You have a strong political subtext in your previous movie Monsters. Did you deal with any of the politics from the original Godzilla movie?
Godzilla is a metaphor for Hiroshima in the original movie. We tried to keep that, and there are a lot of themes from '54 movie that we've kept. To me, if all we did was just have monsters smashing things up, then the film would be pointless. The great thing about the 1954 Godzilla is that beyond the spectacle and epic enjoyment of seeing giant monsters smashing a city, there's another layer to the movie that you could take or leave.
In our film, Godzilla represents a force of nature. The theme of man vs. nature creeps up a lot visually throughout the film.
What do you mean? Like climate change?
It's not specifically climate change or anything. We tap into nuclear themes within our film — that's at the heart of the film. But it's more about the power of nature, and how we sometimes abuse that power. Godzilla is a symbol of nature coming back to put us in our place, to restore the balance or however you want to define it. Films like this are powerful when you feel like you deserve what's coming. It's not just a fantasy. Deep inside you feel like we've been asking for this — it's been a long time coming. As crazy as all these events are, subconsciously it feels true that this could happen.
My favorite horror films are ones where characters feel guilt, and have it coming to them. Humanity has abused its position in the world and I think that Godzilla represents a force — not quite of retribution, but a force of putting things back to right.
Does an American kaiju represent something different than a Japanese one? Does it have to be set in Japan to tell this story?
It's important that part of the film took place in Japan, but it's very much a global story. The whole idea was that it would be a sort of origin story, and you can't do that without Japan.