Wednesday, December 4, 2024

Eizo Yamagiwa, Director of Various Ultra-Shows, Passes Away at 92

Eizo Yamagiwa in July 2022. Photo by Brett Homenick.

Longtime Ultra-series director Eizo Yamagiwa passed away on November 28 at a Tokyo hospital from sepsis due to old age. A private funeral has already been held. He was 92. 

Born on July 22, 1932, Eizo Yamagiwa began his career in the film industry at Shintoho in the mid-1950s as an assistant director. During his time at the studio, he worked on the seventh entry in the Starman film series, Super Giant: The Space Mutant Appears (1958), which was one of the three Starman features that was eventually edited into the American release Evil Brain from Outer Space

Ultra-series alumni Shozo Uehara (left), Toshihiro Iijima (center), and Eizo Yamagiwa enjoy a chat in March 2016. Photo by Brett Homenick.

Yamagiwa-san also worked as an assistant director under Teruo Ishii at Shintoho before launching his career as a director of film and television. At Tsuburaya Productions, Yamagiwa-san directed episodes 15, 16, 17, 22, 23, 28, 29, 34, and 35 of Return of Ultraman (1971-72), episodes 3, 4, 9, 10, 15, 16, 21, 22, 28, 29, 38, and 39 of Ultraman Ace (1972-73), episodes 1, 2, 3, 10, 11, 14, 20, 21, 24, 25, 39, 40, 47, 48 (as well as episode 28 as special effects director) of Ultraman Taro (1973-74), and episodes 50 and 51 of Ultraman Leo (1974-75).

Mitsuhiro Sano, Keiji Takamine, Eizo Yamagiwa, and Shigemitsu Taguchi gather at an Ultraman Ace reunion in February 2019. Photo by Brett Homenick.

He also helmed episodes 3, 4, 14, and 15 of Silver Kamen (1971-72), episode 4 of Horror Theater Unbalance (1973), episodes 11 and 13 (as well as episode 11 as co-scriptwriter with Ei Ogawa) of Jekyll and Hyde (1973), and episodes 8, 9, 16, and 17 of the Submersion of Japan TV series (1974-75).

I first met Yamagiwa-san in March 2016 at a book-launch party for an Ultra Q (1966) tome. There were numerous luminaries in attendance from the world of tokusatsu, and Yamagiwa-san was among them. Even though I didn't know who he was at the time, Yamagiwa-san seemed surprised that an American was at the event, so he approached me. He gave me his business card, and, bowled over that he would come up and introduce himself to me, I asked that we take a picture together. Of course, it didn't take long for me to become familiar with Yamagiwa-san's work.

Eizo Yamagiwa in February 2019. Photo by Brett Homenick.

Over the years, we met several times at events and a couple of times on a personal level. In fact, a month after we first met, we went to a Chinese restaurant in Shibuya together and ate dinner. At that dinner, Yamagiwa-san signed and gave me a book about Return of Ultraman in which he participated as an interviewee. We also talked about various movies from around the world we enjoyed. One title I recall that Yamagiwa-san cited was 8 1/2 (1963). However, when I mentioned Ed Wood (1994), another movie about moviemaking, he wasn't familiar with it, which was to be expected.

Shigemitsu Taguchi (left), Eizo Yamagiwa (center), and Akihiko Iguchi gather to discuss their work on the '70s Ultra-series in November 2016. Photo by Brett Homenick.

As Yamagiwa-san got older, however, it became more and more difficult to meet up. I'd still catch him at an event here and there, but, when I would call him, we couldn't seem to get our schedules to match.

Eizo Yamagiwa interviewed at his home in November 2020. Photo by Brett Homenick.

In 2020, I began doing interviews again in a big way, and I was pleased that Yamagiwa-san agreed to do one with me. In fact, in the beginning, he wasn't sure he would participate at all. I guess he felt he'd given enough interviews on his work in the Ultra-series and wasn't too keen on doing any more. So he wanted to see a sample of the questions I wanted to ask before accepting.

