Filming Second Unit Scenes on “Godzilla: King of the Monsters.”
Nothing is more appropriate for a day of despair than: to be away from home; away from friends and family; away in a city you’re unfamiliar with; traveling alone; stuck in a dimly lit bedroom; and, the icing on the cake, a thunderstorm to accompany sad news on the passing of a notable figure among Godzilla fandom. With one element after another to set the tone of that day, you can’t help but almost be amused by it.
I came out to Atlanta, Georgia from Los Angeles, California, a week after the 4th of July. It was now the first week of August. I traveled to the south to check off an item on my bucket list: To somehow be associated, in some capacity, with a Godzilla movie.
Make no mistake, the reason many of us are fans, and become friends with other fans, are because of the many sequels where Godzilla is fighting another creature/creatures. Such films are pure entertainment, they initiate conversations, they’re nostalgic, they inspire. The experience with me was somewhat different than most. While I do enjoy those kinds of Godzilla films, I also appreciate the solo, more serious, Godzilla films. The first Godzilla movie I ever saw was Godzilla 1985. I was 4, and my family had rented it from the “New Releases” section at Tower Records, along with Ghostbusters & The Goonies. Godzilla 1985, in general, was a dead serious, darkly atmospheric, Cold War era, 80’s movie that presented the monster as a destructive force of nature almost intentionally causing havoc. You could say, my first impression of the creature was the correct one. After seeing that film, my life was never the same again.
Flashforward to Spring of 2017. Casting notices go out for a new, big, Warner Bros. production code named “Fathom.” The first, initial casting notices ask that talent be local. Disappointed, I don’t even bother applying.
A month later, more casting notices are posted, both on casting websites and on multiple Godzilla Facebook groups. I take this as a sign thinking “I’d rather get rejected for not being local than sitting around wondering the ‘what if’ and frustrated.”
I put a thunderous stomp on my hesitations and write an email to casting mentioning that I’d fly out there on my own even just be an extra. I attach a couple of headshots and a photo of me taking shots of sake with Haruo Nakajima. Weeks go by, and I receive a response saying “They’d love to have me on the film, but, we’ll let you know when we need you.” Casting even attaches a calendar with the shooting dates and curious locations: “Arctic cavern,” “Chinese Temple,” “Isle De Mona/ Bermuda.”
Weeks turn into months, summer arrives… nothing. The scheduled start date for principal photography on “Fathom” is late June. Still no word. Filming has started and July is right around the corner… nothing. They either forgot about me or decided not to have me.
Just when all hope was lost, I receive a phone call in Mid July…
“Are you available for a fitting this Friday?”
And faster than you can say “BANANA OIL!” I book my flight.
I end up being stuck in the south, longer than anticipated, with almost every set back you can think of: “We won’t need you this time, but we’ll contact you.” “Are you available? – Oh we’re only fitting females today.” “Are you available? – They cancelled today’s shoot.” “This just in: Pyrotechnician set to work on Godzilla 2 murdered at the apartment he was staying.” This last bit of news made local headlines. Apparently, a pyrotechnician from Hollywood, just finished shooting Rampage, and was about to work on Godzilla 2. Thinking he could get a sweet deal to save money, he stays at someone’s apartment in Decatur that he found on Craigslist. A victim of being at the wrong place at the wrong time, the pyrotechnician was gunned down at the apartment and the owner of the residence was taken into custody for a completely unrelated crime.
My enthusiasm gradually, and eventually, dwindles. Remaining optimistic while playing the waiting game, I choose to make the best of my stay and familiarize myself with my surroundings. Visiting The World of Coca Cola, The Aquarium, The Walking Dead Tour Bus, Hiking and visiting Stone Mountain Park, Visiting downtown Decatur and Senoia and various museums.
The events taking place in Charlottsville had occurred, and my next worry was “would I be met with any sort of aversion?” Afterall, in the particular section of Southern Decatur where I was staying, I was the only Caucasian person walking around. Thankfully, I was constantly met with the so called “Southern Hospitality,” befriending and making acquaintances with employees at a nearby Waffle House within walking distance. Moreso, I was fortunate to reunite with friends from junior high, that I had not seen in 21 years. They drove from Nashville and were my cheerleaders. Offering prayers, words of encouragement and feelings in their guts that the casting department would call.
