When Steve Miner made me the production designer on Godzilla – King of the Monster in 3-D, I immediately began putting together my dream art department.
There were effects in almost every scene, so I knew we pretty much needed to storyboard the entire film. I continued to do boards, designing the film as I drew them. I also hired Dave Stevens and Doug Wildey to do storyboards, giving each of them sequences to board. I offered Alex Toth a job on the film, but he passed. Dave and Richard Hescox were sharing the front third of my studio, so I saw Dave every day. Dave and Doug were close friends (Dave based the Peevy character in The Rocketeer on Wildey). To speed things up, I drew the layouts for most of Dave’s boards.
It was a little embarrassing for me to be Doug’s boss. Doug was the creator of the great prime time animated series Jonny Quest and knew much more about storyboarding and storytelling than I did. I was lucky to have access to Doug. I always had him check my boards to make sure I hadn’t left out an essential panel or two.
My pal Rick Baker got hired to create a gigantic robotic Godzilla head. I got stop motion animator/dinosaur sculptor par excellence Steve Czerkas to build the Godzilla armature and sculpt and cast the Godzilla body based upon my redesign of Godzilla. He did a great job.
New Godzilla-Meets-Old Godzilla. The foam rubber dorsal fins are already starting to deteriorate and fall off on Steve Czerkas’ animatible Godzilla figure.
David Allen was hired to do the film’s stop motion animation (our Godzilla was not going to be a guy in a baggy suit). Like I said, a real Dream Team was put together to bring Fred Dekker‘s brilliant script to life on the big screen. Fred at that time was one of the Pad o’ Guys, the hottest group of screenwriters in Hollywood. Shane (Lethal Weapon) Black was another Pad o’ Guys member.
Steve gave me a lot of leeway in designing the film. I even set my boards to music. I made a cassette tape of some stirring Peter Gabriel music to accompany the scene near the end of the film when young teen Kevin must sacrifice Godzilla on Alcatraz.
I think Steve was amazed by how much that music supported the screen action and captured and enhanced that scene’s mood — so much so that a short time later Steve told me that following our Godzilla film, Steve wanted me to direct Rodan (!).