Interview: Suit Actor Kurt Carley on Being the King of the Monsters in the First Hollywood Godzilla Film

The 1998 Godzilla film.

What’s there to say that already hasn’t been discussed? Truthfully, most of KU was born either right before or the same year that the film debuted, so our generational lens on the film may differ than the broader kaiju community. For an entire generation, it was the worst thing to ever happen to the franchise; the Batman & Robin for the King of the Monsters. For others, it was their favorite childhood creature feature, growing up on the film and its animated spin-off counterpart as their entryway into the wider world of kaiju cinema.

Throughout the 2020s, as the film passed its twenty-fifth anniversary in 2023, a re-evaluation emerged, painting the film in a much more positive light, with the charismatic, kind, and generous Kurt Carley at the center of the positivity. A veteran puppeteer, creature performer, and motion capture artist known for his work on the Underworld franchise and his appearance in the iconic fan film Batman: Dead End, Kurt played Godzilla in the 1998 film during sequences that required a suit actor, and did motion capture for Godzilla in a time where the technology was still in its infancy. We sat down with Kurt last fall to discuss his career, gaining the role, and just how he feels about this so-called “Kurt Renaissance” that is happening in the Godzilla fandom.

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Jacob Lyngle: Hello, KU! We’re here with Kurt Carley, a creature performer, producer, and perhaps best known for portraying Godzilla in the 1998 film. Kurt, thank you for joining us. How are you doing today?

Kurt Carley: I’m doing great. Thank you so much for having me, guys.

JL: What was your entry point into showbiz? Did you start out as an actor, or was it more like you jumped right into creature stuff?

KC: I started out as a actor, and when I was a senior in college, the professional the theater that my college owned, the professional company, was doing a production of Little Shop of Horrors, and something told me I needed to be involved in that show, and they had cast the show, but they needed someone to play the plant, to be the puppeteer the plant for the second act. And the two gentlemen who made the plant for the show where I went to school, they knew Martin Robinson, who created the original plant for the Off Broadway musical. And they very kindly said, “Hey, if you ever need someone in New York, you should look at this guy.” And so that’s how my journey into puppetry and creatures got started.

JL: When landing the role of Godzilla, was there an initial listing you looked at? Did they ask you to audition? How did you wind up getting the role?

KC: Both! I was living in New York City, and I got a call out of the blue about auditioning for a film that wound end up being Godzilla. It took a little cajoling on my part, because I was in New York and not LA, but after figuring it out, I flew out to LA. My friends very kindly let me stay at their house, too. I was thinking I was going to be here in LA for like three days: I would just audition and then not get it or get the role and come back. It was couple weeks of auditions and meetings. So, yeah, basically I got called out of the blue. I came out here to LA and started the process. That was around November, and they didn’t call me to offer the job until January.

JL: As a working actor, I am sure you do many, many auditions. Has there ever been a callback where you were like, “Oh, yeah, I forgot I auditioned for that,” or do you keep track of them?

KC: Oh, for sure. I think it’s a little bit of time and distance, and also just kind of mentally choosing to forget things. You’re always looking to the next thing and so, yes, you can be like, “Oh, wow. Okay, that was so long ago. I auditioned for that, but now I’m going to be doing it.” So yeah, it’s a little bit of a choice; a choice to forget.

Nick Crispino: Did you have any projects with conflicting schedules? For instance, did you have to choose between Godzilla and another role?

KC: No. Gosh, no. I was literally waiting tables in New York City when the audition came up. A lot of times when I was in New York in the summertime, I would go and do a productions, like, I did a Little Shop of Horrors production in the summertime. But I was waiting tables, and so I had no conflicts. Plus, I had to move from New York to Los Angeles to do the job. So, it was time to make a change.

JL: During the production of Godzilla, there was a great amount of secrecy with unveiling the design. Many artists, journalists and production staff recall the secrecy behind what Godzilla looked like. Was it the same for you? Did they show you what Godzilla looked like in the audition process?

KC: Well, you know, for the audition process, we were told up front, “The traditional Godzilla? Put that out of your head. That’s not what it looks like. We won’t tell you what it looks like. You’re not far enough long in the audition interview process to be shown what it looks like.” They didn’t show us what it looked like until it was down to me and two other gentlemen before the final audition. So of course, you know the way it looked, I think Patrick did a great job designing his Godzilla. And of course, all those decisions about what Godzilla was going to look like were made well before I ever showed up on the scene.