With Eizo Yamagiwa in June 2018.

My translator mailed him the translated version of my questions, which covered a wide variety of topics, including his early life and his work at Shintoho, with the Starman series. It was apparently enough to get him to agree to the interview, as we conducted it just a few weeks later.

Eizo Yamagiwa next to his bookshelf in November 2020. Photo by Brett Homenick.

We did the interview at Yamagiwa-san's home in Eifuku. It was a fascinating history, and I'm very glad he shared it with me. I was especially interested in hearing about his work on the Starman series. In fact, after the interview, I told Yamagiwa-san how I first saw clips of the Starman movies on the old Muppet Babies cartoon show in America. I wanted to point out how the Starman movies became part of American pop culture in surprising ways. His reaction? I'll do my best at an exact quote from memory: "If that had been Japan, I would have tried to sue them." I guess my anecdote didn't go over very well.

Ultra-series veterans Susumu Kurobe (left), Mitsuko Hoshi (center), and Eizo Yamagiwa share the stage in June 2018. Photo by Brett Homenick.

My other memory from the interview is that Yamagiwa-san wanted his photo taken next to his bookshelf so that people could see his collection. I guess he was quite proud of it!

I last saw Yamagiwa-san at an event in July 2022. It was great to see him again there, and I finally was able to get him to sign something Starman-related. I had a DVD sleeve made from cardstock from an old Mill Creek 50-movie pack that included Evil Brain from Outer Space. I brought it for Yamagiwa-san to sign, and I told him it was the U.S. version of the Starman movie he worked on. I remember he did a great job of reading the U.S. title out loud from the DVD sleeve, which was fun to see.

After the event, I bumped into him again by chance as he was getting into a taxi as he was leaving. I said goodbye to him again as he entered the vehicle to go home. Little did I know I'd never see him in person again.

With Eizo Yamagiwa in November 2020.

To the best of my memory, I called him in May 2023, asking to meet up. He told me he was too old, so he had to decline my request. When I knew I was leaving Japan, I asked a mutual friend to try to arrange a meeting, hoping he would have better luck, but that didn't work, either. I wish I could have met him again before I left.

With Eizo Yamagiwa in July 2022.

Rest in peace, director. Your legacy in film lives on.

Wednesday, November 6, 2024

Godzilla's Online History Revealed on Vantage Point Interviews!

Photo © Mark Meloon.

The webmaster of the Net's very first Godzilla site, the one and only Mark Meloon, stops by Vantage Point Interviews for a new vintage account! Check it out and learn the history of this Godzilla fandom pioneer!

Monday, October 21, 2024

An Evening with the Director of 'Godzilla 1985's' American Version!

R. J. Kizer poses with a photo of an old friend. Photo by Brett Homenick.

After spending the afternoon with Adryan Russ, I headed over to the Tallyrand restaurant to meet up with director and film editor R. J. Kizer, whom I've interviewed more than once. This was also our first face-to-face meeting. 

When I pulled into the parking lot, I spotted R. J. entering the restaurant. He saw me, as well, and waited for me to park my car. When I walked up to him, he commented that I was taller than he expected. That made me feel like I was back in Japan!


While we ate, R. J. shared quite a few stories about his time at New World Pictures, most of which I'd never heard before. But, because I'd never really spoke to him about anything other than his work on Godzilla '85, that was to be expected. 

The stories were just as often hilarious as they were fascinating. I felt someone could make quite an entertaining movie based on some of R. J.'s experiences. It certainly would be a lot more fun than the recent Jason Reitman flick Saturday Night.


I'm amazed it took us this long to meet in person, given how Godzilla 1985 is one of my favorite films. But I'm overjoyed it was finally happened. After dinner, R. J. gave me directions back to the freeway, which turned out to be spot-on. Many thanks to R. J. for a wonderful evening!

Saving the Earth in L.A.!

Adryan Russ. Photo by Brett Homenick.

