R. J. Kizer, Director of the American Version of 'Godzilla 1985,' Passes Away at 73

R. J. Kizer in November 2025. Photo by Brett Homenick.

 

According to Godzilla 1985 (1984) producer Tony Randel, Robert (R. J.) Kizer, director of the American inserts of Godzilla 1985, passed away a few days ago after a battle with cancer. He was 73.

I was fortunate to interview R. J. twice (first in 2007 and then in 2020) and then meet him in person twice (in 2024 and 2025). During our first in-person meeting in 2024, R. J. told me about working with Roger Corman at New World on Battle Beyond the Stars (1980) and other such projects. I was genuinely surprised to learn just how mercurial Corman could be, as he always seemed so calm and level-headed in interviews. He also went into great detail about the making of the Roddy Piper vehicle Hell Comes to Frogtown (1988), the production of which was so bonkers I thought it'd make a great movie in its own right.

During our second visit, I gifted R. J. an unopened Blu-ray copy of Yojimbo (1961), which I no longer needed, as well as a VHS copy of Godzilla 1985 that I found at a thrift store. R. J. was very happy (though reluctant -- it took a bit of convincing on my part that I didn't need the disc anymore) to receive Yojimbo. He had a few Kurosawa movies in his collection, but Yojimbo wasn't one of them.

We talked more about Godzilla 1985 during our second meeting, and I was floored just how many more details he shared about the movie that weren't contained in either of our interviews. R. J. Kizer was a walking encyclopedia of film knowledge -- not just about his own movies -- and he was always willing to share his knowledge with me. 

In particular, whenever I had a technical question about things related to cinematography or film editing for the interviews I was doing with Toho alumni, I could always ask R. J. for guidance, who wouldn't hesitate to pull out old books and give me the best answer he could. He would help me put those technical answers in ways that were accurate and made sense in English, and I'll always be grateful that the director of the last great Americanization of a Godzilla movie made time for me when I asked.

When we were returning to our cars in 2025, I asked R. J. what project was he most proud. I thought I knew what he would say, but he surprisingly said none of them. I thought for sure he'd say Godzilla 1985, as it went on to make money and is still revered by fans to this day. I'm not sure I was able to convince him that he should be proud of his work on the film, but I wanted him to know that I certainly was proud of what he accomplished.

Frogtown Lives, good sir. Rest in peace.

A Night of Tokusatsu!

Eiichi Asada. Photo by Brett Homenick.

 

On Tuesday, August 11, I attended a special event with former Toho SFX director Eiichi Asada. It's always a lot of fun seeing Asada-san at these events, and this time was no exception.

What is likely test animation done by Sadao Iizuka for The Mysterians (1957). Photo by Brett Homenick.

One fascinating surprise was getting to see what were apparently animation test frames for The Mysterians (1957) that were in the collection of the late tokusatsu animator Sadao Iizuka. According to Kei-san, who was Iizuka-san's manager during his twilight years, the beams seen in these frames are different from what we see in the movie. 

I did my best to photograph the frames for the Markalite, although there were others for the Alpha, too. It was a rare bit of Toho tokusatsu history that I got to see up close and personal.

In addition, I also got to see the final work of Takashi Naganuma that he completed before he passed away last year. 

It was the drawing below of Teruyoshi Nakano whose lips can be moved, almost like those of a puppet.

Eiichi Asada enjoys playing with the Teruyoshi Nakano puppet completed by Takashi Naganuma before he passed away. Photo by Brett Homenick.

Nakano-san and Naganuma-san were close friends and often appeared at events together. It's quite appropriate that the last work Naganuma-san would ever do would be of his friend and colleague.

Takashi Naganuma's Teruyoshi Nakano puppet. Photo by Brett Homenick.

And that's a wrap! Even though a typhoon was approaching, it wasn't enough to stop me from coming. It'll take a lot more than a little rain and wind to accomplish that.

More Photos from Kurihama Flower Park and the Godzilla Slide!

Kurihama Flower Park. Photo by Brett Homenick.

In addition to the photos in my previous blog post, here are some additional photos featuring Kurihama Flower Park itself, Godzilla-related signage and merchandise, as well as photos of yours truly. Enjoy!

REVISITING KURIHAMA FLOWER PARK! The Godzilla Slide Still Rules Yokosuka!

The Godzilla slide at Kurihama Flower Park. Photo by Brett Homenick.

On Monday, August 10, I made my way to Kurihama Flower Park for the first time since late 2019. It's hard to believe it had been that long, but the passage of time usually goes like that. It was only the fourth time I've ever visited the park so far, and we'll see how many more times I stop by.

What's fascinating to me is that I remember the park was called Kurihama Flower World, but all the literature online these days lists it with Park in the name. In one of my previous blog posts, I link to a site where "world" is part of the URL, so I know I haven't gone crazy. 

Of course, the reason I traveled all the way to Yokosuka, Kanagawa, to visit the park was to see the nine-meter-tall Godzilla slide. I still haven't actually used the slide -- I mean, it's for little kids -- but it's fun to photograph. 

And photograph it I did! In fact, I'm putting the rest of my pictures in a separate blog post, so be sure to check that one out, too. All in all, it was worth the hike!

Seems Like Old Times!

Masanori Machida poses with an American DVD that features one of his most famous movies (I promise!). Photo by Brett Homenick.

 

On Sunday, July 26, I attended an event with Masanori Machida, a former child actor who appears in a couple of my favorite movies. It's hard to believe that it'd been well over two years since I last saw him, but it was well worth the wait.

Machida-san and other actors performed dramatic readings (or monologues) that were Obon-themed, so they usually centered around ghosts or other such supernatural entities. Machida-san's monologue was a bit comedic and surprisingly short, but naturally his was the best.

A brought an old DVD that featured Monster from a Prehistoric Planet (1967) on the same disc as Gamera vs. Gaos (1967), which is a reminder of how good the year 1967 was for tokusatsu. Machida-san was a little confused when he saw Gamera on the cover, but, when I explained that Gappa was also included, it all made sense. 

Visiting Machida-san again was wonderful, and I guess sometimes you can go home again if you're lucky enough.

Chanson on a Humid Tokyo Evening!

Yoshiro Uchida. Photo by Brett Homenick.

Tonight, Tuesday, July 21, was another musical night of chanson with Yoshiro Uchida. I'm sure I say it a lot, but these performances are always a blast to attend.

Uchida-san sang two of his staple songs, "Ame" and "Ikiru," which I told him were beautifully performed. He thanked me for my praise, and we took the above photo. Not much else to say, other than these nights on the town are always something to look forward to.

Toku in the House!

Eiichi Asada. Photo by Brett Homenick.

 

On Saturday, July 18, I attended an event with former Toho SFX director Eiichi Asada, whom I hadn't seen in more than two years. It was a fun reunion, and I updated Asada-san on my comings and goings during that time.

There wasn't much toku talk this time, but I did learn that Asada-san is a fan of actress Jean Simmons from Spartacus (1960). Now that's a name you don't hear thrown around a lot these days, unless you're talking about the guy from KISS with the similar name.

It's always fun to learn about the Western films that Toho tokusatsu legends admire. For example, I never would have even heard of the family drama Our Very Own (1950), featuring a very young Natalie Wood, had Teruyoshi Nakano not named it as one of his favorite films.  

Overall, it was great to see Asada-san again. It truly had been too long.