NC: When you did find out what Godzilla looked like, did it have any impact on your decision to do the film or not?

KC: Oh gosh, no, no. I just knew that I wanted to be a part of it in some way. I’d come all that way, and I’d gone so far in the audition and interview process that I wanted to see what this was going to be like, what it was going to look like when it all came to fruition.

JL: When you finally got to look at the creature, whether that be concept art or looking at the suit in front of you, how did you as a creature performer, think about how this character would behave and move? Some performers look at animals, some look at the actual muscle structure of the character, and some just move like traditional tokusatsu monsters. What was your thought process?

KC: When I was shown the new Godzilla, we were shown drawings that Patrick had done, and then they had a big maquette of it. At that point, there was no life size suit of it. They were just starting to make the costume. They hadn’t cast everybody yet, so they hadn’t done a body cast or anything, but we had this maquette, and the maquette was so good that I could imagine how we would move. Patrick was there, and we could ask questions. And I asked lots of questions, like, “How tall is it? What kind of stride does it have when it runs? What’s the tempo of the running? Are the steps shorter? I don’t think so. But what do you think, Patrick?” I think I know, certainly, when we were working on the movie and doing motion capture work, we were, you know, clapping our hands like this (claps). That would be the tempo of our feet hitting the street when Godzilla is running.

It sounds ridiculous when you’re in a rubber monster suit, but it informs what the thing’s gonna be like, what the Godzilla is gonna move like, what its attitude might be, and all that stuff. I try to stay away from trying to make it like I’m doing an acting exercise – that’s a whole other thing – but there were some considerations and thoughts you have to think about when you’re doing something like that.

JL: Your other works, such as the werewolves in the Underworld franchise… is that kind of the same philosophy going into many of these creatures? Or has there been a creature that required a little more of a Doug Jones-style acting experiment, where things are more anthropomorphic and less of a “this is just a mindless beast” type of character?

KC: Doug’s characters… they’re intelligent; they can speak. You know, when you’re playing a werewolf in an Underworld movie, it’s, well, I want to kill Celine. I want to do what I’m told by whoever is controlling the werewolves at this time – the creature just wants to rip people’s throats out. Basically, you read the script, and you see, like, what the characters supposed to do. They have intentions in there, in the script. But with Godzilla, Godzilla has no dialog and runs away from the army, but there’s answers to that characterization. How fast does he want to run away? Is he just annoyed with them? Is he scared of them? Is he going to go somewhere else to try to deceive the army?

NC: During production of Godzilla 1998, was there anything that was asked of you that you had to be like, “Sorry, that’s not possible,” to the higher ups?

KC: It’s been a while, but there might have been a couple things that they wanted me to do that weren’t feasible in practicality. But I think everyone was very sensible, and they asked things that were not out of the realm of possibility. But then also with movies, you know, there’s a time aspect. We could do this shot, but it’s going to take time to set up something so we can do it at the angle we want to do it, and we don’t have time and so, but we know we can do it CG and animate it in post. For example, I was in a short film called Batman: Dead End as one of the predators. Great people. There was very little money to make on that, but we made a cool little short film out of what we had available, because you can’t do all of the cool things you imagine or draw up on a storyboard.

NC: You’ve done motion capture work and suit acting. How do you keep the two consistent with each other in terms of movement?

KC: With a lot of motion capture, and especially for Godzilla, you got to keep, like, the profile of the creature intact. Because the suit helped maintain the profile of the creature, especially when you’re inside, motion capture is just a different headspace. You’re aware of that when you’re doing motion capture because you can see the playback right away. You can be like, “Well, that looks terrible. That looks like a guy running, and not Godzilla. You know, my back, my chest, isn’t low enough to the ground. My back isn’t arched enough.” And just as a funny general thing, I have found that whenever you’re in a creature suit, whenever you’re in the most physical pain, that’s when people are like, “That looks great! Do more of that.” Just go right for the pain, because generally it doesn’t look human. If you’re contorting your body like that on the inside, it changes the complexion of the outside of the suit through all of that chrome latex. So on the outside, people are like, “Wow, that looks really cool,” but on the inside, it’s quite painful.

JL: There’s a popular image that has gone around the internet in which a bunch of men are running in several baby Godzilla costumes. Were you in that stampede? What’s the context behind that photo?