On Sunday, October 20, I made my out to Los Angeles and had a great time there. The first meeting I had was with Adryan Russ, who performed the iconic "Save the Earth" song for the AIP release of Godzilla vs. the Smog Monster (1971). Even though I interviewed Ms. Russ way back in 2007, this was our first visit in person.


We met at the Lonny Chapman Theatre for a performance of The Orphan's Revenge, which was pretty enjoyable. The melodramatic show encouraged audience participation in the form of booing and hissing the villains and cheering the good guys. I don't think I'll ever forget the name of "Yack" Phillips.

"Save the Earth!" Photo by Brett Homenick.

After the show, we noticed a massive fire close to our vicinity. The smoke happened to be billowing from an area directly behind Joe's Smog Check, which, given the circumstances, was quite a coincidence. It looked like Godzilla and Hedorah were duking it out behind a sign warning the world about smog! If only Yoshimitsu Banno and his camera crew were there, it would have been complete.

It was great to meet Adryan in person and to chat about not just Smog Monster but a variety of other topics. I look forward to meeting up again in the future.

Friday, October 18, 2024

Keizo Murase, Legendary Kaiju Suitmaker, Passes Away at 89

Keizo Murase in October 2020. Photo by Brett Homenick.

Longtime kaiju suitmaker Keizo Murase passed away on October 14 at 8:21 p.m. at the age of 89. According to news reports, the cause of death was decompensated cirrhosis of the liver. 

Keizo Murase poses with an old friend in April 2019. Photo by Brett Homenick.

Murase-san's credits in the word of tokusatsu as a suitmaker are second to none. But I'll let the master himself tell his own story in my interviews with him, which can be read here and here. Those Q&As tell Murase-san's story better than I possibly could in this blog post.

Keizo Murase in March 2016. Photo by Brett Homenick.

To the best of my knowledge, I first met Murase-san at an event in May 2013. I subsequently met Murase-san in and around Tokyo numerous times and enjoyed interviewing him at his company more than once.

Keizo Murase chats with kaiju beam animator Sadao Iizuka in March 2016. Photo by Brett Homenick.

While I wasn't as close to him as I was with other Godzilla series alumni (as I recall, we spoke on the phone only once, and I received a New Year's greeting card from his company once or twice), I always enjoyed his friendly presence at the events his attended.

Keizo Murase poses with Ultra-series director Toshihiro Iijima in March 2016. Photo by Brett Homenick.

When I first interviewed him in April 2018, I remember he essentially showered me with gifts, presenting me with a Cast Co. bromide card set with photos from his career, as well as a copy of his book. It was a gesture I've always remembered and appreciated.

Keizo Murase in March 2016. Photo by Brett Homenick.

After the interview, which was held in Murase-san's workshop way out in Mizuho, Tokyo, I still had to teach a group lesson on the 10th floor of the Shinjuku Sumitomo Building (the same structure Godzilla crashes into after his first encounter with the Super X) that evening. Murase-san, who picked my translator and me from the nearby train station in his car, drove us back to the station when we were finished. Miraculously, I somehow made it to the lesson literally in the nick of time. Had I arrived even a minute later, I would have been late. It still amazes me how perfect the timing was, given the distances (and various modes of transportation) involved. 

Keizo Murase at his workshop in February 2024. Photo by Brett Homenick.

My last encounter with Murase-san was in February of this year, just before I left Japan. I visited his workshop one more time to interview him again about his career. Even after the third interview, I still didn't get to cover all the topics I would have liked, but I was and still am grateful to have had the opportunity. The interview probably won't be published for quite a while (I have a massive backlog), but I look forward to getting it published sometime in the future.

With Keizo Murase in February 2024.

When I visited Murase-san that day, he was riding high on the fact that he had been selected to receive a special award at the Japanese Academy Film Prize on March 8 for his contributions to Japanese cinema. The timing of that award was impeccable, and I'm proud that Murase-san was able to receive such a prestigious accolade in his lifetime.

With Keizo Murase in March 2016.

While we were taking photos after the interview in February, Murase-san grabbed his phone and asked his son to take a picture of the two of us together. I've said it before, but it's always cool when a VIP asks to take a photo with you

With Keizo Murase in October 2020.

