Born on March 18, 1960, Takehiro Murata became an actor at an early age and would go on to star in movies for some of Japan’s most successful directors. In the U.S., Mr. Murata is most famous for his various turns in the Godzilla series. His first appearance was in Godzilla vs. Mothra (1992) as Kenji Ando, which he followed up with cameos in Godzilla vs. Destoroyah (1995) as Soichiro Hayami, GMK: Giant Monsters All-Out Attack (2001) as an F-7J pilot who does battle with Godzilla, and Godzilla against Mechagodzilla (2002) as a convenience store clerk who gets an unexpected surprise. However, his biggest role was that of Godzilla Prediction Network (GPN) honcho Yuji Shinoda in Godzilla 2000 (1999). In July 2023, Mr. Murata spoke with Brett Homenick about his acting career in an interview translated by Maho Harada.

Brett Homenick: Let’s talk about your early life. Where did you grow up?

Takehiro Murata: I was born in Meguro, Tokyo. My father was a company employee and was relocated a lot for work when I was a kid, so we lived in places like Saitama, Tochigi, and Kanagawa [Prefectures].

BH: During your childhood, what were your hobbies and interests?

TM: Since I was a kid, I was always interested in movies. My father loved movies and often took me to the cinema to watch Western movies and jidai geki [period pieces]. I also watched these movies on TV because they were aired often in those days. That’s why I became interested in the screen.

When I was young, I was interested in movies like Tora-san and Godzilla, and I was in these movies later on. I was also interested in sports. I did judo in elementary school, and I played rugby and volleyball in high school.

BH: Which Godzilla movies did you see?

TM: I don’t remember which ones I saw when I was young. Toho made the Godzilla movies, and Daiei made the Gamera movies. Gamera was the hero, and Gyaos was the enemy. I loved Gyaos – he was so cool! He was a giant bat with a pointy nose.

When I was a kid, they sold bromides of Gamera and Godzilla at the neighborhood candy store. The bromides were sold in envelopes so you couldn’t see the photos. When you bought a card, you didn’t know which one you would get.

It was great if I got one of my favorite kaiju, but I often got the same card. It wasn’t fair! (laughs) That was one of the ways I became familiar with kaiju movies.

BH: Did you watch Godzilla movies and other tokusatsu productions as a child?

TM: I don’t remember the title of the movies, but the one with a lot of kaiju in it – maybe Monster Zero (1965)? There were kaiju like Godzilla, King Ghidorah, and many others. I watched that one many times.

There was another – I think it was called Godzilla vs. the Sea Monster (1966). An actress called Kumi Mizuno starred in it. When I was a kid, I thought she was beautiful, and I really liked her. Later, when I was an adult, I was in a movie together with Ms. Mizuno. She was my senior, a veteran, and I was really nervous.

BH: Which ones were your favorites?

TM: Do you know Ultra Q (1966)? It was a strange show about humans dealing with kaiju and weird beings that came from outer space. That was before Ultraman (1966-67). It was fascinating.

BH: How did you find out about the Himawari Theater Company?

TM: I loved movies when I was a kid. In high school, I really wanted to be part of this world. I didn’t have any connections, so I researched agencies and theater companies. There was an ad in the newspaper for the Himawari Theater Company, so I took the entrance exam.

I passed and became a member. But I think anyone could join! I shouldn’t say that, but it’s true. Anyway, I joined and started working as an actor. I was 16 years old. There were a lot of little kids at this theater company.

BH: What kind of acting roles did you have at the Himawari Theater Company?

TM: I had a lot of work and played many different roles. At first, I was an extra. At the shoot, I became friends with the assistant director. Even though I was an extra, I was given a line because I was friends with the assistant director. That’s how I started getting lines.

The first time I had a line as an extra was in a story that took place at a school. I played the role of a high school student who gets canvassed to join the badminton club. But I say, “No, thank you; I’m on the volleyball team,” and refuse. That was my first line – “I’m on the volleyball team.” (laughs) I just remembered that!

BH: How did you become a film actor?