Originally, I had booked my flight to return to Los Angeles in early August, and when August finally came, I was heartbroken. I reached out to my family for advice. A conflict had taken place between my mind and my heart. I told my family that, “I’m so heartbroken & drained that I just want to come home. At the same time, I would hate it if they call at the last minute just as I’m about to leave, or worse, have already left.” My father felt the same and encouraged me to stay.
That same day, I had noticed fellow Godzilla fans posting photos of themselves with Haruo Nakajima, or just him in general. I’d asked around and the icing on the cake to my sadness came when it was told: Nakajima-san had passed away.
All enthusiasm at this point would’ve been completely gone. I had met Nakajima-san on three occasions. Twice at convention tables, and the final time, taking sake shots at a special dinner with other Godzilla suit actors. I always considered him a warm, adorable, person.
I spent time to be alone with my sadness, but still felt a tiny glimmer of hope. A tiny flame that something “might” happen.
Two days later, that flame became a majestic, powerful streak of blue, radioactive fire: “Congratulations Christopher, you are now booked to work on GODZILLA 2!!!” Immediately, I send a flurry of text messages to friends and family announcing my excitement.
To my surprise, the following morning, my driver does not take me to Blackhall Studios where the majority of filming is taking place. Instead, my destination is an abandoned factory and warehouse on the outskirts of Atlanta, in an industrial area of the town of Norcross.
I’m thinking to myself, “You know I would be laughing if they have us all wear the same thing and you wouldn’t be able to see my face or tell me apart.”
I must’ve jinxed myself because the wardrobe department gave us all white parkas. Fortunately, there was only a small handful of extras playing scientists and guards. I remained optimistic thinking, “Sally Hawkins was an extra on The Phantom Menace.” The juxtaposition was not lost on me since we were filming a scene revolving around that vey same actress.
Our parkas are emblazoned with two different logos for Monarch. We are escorted through the factory/ warehouse where several carpenters are constructing what look like sets, yet unpainted. We’re at an end of a warehouse, closed off by a large curtain to form an enormous, rectangular room. All four sides, are covered with blue walls, no doubt to digitally insert the remaining arctic terrain in post production. On one end is the façade of the entrance to Outpost 32, a nice little homage to John Carpenter’s remake of “The Thing.’ On the other end, the back end of a partial fuselage to an Osprey aircraft according to the sides* given to us. The ground is covered with fake snow. Above, several gigantic wind machines to emit snowflakes. In the downtime between takes, I read the five pages of sides and am shocked to read not only the demise of an important character, but how they are dispatched. Further reading indicates that this is a scene involving Vera Farmiga’s & Millie Bobby Brown’s character. I now realize we are the second unit filming the wrap around coverage of their scenes. Among the other things I read are, the eeriness of how King Ghidrah is presented in the script and I’m tickled at the mention of Argentina. It makes a special, personal connection of being on this film since my family immigrated from that country. The scene is us standing outside of Outpost 32 about to greet the occupants of the aircraft. The back of the fuselage opens up with two rows of soldiers emerging, carrying the handles of a large metal case.
Could it be? Could The Oxygen Destroyer be contained in the box? Afterall, director Michael Dougherty did tweet about its possible involvement in the story.
I’m asked if I can work a second day tomorrow.
“OF COURSE!”
Back at Base Camp* I become acquainted with two other extras playing scientist during our meal break. A young Hispanic kid who drove from Mississippi, and a female closer to my age, studying in the medical field, who took up extra work to make extra cash. Neither of whom were aware of what movie they were working on. Just another, big budget Hollywood film that needed bodies to dress the scene. Not knowing, to them it was just another job, so there was no emotional attachment to the material. I also brought with me copies of the graphic novel Godzilla: Awakening & Bryan Cranston’s autobiography A Life in Parts, because… you know… “Research” or as they say, “Being Method.”