KC: I was! They rented a training space for us down by the Los Angeles airport, and so we had like seven or eight guys, and we all had to be kind of consistent in our movement. The legs we wore were custom made for us by Kevin Mohlman, who came up with the construction of the legs. We all got used to the legs pretty quickly, because we were adept at working with those leg extensions. Kevin made them so well, but you still need to practice. You still need to rehearse it. And so yes, we were running around pretending that we had Godzilla suits on, but we maybe just had the legs on. They were videotaping it because they wanted to check the progress of how we were doing. So yes, it seems a little silly, but it was all part of the big process. And actually, I think it was really helpful for the guys in the suits. It was helpful for the people who made the suits to see like, “Oh, oh, the skin on the leg looks like this,” and that let you know our idea worked, you know, or we might need to tweak this because of X, Y or Z. So, yeah, it might have looked a little silly, but there was a method to the madness.

JL: Do you know, off the top of your head, how many scenes you can go and say, “That’s me inside of the suit” instead of the CGI mode?

KC: Yeah, I don’t know. I can’t tell you, but it’s, you know, pretty much anything where the mother Godzilla… let’s just say anytime the mother Godzilla broke through something tangible, that was me, generally. You know, street surfaces, side of the tunnel, wall, buildings. That was me.

NC: Were there also, like promotional stuff, like promotional photographs that had you in?

KC: I haven’t seen all the promotional photographs; it’s been a while. I’m guessing probably not, because they probably wanted screengrabs. I can’t honestly say that there’s a picture or there’s a shot of me in the movie in the complete suit. I want to say maybe in close ups, that’s hard to do with the CG at the time. The business end of the suit was the head, and Godzilla would break through things with his mouth. And so we had lots of suits that were just the torso of the suit, and I would have the head of the costume on, because sometimes I was on a sled, tied down to the sled, and I was literally being rammed on through the set and smashing into things headfirst.

JL: Was there a shot in the finished film that you *were* very proud of, or something that made you go, “Wow, that looks great” after watching it?

KC: Well, I know that… I’ll indirectly answer your question. The animators, or animator who did the shot of Godzilla running on the bridge, I thought that on the Brooklyn Bridge looked great. But something I did? …Oh, you know when Godzilla broke through the street, and I think Matthew Broderick’s character was in the foreground? I thought that looked good. That took a long time to get the dance right between me and how fast or how slow I was doing it, the debris, the model people, the cinematography, the lighting, the smoke, all that stuff. It took a while to get all that dialed in, but when I saw it in the film, I was like, “Oh yeah, I remember, yeah, that looks pretty good.”

I went to dailies once or twice, and I could see, like, when I was coming up through the street with the head of the creature first. There was one take where I hit it the first time we did it, and they said, “Kurt, you didn’t come fast enough.” And because of that, we had to redo the shot, and it took a couple of days to rebuild the street, and then we shot it again, and I launched myself. Then, it was like, “Kurt… way too fast! You gotta find the happy medium.” I saw the dailies where I launched myself, and I went too fast — it was shot at, like 240 frames a second – but what I saw was just an explosion of debris. There was so much debris, you almost couldn’t see Godzilla behind all of it, because I hit so hard. That’s a really long answer for just “We had to get everyone dialed in,” but the shot was good enough that they put it in the movie.

NC: You may have already answered this in some facets, so forgive me if you did, but were there any scenes in the movie where they were gonna, it was gonna be practical, but they ended up replacing it with CGI?

KC: I can’t think of anything off the top of my head. I mean, we did some test stuff where Godzilla was tunneling, and we were running out of time. That’s the honest truth. I’m not trying to cop, but, you know, they wanted Godzilla tunneling, and I had some ideas about how to do it, but at that point it was just “You just got to get in the suit, do what we tell you, and we’ll see how it looks like in dailies.” And so they ended up doing Godzilla tunneling CG. I kept my mouth shut about what my idea was because I knew we don’t even have time to sit down and be like, “Let’s see what Kurt’s idea is today.” It was “Kurt, you’re going to tunnel this way,” and that’s what we shot. I believe you have no power in that situation; that’s the way it was. There are some things that I would have liked to have tried differently, but the time, the sand, and the hourglass were getting low.

NC: Were there any ideas to maybe put the suit in the water? Maybe not completely submerged under the water, but maybe have the suit from chest up in a pool or something?

KC: No. I don’t ever remember that… there maybe was a discussion about that without me there, but that was never with me involved. I don’t ever remember someone saying that I think because the suit was so expensive. The incredibly expensive pad that I wore with all the electronics… I don’t think they could risk me tripping or something and falling into the water. I know that the guys who made the electronics and the mechanics, you know, they were experts in their field, but dumping that into water, I don’t know how well that would do.

