Concept art from Godzilla vs. Kong shows off a more Desert Storm-style version of the MonsterVerse’s incarnation of Mechagodzilla.
New concept art from Godzilla vs. Kong by Jared Krichevsky shows a Desert Storm version of the MonsterVerse incarnation of Mechagodzilla.
|Movie Name||Godzilla vs. Kong 2021|
|Date Time||March 24, 2021|
|Writing||Terry Rossio, Michael Dougherty|
Shared onto Twitter by Krichevsky, the artwork shows Mechagodzilla with a more militaristic color scheme as opposed to its robotic look from the movie. Krichevsky gave an explanation as to why Mechagodzilla looks this way in a preceding tweet.
We’re four films deep now in Warner Bros.’ MonsterVerse which brings epic kaiju battles back to the screen in CG-filled fashion. That’s not a knock as they’ve delivered some pretty spectacular visuals and set-pieces over the years — even if the earlier films stumble when the big monsters aren’t the focus. The latest entry once again includes some uninteresting human antics, but thankfully director Adam Wingard and friends keep it to a minimum knowing that the monster is where it’s at.
It Took Months, But Godzilla Vs. Kong Finally Hit A Box Office Milestone
On March 31, Godzilla vs. Kong, which was previously supposed to be released in November 2020, finally premiered in theaters, though like the rest of Warner Bros’ 2021 film slate, HBO Max subscribers were also able to watch it at no additional cost. Nearly three months later, the fourth MonsterVerse movie has finally crossed a big box office milestone: surpassing $100 million in the United States.
To be clear, it’s not like Godzilla vs. Kong has been commercially struggling worldwide since it was released to the masses. As of this writing, Godzilla vs. Kong has hauled in $342 million internationally, and now that it has finally collected over $100 million stateside, the movie’s global total currently sits at approximately $442.5 million. Plus, Godzilla vs. Kong got off to an impressive start in the United States, with $32 million flowing in domestically on its opening weekend (which, at the time, was a pandemic at best). However, the monster movie eventually stalled out at around $98 million; so close to the $100 million mark, yet having trouble hitting that milestone for a while.
Now Variety reports that Godzilla vs. Kong’s domestic total rests at $100.113 million after playing in theaters for 12 weeks and finally pulling in the necessary $220,000. This is only the second movie to surpass $100 million domestically during the pandemic, with A Quiet Place: Part II previously accomplishing that during its first 15 days. It should be noted, though, that unlike Godzilla vs. Kong during its first month, A Quiet Place: Part II is playing exclusively in theaters, although it will head to Paramount after 45 days on the big screen.
Set five years after the events of Godzilla: King of the Monsters (which only scored $386.6 million worldwide), Godzilla vs. Kong finally set the two eponymous characters on a cinematic collision course for the first time since 1962’s King Kong vs. Godzilla. The main cast included Alexander Skarsgård, Millie Bobby Brown, Kyle Chandler, Rebecca Hall, Brian Tyree Henry, Eiza González, Shun Oguri, Julian Dennison and Demián Bichir. Blair Witch’s Adam Wingard directed the MonsterVerse flick, and Eric Pearson and Max Borenstein worked on the script.
Godzilla vs. Kong Concept Art Introduces Desert Storm Mechagodzilla
“Desert Storm MechaG,” Krichevsky stated. “Material option I played with while showing them other looks, this was a bit of a wild card idea, since I didn’t know anything about the story, I wondered if he was being made by the military.” Krichevsky had also said that the character’s design was directly inspired by The T-800 from The Terminator earlier this year.
In Godzilla vs. Kong, Mechagodzilla was created by Apex Cybernetics CEO and founder Walter Simmons to kill Godzilla, using one of King Ghidora’s skulls to power it. In the film’s climax, Mechagodzilla nearly succeeds in doing so, only to be destroyed by Kong with help from Godzilla.
Directed by Adam Wingard and written by Eric Pearson and Max Borenstein, Godzilla vs. Kong stars Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall and Brian Tyree Henry. The film is now playing in theaters. In addition to the 4K, Blu-ray and DVD editions dropping on June 15, the film is now available to purchase digitally.
Godzilla vs Kong premiered on HBO Max and in theaters, and now it’s new to home video with a speaker-shaking release on 4K UltraHD and Blu-ray. It’s loaded with extras, and of course, I went straight to the commentary track with the filmmaker. Keep reading to see what I heard on the commentary for Godzilla vs Kong!
Godzilla vs Kong (2021)
Commentator: Adam Wingard (director)
- Wingard recorded this commentary in early February, 2021, so he’s discussing it without knowing how the film would be received. (Spoiler, it’s currently fresh on Rotten Tomatoes, and our own chief critic Rob Hunter is a fan too.)