Murase-san created some of the most fantastic images of my childhood, and it was my privilege that I was able to spend some precious moments in his company. Rest in peace, Murase-san. 

Tuesday, October 1, 2024

'Howl's Moving Castle'

Fathom Events' Studio Ghibli Fest 2024. Photo by Brett Homenick.

"This is Operation: [Howl's Moving Castle]." -- Don Frye, Godzilla: Final Wars (2004)

I'm sure I've mentioned it here before, but I've never been a fan of Studio Ghibli. I suppose it would be a bit more accurate to say that I've never been into anime in general. It's just never been my thing, though I guess I can see why others would be into it. Under other circumstances, I might have become a fan myself.

To the best of my knowledge, the only Ghibli film I'd seen before tonight was My Neighbor Totoro (1988), which was shown on video in one of my classes back in the day. Honestly, I can't remember if we even finished the thing, but that (more or less) had been my only exposure to Ghibli.

While going to the movies a month or two ago, I noticed the above advertisement promoting something called Studio Ghibli Fest. One title in particular stood out to me -- Howl's Moving Castle (2004). Pretty much every Ghibli fan I've spoken to has essentially the same opinion: It's just not that good. So you may be wondering why that, of all the movies being screened, would catch my attention.

In early 2005, I read in a Godzilla fanzine that Godzilla: Final Wars (2004) got its clock cleaned at the Japanese box office by Howl's Moving Castle. I knew absolutely nothing about that film and hadn't even heard of it until then. But, in that moment, the two movies became inextricably intertwined in my mind.

Howl's movin' and groovin'. Photo by Brett Homenick.

So that brings me to tonight when I caught a screening of Howl's Moving Castle at the nearby multiplex. The version I saw was the English dub with Christian Bale as Howl, by the way.

What did I think? Well, not much, I'm afraid. I have to agree with the folks who've told me over the years that the movie isn't very good. There are no memorable characters, the story and set pieces are all off-the-rack, and the climax was downright dull. What am I saying? The whole movie was dull. I was bored to distraction throughout.

The image of the moving castle itself was pretty impressive, but that's the only positive thing I have to say about it. Otherwise, I was indifferent to the thing. If I'm being honest, I just don't think Ghibli's animation quality lives up to the hype. That's not to say that it's bad or even mediocre, just that it doesn't measure up to the endless praise I read online -- in my humble opinion, anyway.

Here's a quote for the poster: "Better than Howl's Moving Castle!"

It's rather interesting to read the drubbing that Francis Ford Coppola's latest opus, Megalopolis (2024) is receiving from critics and audiences. I saw the film last night and thought it was pretty good -- not great, but certainly not the unmitigated disaster some are trying to make it out to be. Watching the two films back to back, I can safely say that Megalopolis is much much satisfying. 

Suffice it to say, that itch has been scratched, and I can put Howl's Moving Castle away and (in all likelihood) never think about it again. It's too bad Japanese audiences went with the wrong film in late 2004, but it's not like we can do anything about that now.

Come to think of it, how about Don Frye as the voice of Howl? Now that's some inspired casting!

Saturday, September 21, 2024

'Green Slime' Actor Jack Morris Passes Away at Age 84

Jack Morris (right) poses with Robert Horton. Photo courtesy of Jack Morris. The Green Slime © 1968, Toei Co., Ltd.

According to a longtime friend of the actor, Jack Morris, who appeared as Lt. Morris in the made-in-Japan cult classic The Green Slime (1968), passed away last night, September 20. He was 84.

John Robert Morris was born on April 29, 1940, in Winnipeg, Manitoba, Canada. Mr. Morris moved to Japan in 1967 and eventually returned to Canada in 1972. Mr. Morris spoke extensively about his memories making The Green Slime in my 2021 interview with him, which you can find here.

He is survived by his wife Kyoko, as well as his children James, John, and Mika. 

Rest in peace to a friendly gentleman. Sincere condolences to Mr. Morris' family and friends.