I remember working on swimming, serpentine motion, and motion capture in the studio, which is the great thing about motion capture, and I find a lot of fun. But yeah, I don’t remember anyone saying, “We’ll put Kurt in a tank. We’ll have him come out of water.” I know I did a movie a few years ago, and I was a sea creature coming out of the water during the nighttime. Before doing it, I talked to the director, and he was very understanding. I said, “I want to tell you right now, I am not going into the ocean completely under the water. I’m not going into the ocean up to my neck. I’m telling you that right now, if you if that’s what you want, get someone else, because I’m not doing it, because I’ve you’re just that’s a disaster waiting to happen.” If something goes wrong, I’m in some creature suit, and I can’t do anything. Plus, it’s at shooting at night. I’ve been on set before when someone had an accident, someone almost lost their life in a suit in the in the ocean, and like, I’m not doing it. Water is tricky, but the director, to his credit, completely understood. He said, “Oh no, no, Kurt, I only need you, like, knee high.” I’m like, “okay, that’s fine. I could do that.” He was a cool director.

NC: Did you get a chance to attend the premiere in New York? If so, do you have any stories?

KC: I was not invited to the big premiere in New York. I got to go to the castle crew screening here in LA at the Cinerama Dome. But no, I was not invited to the big premiere, nor was I expecting to be invited.

NC: How can you not have Godzilla at the Godzilla premiere? Come on now.

KC: Well, it’s easy. You just don’t invite them.

JL: How do you feel about this newfound appreciation for all the work you guys do? There is a much stronger appreciation and understanding now with guys like Allan Henry and TJ Storm who portray these creatures in the modern age.

KC: I’m acquainted with both Allan and TJ, and they’re really great at what they do, and I think that’s great that they’re, you know, getting to get some recognition for what they do. It’s a skill that a lot of people who don’t know anything about it, they kind of look in the industry, they might look at it and kind of side eye, but I’m happy for them. I think that’s great.

JL: You also have several credits in fan films over the years, such as your performance as Lex Luthor in World’s Finest. I want to know what it was like stepping into the shoes of Lex Luthor. That’s a role with some shoes to fill. There’s been so many different takes, right? And it’s one of the most iconic villains of all time. What did you bring to the table?

KC: Oh, you know, I was just trying to do the best I could. We shot such short snippets of things. Sandy, the director, who was great, had an idea about how it would be. And I’ve certainly seen Gene Hackman in the 1978 Superman movie and some other people play Lex Luthor. It’s interesting… I googled myself one day, and I was on a list of on Wikipedia of people that have played Lex Luthor, and I was like, “Well, yeah, I did…” I’m not diminishing the fan film we did, but you know, they were in big budget Hollywood productions, and I was in a fan film, although a pretty good fan film. So I was like, “I don’t know if I should really be on that list,” but I was very grateful to be included on that particular list. I don’t know if it exists anymore. But yeah, I was just trying to do the best I could, and I’ll let the public be the judge if I was any good.

JL: Recently, you have been on a lot of fan podcasts, appeared at G-FEST, and have truly gotten your flowers from appreciators of the 1998 Godzilla. You did a fantastic panel with this guy (gestures to Nick).

KC: Thank you, Nick.

NC: Shout out to Martin [Arlt]!

JL: …my question to you is, how are you taking this all in? You have this, for a lack of a better term, Kurt Renaissance going on right now?

KC: Yes, I think actually that it is going to be on the cover of Time magazine next week. (laughs)

Hey, G-FEST was something I wanted to go to for a little while, and I was so thankful that they called me and invited me, and it could not have had a better time. It wildly exceeded my expectations. Not that my expectations were low, they weren’t at all, but everyone was just so nice. It took time, but there more love out there than I thought there was for Godzilla 98, and I met a lot of great people who really liked that movie, as well as some individuals who had G98 as their first Godzilla movie and that be the introduction to the character. Those are their words, not mine. So anytime G-FEST wants me to come back, I’d be happy to. They were really wonderful people – the people who run it, the people who attended. It’s really well run. It’s well thought out and I can definitely tell it’s for the fans. There’s some other genre, geeky things, if you want to call it conventions, that kind of run to make money. These guys do it because they love Godzilla and all the stuff that comes with it, and the fans show up. So yeah, I could not have been happier to be there.