- Kong’s casual morning wasn’t the original opening and was instead something they thought up deep into production. It took them a while to feel confident enough that the monsters are characters in their own right.
- The device on the tree seen at 1:56 was added during editing to suggest that something more was afoot in the jungle scene. They “didn’t have any money” to build something new, so they just repurposed a tech part from the front of the HEAV aircrafts seen later in the film.
- He references John Carpenter’s comments about his own filmography essentially being made up of westerns. “If I had to pick my own version I’d say every movie I’ve done is actually a musical in disguise.” He adds that he doesn’t think he’d ever make an actual music.
- Wingard was resistant at first to the big orchestral score as he instead favored a more synth-oriented score, but he relented after meeting Tom Holkenborg (aka Junkie XL) and hearing what he had in mind.
- They intentionally avoided repurposing any existing monster themes for Godzilla or Kong.
- Wingard comments on Kong’s look saying he’s older, scruffier, and worn down. “He’s the gunfighter who doesn’t have a fight to keep him going anymore.”
- Legendary gave Wingard wiggle room to play around with Godzilla’s look, but he decided to keep it in line with Godzilla: King of Monsters seeing as this is a direct sequel. “In retrospect I wish I made his head a little bit bigger cuz his head is a little small and it does hurt some shots.”
- He describes Godzilla’s entrance at 10:00 as “our Apocalypse Now Godzilla intro.”
- The film’s opening thirty minutes went through multiple iterations before ending here. As it now stands it features several scenes repurposed and/or moved from later sequences. The footage of Godzilla’s attack on Pensacola was originally part of an assault on a Monarch base.
- The blurry footage on a TV screen at 12:36 is actually an unfinished visual fx shot from an early opening sequence. One of the vfx guys used his cell phone to shakily film it off a monitor.
- He learned just how popular Millie Bobby Brown is when she arrived for her first day of filming — the crowd scene alongside Kyle Chandler — and two hundred extras grew quiet as they watched in awe.
- The first meeting between Nathan Lind (Alexander Skarsgård) and Walter Simmons (Demián Bichir) was part of the reshoots, and they were stuck with a bearded Skarsgård as he was working on The Stand (2021) and couldn’t shave it. Kudos to Warner Bros. for learning their lesson from Justice League‘s (2017) mustache-related fiasco…
- Wingard credits his history of delivering movies on time and on budget for his being hired to direct Godzilla vs. Kong.
- Little Jia’s (Kaylee Hottle) art seen at 19:32 was actually drawn by Wingard himself. “You can never get the art department to do like real-looking child art because they’re all too good of artists. So I have a lot of fun sitting off to the side with a bunch of crayons.”
- “I’m the biggest Elvis fan of all time,” says Wingard, adding that he’s actually been working on an Elvis movie. Let’s consider this his second Carpenter reference.
- Wingard took three months of sign language lessons but was incapable of grasping it. He ended up using an interpreter alongside Hottle so as to avoid embarrassing himself.
- The auditions for Jia came down to a handful of deaf kids, but Hottle impressed him most and made it clear that she was a professional. He tried making her laugh at one point by attempting Michael Jackson’s Moonwalk, “and she was just completely deadpan.” He learned then to let her do her thing and “just stay out of her way.”
- The aircraft carrier scenes were filmed on an airport tarmac where they also shot the boat scenes from Kong: Skull Island.
- They tweaked the lighting in several scenes to ensure the monsters were plenty visible, most notably the rainy sequence on the carrier. Pre-production originally had “a lot more dark and rainy stuff” planned as it always looks cool, but they trimmed it back to just this one sequence.
- He’s long been on the fence about the shot of Kong smiling at 35:12 because he worried “is this cheap?” The idea was that he wanted a moment where they weren’t “just beating Kong up” and that “this is a movie for kids at the end of the day.”
- The shot at 36:04 of Lind looking at the photo of his brother was originally him looking at a rubber band on his finger. A scene in the original opening showed him proposing to his fiance and offering a rubber band as he didn’t have a ring. Wingard recalls telling Skarsgård during reshoots “your character is still the same except for all the things why your character is the way he is.”
Wingard gives good commentary on Godzilla vs Kong, and while he allows a handful of silent gaps he spends the bulk of the film sharing details, stories, and a very clear enthusiasm for the film. The guy loves movies — both watching them and making them — and like Robert Rodriguez before him is keen to share tips and tricks along the way. It’s an entertaining listen and highly recommended for fans on their second or third rewatch.