Hollywood
A single computer would have taken 450 years to create ‘Godzilla’, say filmmakers
NEW DELHI: Gareth Edwards’ Godzilla, the newest iteration of the famed movie monster, is the tallest version to ever grace the screen coming in at 355 feet with a tail that spans 550 feet.
It took 50,000 polygons to create the 3D model of thrashing purveyor of doom, which should explain the incredible amount of data that he is made of: it would take a single computer 445 years to render the monster.
That means that one computer would have had to start work in 1569 to complete the film in time for its release.
The film has several other impressive statistics that bode well for the upcoming film’s visual effects.
According to The Creators Project, the $160-million blockbuster had 762 visual effects crewmembers working on its 960 shots. Four of those CGI artists were specifically tasked with creating Godzilla’s scales, and it took them six months to do so.
The filmmakers were also keen on making Godzilla’s bark as big as his bite. His roar was recorded through a speaker array blasting 100,000 watts of sound in order to make it feel more real. The sound reverberates over three miles.
The film stars Bryan Cranston in his first leading gig since Breaking Bad’s finale.
The Movie Bit has made a video compiling all the statistics from both the production of the feature, as well as the nitty-gritty measurements of what this monster would look like if it were actually real.
Godzilla may only have 60 teeth, but each canine is about 4-feet-long and 2-feet wide—about the size of a thin (and Hattori Hanzo-sharp) boogie board. It would take 90,000 tons of water to fill the monster to its brim.
The Monster’s Stats:
Height: 355ft (108.2m) Godzilla’s towering height in the 2014 film—the tallest onscreen incarnation ever
Tail: 550ft 4in (167.74m) Total length of Godzilla’s spiked tail
Volume: 89,724 m3 Godzilla’s total volume in the 2014 film
Volume: 90,000 tons Godzilla’s volume if filled with water
Teeth: 1.73ft (53cm) Depth of Godzilla’s canine teeth at their widest point
Teeth: 3.51ft (1.07m) Length from the root to the tips of Godzilla’s canine teeth
Teeth: 60 Teeth in Godzilla’s mouth
Roar: 3 miles (4.83km) Approximate distance Godzilla’s roar reverberates. (100,000W Power of the 12-foot-high, 18-foot-wide speaker array from which the sound designers blasted Godzilla’s roar to record the sound in a “real world” context)
Feet: 58ft (17.66m) Total width of Godzilla’s feet across the widest point
Feet: 60ft (18.18m) Length of Godzilla’s footprint from toe to heel
Fins: 89 Dorsal fins spiking down Godzilla’s back from his head to the tip of his tail
Hollywood
Disney unifies streaming, film, TV and games under Dana Walden
Debra O’Connell to chair Disney Entertainment Television in new setup
LOS ANGELES: The Walt Disney Company is pressing play on a more tightly woven future. As audiences hop between cinema screens, streaming apps and game worlds, the media giant is stitching its storytelling arms into one coordinated machine under Dana Walden.
Set to take charge as president and chief creative officer on March 18, Walden will oversee a newly unified Disney Entertainment structure that brings together streaming, film, television and the company’s fast-expanding games and digital business. She will report directly to incoming chief executive officer Josh D’Amaro.
The thinking is simple. Whether viewers are watching on Disney+, heading to the cinema or diving into a game, Disney wants the experience to feel like chapters of the same story. Walden summed it up as strengthening the emotional thread between Disney’s characters and its audiences, wherever they choose to engage.
The leadership reshuffle reads like a carefully cast ensemble. Alan Bergman continues as chairman of Disney Entertainment, studios, steering film production, marketing and distribution while sharing oversight of direct to consumer.
Streaming gets a dual command. Joe Earley and Adam Smith step in as co-presidents of direct to consumer, jointly handling strategy and financial performance across Disney+ and Hulu. Earley will also guide content strategy, while Smith retains his role as chief product and technology officer across Disney Entertainment and ESPN.
A new chair enters the frame with Debra O’Connell taking on the role of chairman, Disney Entertainment Television. She will oversee an expansive slate that includes ABC Entertainment, National Geographic and Hulu Originals, while continuing to supervise ABC News and owned stations.
Gaming, once a side quest, is now a central storyline. Sean Shoptaw, executive vice president, games and digital entertainment, moves into the Disney Entertainment fold. His remit includes partnerships such as the collaboration with Epic Games, aimed at building a Disney universe linked to Fortnite.
Elsewhere, John Landgraf remains chairman of FX, reporting to Walden, while Asad Ayaz continues as chief marketing and brand officer, reporting to both D’Amaro and Walden.
The message behind the reshuffle is clear. Disney is no longer thinking in silos of screens but in stories that travel. And with Walden at the creative helm, the company is betting that a single, seamless narrative can keep audiences hooked, whether they are watching, scrolling or playing.