NC: I mean, this is gonna come from somebody who is a fan of the movie, but it was really awesome this year to see just the amount of people show up for the love of the movie. You had cosplayers, there’s the shirt you’re wearing while we record this that was done by Luis Duran, who is a big YouTuber in this community. He handed out figures. It’s just really nice to see a resurgence of positivity towards this movie.

KC: Yeah, and, you know, I suppose that’s natural, but it’s been great. I certainly don’t regret my involvement with it. I am very happy I got to do it, but I haven’t been carrying a burden around like, “Oh, no, I was Godzilla in 1998.”

JL: I’m happy to hear that, because I know, at least being in in some of the uglier sides of fan community and overall organized fandom, there’s a lot of venom that can go around. So I’m really glad that you’re proud of what you’ve done. That’s awesome.

There’s a video that Toho Kingdom posted, I think from MonsterPalooza, maybe 14 years ago. You met the first Godzilla, Mr. Nakajima-san. Can you tell us a little bit about that meeting and just how that went down?

KC: He was very gracious. Because, you know, this was a while ago, like you said, and the maybe some people’s esteem for the Godzilla 98 was not as high as it is now. And I wanted to, you know, meet him, because, you know, when I was a kid, I saw him in Godzilla Versus the Smog Monster and other Godzilla movies, and I wanted him to know that. I don’t know if it came across, but I wanted him to know that I respected him, and I just thought he was so great, and he was very gracious to me, and signed the picture for me. A couple years ago, I was in Canada at a convention, and his daughter came over and gave me a photograph he and her father together, and even through the interpreter and the language barrier, I could tell she was very gracious and very nice. So that was a thrill for me to meet him. And like I said, he was just so gracious and nice. It was a pleasure to meet him and get my picture taken with him.

JL: For the next generation of creature performers, can you give us three essential tips or some words of advice?

KC: If you want to go fishing for a certain kind of fish in a certain lake or something, you’ve got to go to that lake. If you want to be a suit performer, I think it really helps if you can go to the place where they make the suits. Hoping that some movie company is going to come to your little town and they’re going to need somebody to get in a suit, it could happen, but your odds go up a lot more if you go somewhere where they make the costumes. And that could be probably Vancouver or Toronto or, you know, New York or Ireland or Spain, or New Zealand, certainly. Go where the industry is. Yeah, go where the industry is. Your odds are going to be a lot higher.

And like a lot of businesses, I have found the movie business to be a lot of relationships, and I have gotten my fair share of jobs because I’d worked with people before, and they said, “Well, we’ve worked with Kurt before. He’s good. We would like to use him because we have experience with him. He’s not new,” because you can’t be on set, and then you know, suddenly determine I’m claustrophobic and I can’t do this… that just doesn’t fly. And so relationships go where the work is and know that there’s going to be days where it can be really physically demanding. And as I always say, I am not saying you have to be an Olympic athlete to do this job, but you do need this: I find it’s a lot easier to do if you have a certain level of fitness to do the job.

I know when I did Little Shop of Horrors a lot in the summertime, there would be these different plants that would travel around the country that would get rented by different theaters. I would show up and, like, there would be a plant from this one company. I’m like, “Okay, this thing’s really heavy. I’ve worked with this plant before. It’s really heavy. So I got my work cut out for me.” But then, I’d show up at another theater and like, “Oh, they rented a plant that’s all made out of foam; this is really light. This is gonna be a really easy gig this summer doing this.” So yeah, location, where they go, where they make the suits and relationships are important, at least, I find in the film business. Just make sure you have a certain level of fitness to do the work, because you may be doing it day after day after day after day. And I know I joke about it, but sometimes, well, when you’re in the suit and you’re taking a taking a break. I’m like, “What’s this thing called a break?” I can’t ever remember anyone being like, “We’re gonna give Kurt a break.” No, we just keep shooting and shooting and shooting.

NC: Are there any routines or fitness regiments that you have to stay in suit acting shape?

KC: During Godzilla, the producer got me and another guy a membership to the gym at Sony on the lot, and I took great advantage of that. I did a lot of leg squats and exercises, because you carry the baby Godzilla and the mother Godzilla on your thighs, on your legs, and so on. I also did a lot of running and working out in general, but I did not skip leg day.

NC: You heard it here first: Never skip leg day.

KC: It certainly made my job easier. Just don’t do leg day every day, but every other day.

NC: When we talked at G-FEST, you mentioned that you did work with Roland Emmerich. What was it like working with him? How did you two bounce off each other, his directing style and your performance? What’s all that like?