Next day is a scene where all of the scientists are dead. Their/our bodies, sprawled out on the ice. The female scientist and I decide to lay close to each other, almost hand in hand. In between takes, we chuckle every now and then, as we do our best, when the cameras are rolling, to keep our mouths agape as huge wind machines blast fake snow on our faces. Our eyes are closed but we can hear another group of soldiers quietly walking through the ice, cautiously pacing by our lifeless bodies. This scene takes place after a brief battle in Antarctica with Godzilla and King Ghidorah. The aftermath if you will.
The scene is done and we wait behind the curtains for further orders. Off in the distance is a shelf with several monitors, partially obscured by other pieces of filmmaking hardware. From what I can see on the monitors, albeit from 20yards away, is a previsualization of a crudely animated King Ghidorah emerging. My heart soars because, even in its crude form, the design looks like a hybrid between the Showa and Heisei era designs.
A female production assistant walks up to us, then stops without saying a word. She’s listening intensely to whatever information is being fed through her ear piece.
“Ok can I get a couple of guards and… Chris?”
Somehow, among the other scientists, I was picked out to be used in another shot as another dead body. Ecstatic at the opportunity, I’m back on the ice. More soldiers survey the area. Filming is done. Item on bucket list crossed off.
That’s a wrap!
Fast Forward to May of 2018. I had the privilege of seeing an early cut of Godzilla 2: King of the Monsters on the Warner Bros. backlot in Burbank, via a friend who gave up his movie pass.
While most of the special effects were not yet fully rendered, what I saw made me confident that most G-Fans would enjoy it. The version I saw was a workprint set to a temp track*. Even in its early form, the movie is nothing short of amazing, complete with breathtaking shots of the monsters. Two notable sequences that did not make the final cut where a longer explanation in the beginning news montage that people were leaving coastal cities and moving inland. The other was Charles Dance’s character Alan Jonah explaining to Dr. Emma Russel (Vera Farmiga) that he can relate to her grief. There was an entire back story detailing the loss of his daughter. Personally, I felt the latter should have been left in as it explains why Jonah was so leanient with letting Emma go to look for her daughter Madison (Millie Bobby Brown).
As for myself, my scenes became “blink and you’ll miss me” shots. The back of me appears in one of the establishing shots just as the Osprey lands. I’m the one clinging to my hood, pretending for it to not being blown away because… you know… “Acting!”
Another is high, over head shot just as the main characters are running out of Outpost 32. We get an arial view of the scientists Jonah’s men had gunned down, lying lifelessly on the ice. There are the bodies of two scientists, somewhat close together, on the upper right side of the screen. I’m one of those bodies while the other accompany me was the female medical student mentioned earlier.
As a result of working on Godzilla 2, my professional relationship grew somewhat, at least with the motion capture actors playing the monsters.
Returning to California and living in Burbank, on occasion I would run into Motion Capture actor TJ Storm (Godzilla) around town at local eateries. Both Storm and Richard Dorton, who played King Ghidorah’s left head that has been affectionately referred to in the fandom as “Kevin,” are teachers. The two men each have their own school for actors and performers interested in the field of motion capture. Storm’s is Mind’s Eye Tribe (mindseyetribe.com) and Dorton’s is The MoCap Vaults (www.themocapvaults.com). Each facility operates within the Burbank, California area.
Jason Liles, who played both King Ghidorah’s middle head and Rodan, as well as the ape George in Rampage became an acquaintance of mine.
Creature actor Alan Maxson, who played King Ghidorah’s right head, and I have maintained a friendship and work together on each other’s projects, in varying capacities, from time to time. All four men mentioned continue to thrive in their respective field.
While my contribution is limited, all in all, I can genuinely say that I’ve kicked off something on my bucket list: Being involved in a Godzilla movie.
*Sides: A few pages of the shooting script of whatever scene is being filmed that particular day.
*Base Camp: An area, usually under tarps, tents or canopies, where cast and crew members take their breaks and clock in and out for the day, or report to set.
*Temp Track: Music culled from other movies to accompany a rough cut, until a composer can be hired to write the music score.
Some Photos From My Experience:
