The accessibility of kaiju films has never been better in any point of our community’s history. Thanks to the tiring efforts of publicists and distributors, many of these films can now be viewed on a standard Blu-ray or DVD release. Seldom fans would tell you that they’d expect to find the latest independent kaiju film in a Walmart, which is now a reality. The independent side of kaiju film distribution is being championed by one man and his company, Ron Bonk, the owner and operator of SRS Cinema, who has released films ranging from shot on video microbudget features like the Dragon Lizard Lord movies to epic Hollywood-level productions such as Daiei’s The Great Yokai War: Guardians. Ron’s company has also done the impossible in getting the long thought lost Space Monster Wangmagwi available to fans for the very first time outside of South Korea. Kaiju United sat down with Ron to gain some insight into the world of film distribution, his love for filmmaking & movies, and perhaps what may come next.
JL – Jacob Lyngle
RB: Ron Bonk
JL: Hello KU! We’re here with Ron Bonk, the owner, founder, and operator of SRS Cinema!
Let’s start out with the basics – where did your love for film come from?
RB: It began as it does for many filmmakers: in my youth. I was inspired by the movies I grew up with. My biggest early influence was the Saturday afternoon matinees, where I’d watch monster movies like Godzilla and Roger Corman flicks. There was a local horror host who always showed a movie right after the cartoons ended. I’m not sure why I was so fascinated with monsters and fantasy at a young age, but I was hooked.
Of course, I love cinema of all types. I enjoyed watching horror movies, but also Sci-Fi, especially the original Star Wars [A New Hope], which I’ll always cite as an inspiration. The late 70s and 80s were filled with highly influential movies for my generation, like Jaws, Halloween, and Dawn of the Dead.
Eventually, I chose to start making movies because I enjoyed telling stories and acting them out with my friends. We would reenact stories we’d seen on TV and the big screen. My mom would babysit the neighbor’s kids, and with some other friends, we would act out Star Wars, Jaws, Alien, and other big movies of that time, even creating our own sequels.
After exploring various career options in college, I realized I wanted to be a filmmaker—it was what I should have pursued from the start. However, I didn’t go to film school. By then, I was exhausted from college and my primary studies in accounting and criminal justice. Instead, I learned to make movies by watching films and reading books.
As a filmmaker, I discovered that distribution was a necessity. Like most filmmakers, I feared signing away my movie and never seeing another penny or losing the rights to it forever. So, I decided to self-distribute. After finding success with that, I began picking up other movies or having filmmakers approach me through my ads. Eventually, distribution became my main income source and helped fund my own projects. However, distribution is a full-time job on its own.
JL: Do you prefer distributing? Or would you rather be at a point where you could start making films more regularly?
RB: I definitely prefer filmmaking over distribution, but I do enjoy the distribution side too. It’s fun, especially when you find a title and figure out how to package it or discover something obscure that excites people. However, it’s not always fun if a movie doesn’t perform as well as you hoped. I’ve been picking up and distributing films for years, and while it can be challenging, it has its rewards.
If I had my way, which I’m working towards now that my son is heading to college and I can travel more and take more risks, I would move into full-time production. My goal is to both produce and direct films, ideally directing one or two movies a year and producing several more. I aim to raise the budgets on these projects while keeping the distribution side of the company alive as a fallback and income source.
One challenge is that I would still need to oversee the distribution to some extent because it’s hard to find someone who can replace me in certain aspects, like deciding which films to acquire. I’m open-minded about movies and can appreciate them beyond their production values, acting, or story quality. Often, it’s the love of filmmaking that shines through, which can sell me on a movie and resonate with the SRS fans. They tend to be non-judgmental and appreciate the passion behind these films, even if they lack in certain areas.
Instead, they’ll just be raving about them! But it’s really hard to find someone else like me who can run a company like SRS Cinema and know which films to pick up. Sometimes people are surprised by the movies we don’t acquire because they think they’re just as good as some of our other releases. Often, they might be right. There are various reasons I might not pick up a movie. It all boils down to finding someone who can strike that balance I mentioned and also has the knowledge of how to package these releases.
I’m not saying I’m infallible when it comes to packaging, but I do a pretty good job with it.
This approach appeals not only to core fans who love admiring the artwork and showing it off, but also to a wider audience by encouraging people to watch these films. I truly believe that most movies have some redeeming factor. I’m not just putting out stuff I hate with a slick cover; I genuinely love each movie for different reasons. We hope that people enjoy these films and share them with friends, family, and on social media, helping to build awareness.
This awareness not only leads to more sales but also provides greater opportunities for the filmmakers. It can enable them to get funding for their next movie, attract more fans for future projects, or simply inspire them to create more films. It’s about more than just making a living; it’s part of a support system for the creative community.
JL: Your first tokusatsu release was Gun Caliber. When did you start doing more kaiju/tokusatsu films?
RB: Yeah, that was one of our early titles. I would say the first true “Kaiju” films we released were Shinpei’s films, like Reigo and Raiga. I’m trying to think if there was anything before that or anything else we released that could qualify. But even if there was, those were the ones that really kicked things into high gear.
I had hoped to find anime and kaiju films to distribute for years, but they were really hard to get my hands on. Other distribution labels had that market pretty much cornered. I remember thinking, “There have to be some indie filmmakers making kaiju movies. Where are these movies, and why aren’t we seeing them?” I wasn’t as connected to the underground scene as the fans of Shinpei-san who already knew about his work.
Our publicist, Avery, was probably the first to introduce me to Shinpei’s films. He had done PR work for these directors in the past and knew that a few wanted distribution. So, we released some of Shinpei’s movies, they did quite well, and we just kept doing more. Now, we have a huge catalog of kaiju releases.
JL: Let’s talk about the herculean effort in bringing Space Monster Wangmagwi out of lost media territory. Is there anything you can talk about with that release? What about other potential rescues of other “lost” kaiju films?
RB: There are still stories developing, I’ll say. In terms of pure effort to acquire a title and the work it took to make it happen, that one stands out as the biggest challenge. I had previously talked to the production company and the distributor/IP owner about Wangamagwi. We made an offer, but it was rejected, and the project was shelved. However, it was always in the back of my mind because I really wanted to release that one. I knew that maybe the company wasn’t ready yet or that we weren’t quite at the level needed to make a big enough offer.
Space Monster was also a case where we were active nonstop for probably the longest time. From making initial contact, facing rejection, and then going back to make a new offer, it involved a lot of effort. The whole process of convincing them, getting all the materials in, and finalizing the deal took a few years of pretty active correspondence, sometimes weekly, to lock everything down and ink the deal.
Obviously, money talks. I’ve had companies or filmmakers who initially said they would never release their stuff in the United States. Then, I’d go back to them and say, “What if I gave you this much money?”
After that, they might still be hesitant, but the key to acquiring further films is to do a proper presentation and treat the title with respect. Show them the response from the fans. When you go back to them for another movie, they’ll hopefully say, “Oh, yeah, we like what you did.” It’s not as hard as just getting that initial door open, getting a foot in there, and sitting at the table with them. If you treat them right, things can keep happening.
I don’t want to disclose the title yet because I prefer not to speak until everything is locked down. However, there’s a filmmaker we’ve distributed for before who has a new movie coming out. While he was pleased with our work on his previous films, he’s currently not interested in another release. It’s a rare occurrence, but I’m hopeful he’ll warm up to the idea again in the future. Perhaps after the film has been out for a while and fans start expressing their love for it and their desire to see it released in the United States or North America, I can revisit the conversation with him.
We haven’t reached the stage of making an offer on it yet. There are always several little cases like this happening at any given time. It just takes time; it’s part of the gig.
JL: The restoration of Space Monster Wangmagwi – was that done by whoever had the rights or did SRS Cinema have to do the restoration in-house?
RB: We received the film with a new scan and it was restored to the point you saw. Fortunately, we didn’t have to do much restoration work, as that was part of our negotiation — ensuring a pristine capture. It was essential for us that the quality was at least HD or better. As for any existing damage that may have been fixed, I didn’t notice any myself.
I may not have shared this before, but there was a piece of film missing from it, from which we only had the audio. It showed as a black screen, leaving us to guess what happened. From the sound heard on screen, it seemed like the mother character potentially climbed onto one of the buildings, possibly trying to reach her daughter. It’s implied that the monster destroys the building, leading to her demise, as her fate is otherwise unresolved. Perhaps one day we’ll come across that missing scene. If someone finds another copy of the movie with that scene intact, we could consider a special edition or something similar.
I was informed in advance that there was a one to two-minute segment of the film for which there was no video. We considered patching it up and including it in the film, but due to the uncertainty surrounding what occurred during that time, we decided against it.
JL: Your first directorial credit on a feature film was City of the Vampires. What do you think the biggest learning experiences and takeaways were for that production?
RB: At the time, I was working on two scripts simultaneously. I liked them both then, but looking back, they were both pretty terrible. I thought “City” was the weaker of the two, not loving it as much. I figured, since I had never made a feature before, I would start with that one to avoid potentially messing up the story I loved more.
Once I dove into making the movie, I quickly realized just how much work it entailed. It was incredibly stressful, and I was losing a lot of weight. I came to the realization that if I’m going to pour that much effort, time, and my life into making a movie, it absolutely has to be a story that I’m passionate about and dying to tell. That was probably the biggest lesson I learned from that experience.
JL: SRS premiers many films at the G-FEST Film Festival. You also helped with the ScareCon Film Festival. Is that ongoing?
RB: The year before the pandemic, the show runner of ScareCon decided to stop hosting them. Since then, he’s posted a couple of mysterious messages hinting at its possible return. The last time he hinted at it, I reached out to him. It sounded like he was considering bringing it back, but nothing concrete has materialized yet. I wouldn’t be surprised if it resurfaces one day; it was a labor of love for him.
There was one year in particular when it seemed to really thrive. I remember telling him it felt like he had finally made it. However, it didn’t sustain that level of success in subsequent years, and I’m not sure if it ever reached those heights again. He often expressed frustration about not making money from it, despite his efforts.
I ran a film festival called the B-Movie Film Festival for about 10 years. Later on, JV approached me about bringing the festival to his [ScareCon] convention. After a decade, I renamed it to The Syracuse Independent Film Festival or something similar. I experimented with different names, like Syracuse Underground Independents, for a year. Then JV offered to host it at his convention, handling PR and providing projectors and screening rooms. I ran the festival there for several years until he stopped organizing the conventions
JL: Do you debut the films you acquire for distribution at any of these festivals before their Blu-ray releases?
RB: At G-FEST’s film festival, I only screen films that I have licensed. I don’t license a title just for a screening; it has to be with the intention of releasing it on Blu-ray or DVD. Typically, Avery keeps me informed—either we’ve already released the film or it’s upcoming—and he’ll inquire about showing it at G-FEST.
For films that come through the festival, sometimes I reach out to filmmakers to discuss distribution so that they’re cleared for the film festival. Occasionally, I’ll showcase films that I’ve already acquired, though not necessarily as part of the competition. If a filmmaker submits their own film, I allow it to compete, but I never submit films myself. It can work both ways, but with kaiju movies specifically, they’ve always been titles I’ve acquired directly.
JL: We’ve discussed films that you’ve released that have seemed impossible. What’s the ultimate pipe dream release for you?
RB: That’s a great choice. I would love to distribute Shinpei Hayashiya’s Gamera movie, known to kaiju fans as Gamera 4: Truth. I’ve made a substantial offer for it in the past, but unfortunately, I was turned down. I’ve only seen a clip from it myself, and I share that desire of so many fans to see the full film someday.
Acquiring Shinpei Hayashiya’s Gamera movie, Gamera 4: Truth, would undoubtedly be a milestone moment for the company, in my opinion. Despite not succeeding yet, I haven’t given up hope. As for the lost Indian kaiju film, Gogola, it’s been a thrilling pursuit. I’ve reached out to contacts in the country to inquire about it, but so far, no luck. Finding it might require similar efforts as exploring the indie scene in Japan or connecting with someone eager to assist in the search.
Thinking beyond kaiju films, offhand, I can’t recall any other titles that fit the bill. Either I’ve already released them or they’ve been rediscovered and distributed by someone else.
JL: Are you more focused on continuing to give these awesome indie films a release, or have you shifted into finding some of these lost films?
RB: Finding prints like Wangmagwi after years of being lost is a mix of luck and persistence. Space Monster tied into our kaiju movie lineup, driven by demand from fans. It made sense to track down and release it. On the other hand, movies like The Great Yokai War: Guardians have Hollywood-level budgets, and I’ll continue acquiring these alongside films made on shoestring budgets, like the Dragon Lizard Lord series shot with cardboard houses or Armageddon, which mixes brief, kaiju scenes with roaming camera shots.
I release these diverse films for counterprogramming, so longtime SRS fans not into kaiju movies have options alongside newer fans seeking Asian cinema. Sometimes, the release schedule aligns naturally. I don’t plan to counterprogram specific titles deliberately, but if two films are ready simultaneously, they might come out together. Occasionally, I may delay a release by a month or two if I feel two similar titles could overshadow each other. Once prepped, they’re ready to go.
JL: What are some of your favorite non-kaiju films?
RB: It’s hard to pinpoint my absolute favorite movie across all genres. Sometimes, I categorize them into lists, like my top ten horror movies. Over the years, my preferences have evolved, but I consistently place Star Wars Episode IV: A New Hope at the top of my list because of the profound inspiration it continues to evoke. It’s not just about the film itself but also the memories and moments it brings back from that time.
For many years, I would have said Dawn of the Dead was my favorite, but over the past decade or so, John Carpenter’s The Thing has taken that spot. I’ve come to realize how significant The Thing is to me, and it has stood the test of time exceptionally well.
JL: Most of my favorites come from the 1970’s as well – Phantom of the Paradise, All That Jazz, Phantasm, Suspiria. I’m also an Ingmar Bergman fanatic, whose work stretches 20 years prior. I find that particularly interesting because as you said, it’s the moments that surrounded viewing these films. I did not grow up in those time periods, nor did I see any of these at a drive-in, but that is a memory many people older than me share fondly.
RB: It’s fascinating how our experiences shape our appreciation for movies. For me, seeing films like Godzilla vs. Megalon or Godzilla vs. the Smog Monster at the drive-in theaters added a layer of joy and nostalgia that enhances my love for them. Those memories of sitting in the car, watching the giant monsters on the big screen, are inseparable from the films themselves.
The original King Kong vs. Godzilla was another favorite from my childhood. I vividly recall watching it on our big tube TV, sitting on the floor completely captivated by the story and the debate over who won at the end. These are cherished memories that deepen my affection for these movies.
You mentioned Bergman films, which I’ve also come to appreciate more over the last decade. Exploring international filmmakers like Andrei Tarkovsky has been a recent passion for me as well. Although I didn’t grow up watching their films, discovering them now feels like uncovering great artworks. While the experience might be different from seeing them in a small art cinema during their release, the impact and appreciation for their craftsmanship remain profound.
JL: Your release of The Whale God included a slipcover with beautifully painted art by Bob Eggleton and an overall amped up presentation. Was this because it was a “larger release” from a major studio, or will that be commonplace with SRS Cinema going forward?
RB: When deciding on production options like the o-card for releases, it hinges largely on the potential sales and fan interest. It’s a decision made early in the process based on the title’s projected market appeal. We offer fans the option of having the o-card included with their purchase. To justify the costs involved in producing them, we ensure there’s enough demand.
Titles like The Whale God or Liverleaf typically have less concern over sales. Conversely, The Last Amityville movie has proven to be a strong seller, partly due to the filmmaker’s YouTube following and the track record of previous Amityville releases under the SRS banner, which generally perform above average.
While most acquisitions meet expectations or slightly exceed them, very few surpass anticipated sales. For titles where I’m uncertain but believe there’s potential, I might set goals with filmmakers and fans. For instance, if we can reach a target like selling 200 units in a month, we would proceed with a full pressing rather than just Blu-ray discs (BDRs). This approach helps gauge interest and ensures we’re meeting market demand effectively.
JL: At the time of recording this interview, your latest release is Yuzo: The Biggest Battle in Tokyo. Can you say a little bit about what you enjoy about this release?
RB: I think it’s a pretty funny movie with a unique story. It’s different. The monster looks great, and the effects are really good. It’s really charming and sweet. With some of these movies I get in, I don’t have the subtitles, and I have to kind of figure out what’s happening in it. I forget if that was the case with Yuzo, but when I go back through it, and we’re making sure all the subtitles line up and are long enough, you really kind of get deeper into the story. That’s when I really get to know the movies. The same thing happened with The Whale God… I got into the depths of that movie and paid attention to the nuances of the directing, acting, and the storyline. The indie kaiju fans, who’ve seen the other releases we have, like Attack of the Giant Teacher, will know what to expect with it. I think they’ll like the story. Sometimes the humor doesn’t translate as well across seas. Like, I’ve had some people say, they didn’t think stuff like Raiga was very funny. They didn’t get the humor. I think this one is a little more international in terms of its appeal. Definitely check it out. If you’ve paid attention to stuff we’re releasing or you really enjoyed the other works of Yoshikazu Ishii, you’ll love this one too.
JL: Are you interested in releasing Keizo Murase’s Brush of the God?
RB: Yeah, I would love to. I’ve definitely let them know that SRS is really interested in distribution, and I’ve let them know that from day one. I would love to give it such an amazing, high-quality release. I mean that too. I’ve only seen as much as pretty much everyone else in this community, but I’m blown away by the trailer. We can’t wait to see a full screener, and hopefully, we get a chance to make an offer on it.
JL: What do these kaiju Godzilla movies mean to you?
RB: That’s a tough question. Initially, I enjoy them for their pure entertainment value and escapism. They’re the kind of films where you can switch off your brain and just enjoy the ride, which is perfect after a long day. Then there are movies that delve deeper, sparking discussions and debates long after the credits roll.
Films like Godzilla vs. The Smog Monster might not be considered profound, but they’re fun, nostalgic rides that adults can still appreciate for their silliness. On the other hand, films like Godzilla Minus One provoke deeper thought and reflection. A good film, in my opinion, can appeal to both entertainment and artistry.
Thematically, kaiju can symbolize a myriad of things. The storytelling possibilities are endless, spanning different genres and tones. You can blend mindless action and destruction with meaningful, artistic themes seamlessly. It’s quite unique to the kaiju genre, where you can have both elements coexist.
JL: What’s coming up, Ron? What are you working on? What can you share?
RB: By the time this interview is out, we should have War of the Ninja Monsters ready to ship, featuring fantastic artwork by Jeff Zornow. We’ve got some exciting wide releases later this year: The Great Yokai War: Guardians, The Whale God, and Liverleaf are all lined up. The first half of the year is packed with cool movies, though the second half might be quieter as I focus on acquiring new projects. We have several productions lined up on Indiegogo over the next few months—one or two every month. Keep an eye on the SRS Cinema site and follow us on Facebook to stay updated on what’s next.
JL: Ron, thank you so much for sitting down with Kaiju United.
RB: Thank you for having me.
Fans can stay up to date with the latest announcements from SRS Cinema via their social media pages and their official website/store.
