimatsu-dori!

This is not the first cooperative between the city of Sukagawa and Tsuburaya Productions, the company that Eiji built. As part of the 50th Anniversary of the founding of the company, in May of 2013, Sukagawa was officially christened as the Sister City to the "Land of Light," the homeworld of Ultraman in the Nebula — becoming the virtual town of "Sukagawa M78: Town of Light." With the city hall accepting resident registration applications (!).


The eerie Eleking howls during the Full Moon over Sukagawa City!

This was followed by the unveiling of an actual stone, art deco-style edifice of Ultraman in front of Sukagawa's main train station on July 7, 2013 (the fictitious birthdate of Eiji Tsuburaya, which falls on the Tanabata), commemorating the "Sister City" status. Of course, there have been Ultraman statues and a permanent exhibit at Fukushima Airport since 2008, including displays with some original props from the pantheon of the long-running series.


The beautiful art deco-style Ultraman sculpture at Sukagawa Station!

On December 28, 2014, the first of six "Ultraman Mailboxes" was christened at Fukushima Airport, a co-op between Japan Post Co., Ltd., Tsuburaya Productions, and the Fukushima Airport Building Co,, Ltd. Letters and Postcards dropped into these special mailboxes will be postmarked with a special design incorporating Ultraman with Peonies, the official flower of Sukagawa. The others are stationed at various locations around Sukagawa.


Sukagawa's Postmaster drops in the first piece of mail into the box!

Needless to say, Sukagawa has other, and older tributes to the "Old Man" and his children from the Ultra Series — and while there's always the Soshigaya "Ultraman Town" walk in Tokyo, one really just needs to take a side trip to the birthplace of Eiji Tsuburaya to get closer to where it all began.

Only in Japan... (and that's why its awesome.)

KOICHI KAWAKITA: VISUAL EFFECTS DIRECTOR The Man Who Redefined Godzilla for the 1990s December 5, 1942 - December 5, 2014

訃報 川北紘一特撮監督



UPDATED 12/11: Toho's visual effects director who forged and shaped Godzilla's look for the 1990s, Koichi Kawakita, passed away from liver failure on December 5, 2014, with the family releasing the news today in Japan. Only next of kin are allowed at the funeral (chief mourner is his widow, Shigeko). There will be public a memorial service announced for a later date.

Kawakita graduated Nakano Broadcasting High School in 1960 and began his higher education at Kokusai Junior College. Intensely interested in movies, since seeing THE MYSTERIANS (1957), he began working a part-time position at Toho Studios that same year. Offered a full-time position at Toho, he dropped out of college in 1962.

Although headhunted for an Executive position, Kawakita expressed his desire to become a member of the Visual Effects Department, and was taken under the wing of Eiji Tsuburaya, the head of that division and the father of Tokusatsu (Japanese Visual Effects). Later, that same year, Kawakita became an assistant visual effects cameraman on GORATH (1962).

He was transferred to the flagging optical effects department in 1963, and became engaged in rendering the beams and other optical animation for Tsuburaya's films. In 1965, he assisted in the creation of composites and optical effects for Episode 12 of ULTRA Q, "I Saw a Bird!", which was his first work for a television production.

In 1966, he served as an assistant visual effects cinematographer for GODZILLA VS. THE SEA MONSTER (1966). After Tsuburaya's death, he was transferred to Toho's new "Visual Planning Department" in 1971. For GODZILLA VS. HEDORAH, both production units were consolidated into one, and Kawakita served as director Yoshimitsu Banno's 1st Assistant Director and on Optical Effects.

Kawakita served as Chief Assistant Visual Effects Director on all of the 1970s Godzilla films, save for GODZILLA VS. GIGAN (1972) and GODZILLA VS. MEGALON (1973), while he worked on the television series ULTRAMAN ACE (1972), ZONE FIGHTER (1973), and JAPAN SINKS (1974). In 1976, he made his impressive film debut as Visual Effects Director on SAMURAI IN THE SKY.

While Tsuburaya's 1st AD, Teruyoshi Nakano, was the head honcho, Kawakita was placed in charge of developing and directing the monumental miniature and visual effects for SAYONARA JUPITER (1983) and GUNHED (1989), both rivaling some US-produced effects techniques, before changing the way the world saw the Big G with GODZILLA VS. BIOLLANTE (1989).

Kawakita's re-imagining of the monster, a fiercer, more toothsome creature, which set a standard that sits to this day, remains Toho's de facto design of choice. During the 1990s, as head of Toho's Visual Effects Department, his tenure yielded a number of films, television productions, non-film projects and events before he retired from Toho in 2002.

One of his dreams was to produce a remake of his favorite Toho visual effects film, THE MYSTERIANS, proposed in 1990, which never came to fruition. As a free agent, Kawakita formed the independent Tokusatsu and VFX company, Dream Planet Japan in 2003. His last production was the miniseries GUNBOT: THE ARMORED ROBOT (2014), which began broadcast in November.

Director Kawakita was 72 years old.

HAPPY BIRTHDAY, EIJI TSUBURAYA! July 10, 1901-January 25, 1970

円谷英二への誕生日おめでとう!


On the set of MATANGO (1963) with Sadamasa Arikawa on the right.

The “Father of Japanese Special Visual Effects” was born on July 10, 1901 as Eiichi Tsuburaya in the town of Sukagawa, Fukushima. As with his life, even his date of birth is steeped in legend — official sources have often listed that Eiji Tsuburaya was born on July 7th — a date of fortune in the celebration of Tanabata (meaning “Seven Evenings”), a Japanese star festival derived from the Obon (a celebration of ancestors). Tanabata is usually celebrated on July 7th or August 7th, to commemorate the meeting of Orihime (Vega) and Hikoboshi (Altair).

Tanabata originated from the Chinese Festival to Plead for Skills (Oi Xi), which came to Japan in the Heian Period (795-1192), and spread to the public during the Edo Period (1603-1867), where it was then combined with Obon traditions. From the Edo Period, girls wished for better sewing and craftsmanship skills, while boys wished for better calligraphy skills, by writing wishes on strips of tanzaku paper, which were hung on bamboo trees. This tradition is still practiced today in Japan.

Even if Eiji Tsuburaya was not born on July 7th, the myth of being born on the Tanabata certainly was apt, because Tsuburaya would become famous for his multiple artistic and practical skills, which he had in spades — and eventually, the name Tsuburaya would become world-renown with the production of GODZILLA (1954).