KC: I got along great with Roland [Emmerich], especially when we were doing the motion capture work. We were only working on two scenes, and sometimes Roland would tell me, “Kurt, don’t forget, I’m just gonna clip this. We’re going to take your whole performances, and I’m going to clip, clip, clip what I need.” He would sometimes get specific about what he wanted to see, and say, “I want to see more head movement like a bird, like it’s looking at something.”

It was a lot of fun because Roland and I were in sync, and so he pretty much let me do what I wanted to do. He didn’t really have to say, “No, that’s wrong. Do it this way.” One time, I learned we were shooting a scene where Roland was trying to explain to me a movement to do with my body. I learned a valuable lesson, which I use all the time now, which is when I work with directors, if I’m in the studio and you want me to do something, and I don’t, you know, it’s not like an actor. I want you to stress this word in the dialog. I just have the body to work with. So I say to the director, “If I’m not getting what you want me to do, just show me. It’ll save so much time. You know, like Kurt, I want you to take two steps, stop at this corner, then look around the corner.”

This is because sometimes they can’t deliver it when they’re trying to articulate it to me, and I’m in a creature suit, and I I’ve got servos and gears going off. I can’t really hear what they’re saying. I tell before it goes on too long, and say, “You’re not going to hurt my ego. Just show me what you want me to do. I’ll make it my own so much faster.” And I know when you’re working on low budget stuff when they really don’t have the time and they really don’t have the money, I think the directors appreciate that, because I’m not going to waste their time. They’re not going to keep trying to verbalize something to me and I don’t understand. If you just show me, I will be like, “Oh, I got it. Okay. Got it, I’ll do that. Awesome!” So, yeah, I really liked working with Roland. He was great, and super cool.

NC: We did talk about this at G-FEST, but I want KU to have it too. Your Godzilla in Final Wars. Can you talk to us about that?

KC: Yeah, I’ve only seen it once, and I figuratively had a tear roll down my cheek when my Godzilla got killed and everybody in the audience applauded. I did not storm out of the audience and shake my fist at them while yelling “Why you!!!” I get it. I get it. It didn’t hurt my feelings. I’m not delusional enough to think, like, “How dare they,” but yes, but I figuratively had one tear roll down my cheek when it happened. I’m not that attached emotionally; I’m invested in Godzilla 98, yes, but I understand. Also, this was a while ago. When did that movie come out? Do you guys remember?

JL & NC (together): 2004.

KC: I haven’t seen it since then. I’ve seen that clip before, and I definitely have a sense of humor about it. It doesn’t bother me.

NC: That’s good!

JL: Kurt, there’s going to come a time when the book closes, and you kind of wrap up the creature performance end of your career. So when you look back, what do you want the legacy of Kurt Carley to be? Do you want it to be Godzilla?

KC: That’s an interesting question. I never thought of it like that. I just thought, you know, like, I’m a guy who kind of fell into this, and I ended up doing it for a couple decades. People ask me what I do, or they say, “What’s something I might have seen you in?” Nine times out of 10, I say, well, Godzilla, because everybody’s heard of Godzilla, and so I suppose you know Godzilla and some of the other crazy things I’ve done. Maybe they weren’t as high profile as some other people, but I’m really glad I was involved. For example, I did this fantastic student film that I don’t think has ever been shown outside of the school that we did it for, but I played a moose that sang in a musical.

I hope maybe someday someone will get to see it. I got hired, and I was like, of course, I’m gonna be a moose in the musical and sing and dance and stuff and it’s kind of wild. I did this movie called Skin Deep, with Warwick Davis in it, and another guy and I play the same character because we can wear the same mask. That’s a little different; that’s not exactly mainstream Hollywood, but it’s still a very interesting movie. I guess overall, I’d like the legacy of the fact that I’m a guy who played monsters, and I hope I did an okay job to people, and that I was the first American Godzilla, I suppose.

NC: They can’t take that away from you.

KC: Although, to be honest with you, you guys have seen Pee Wee’s Big Adventure? There’s a Godzilla in that. So, you know, I don’t know if I can say I was the first American guy to play Godzilla…

NC: You were the first titular role of Godzilla, to be technical.

KC: Thank you, Nick. You’re right. I’ll take it. Thank you.

JL: Kurt, thanks for hopping on with us.

KC: Oh, you’re welcome, guys, thank you. It was great talking again. I’m glad we got to do this.