村上隆のインスタグラム(takashipom) - 7月18日 12時29分

primogenitor of the Japanese kaijū movie genre is Godzilla. The film, in which prop/set production and special effects coalesced with the story symbolizing the unresolvable, murky feelings harbored by the citizens of the defeated nation with the trauma of the atomic bombs, remains the symbol of kaijū to this day.
Eiji Tsuburaya, who did the special effects for the Godzilla films, later founded his own company and launched his Ultra Series on TV, in which the heroes battle various kaijūs. The series’ conceptual construct was strongly influenced by American films and TV series such as King Kong and Twilight Zone, but the rich blend of its creators’ standing positions and backgrounds resulted in an upwelling of a group of distinctive works.
Tetsuo Kinjo, the scriptwriter I mentioned in the video; Toru Narita, who designed Ultraman and the kaijūs; Ryosaku Takayama, who produced the kaijūs; and the family of Eiji Tsuburaya—their constant struggle with schedule and the creative labor environment has laid bare the ominous truth of the creative production right next to the seemingly happy and buoyant stories aimed at children, planting seeds of trauma in the young audience.
At the core of the production of Jellyfish Eyes was my desire to revive this linage of kaijū films. My motivation in launching this film project was to explore what kaijū meant in Japan.

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