TM: My father loved movies and always took me to the cinema. That’s how I became interested in movies. When I was in high school, we went on a school trip to Kyoto. We visited many temples, and we happened to see a crew filming a jidai geki. That was the first time I saw a shoot, and I got very passionate about it. I thought, I really want to be part of that world. I then applied to the Himawari Theater Company and entered this world.

BH: What do you remember about working with Kiyoshi Atsumi, who played Tora-san [in Foster Daddy, Tora! (1980)]?

TM: Tora-san – Kiyoshi Atsumi – was the kindest man. I was in my early twenties, which was 40 years ago, so I don’t remember things that well. But I just remember his being very kind.

At the time, Mr. Atsumi only had one lung because of an illness, so he spoke with a very soft voice when he spoke with the director. I couldn’t hear him because he spoke with such a soft voice, but they were going over details.

Then, when we started shooting, he suddenly spoke very loudly, and his presence was very strong. I remember being blown away and thinking what an amazing actor he was. I really liked him.

BH: Did you get to work with Chieko Baisho, who plays Tora-san’s sister?

TM: Ms. Baisho was also an amazing person. Sometime after we finished shooting this movie, we ran into each other at a movie theater. I was a nobody back then, but she remembered me and said, “I haven’t seen you in a long time!” I remember thinking, “What a kind person!” I haven’t seen her since.

BH: Could you share some of your memories of director Yoji Yamada?

TM: Director Yoji Yamada gave very apt explanations, and his directing was very easy to understand. He was such a famous director, so I felt that he was out of reach. I felt like I had to keep my distance from him. I was in my early twenties and had only started acting, so I couldn’t tell him my opinions. But he was very easy to understand, so it was very easy to act for him.

BH: You also appeared in the film Why Not? (1981).

TM: I don’t know why, but many of the veteran actors in this shoot were all very unique and free. I always went out drinking with Shigeru Izumiya, Kaori Momoi, and Masao Kusakari. There was always alcohol in the staff room, even for the location shoots. We started drinking the moment the shoot was over. We didn’t care that people were still working. I remember drinking with the other actors in the staff room.

BH: The film was directed by Shohei Imamura. Please talk about your memories of this director.

TM: Director Imamura let us act freely in this movie. I remember thinking what a talented director he was. There’s something I remember about director Imamura. Many directors go through a period where they have to do work other than directing because there’s time between movies, and they have to make a living.

Director Imamura ran a laundromat business in his home. I remember his telling me that and thinking, “I had no idea directors had to do that kind of thing to make ends meet.” A great director like Shohei Imamura had to run a laundromat to get by!

BH: What do you remember about acting with Masao Kusakari?

TM: I went drinking with Masao Kusakari a lot, and we also worked together afterwards on NHK and other shows. Mr. Kusakari and I were close for a long time. But all I remember is drinking with him! (laughs) In those days, actors drank a lot. But it was interesting because they would talk about their experiences over drinks, and I learned from them by listening.

BH: How about Kaori Momoi?

TM: Kaori Momoi was wonderful and very interesting. She was one of my drinking buddies. Kaori Momoi is a genius. Even back then, her acting was a world apart from that of other actresses. Her acting is so unique, but, at the same time, it’s easy to understand. At the shoots, I was always watching the other actors, so I didn’t mind if I had to wait a long time. It was so interesting to watch her.

BH: Another movie you appeared in was called Extra (1982). Please tell us about making this movie.

TM: I remember being in this movie and the general atmosphere of the shoots, but I only had a small part, so I don’t remember much about it.

BH: This movie starred Tetsuya Takeda. What was it like working with him? 

TM: I was in another movie with him before this, which was called Come to Think of It, I’ve Come a Long Way (1980). Mr. Tetsuya was the teacher, and I was his student. It was a story about judo. Mr. Tetsuya also practiced judo. In the movie, he was the adviser for the judo club, and I was the captain of the judo club. It was a very interesting movie, and Mr. Tetsuya taught me a lot.

BH: How about Eri Ishida?

TM: I worked with Eri Ishida in other movies, too. She was a big star at the time. She was cute and a wonderful actress. We worked together often and were friends.

[On whether he went to karaoke with Mr. Kusakari and Kaori Momoi]

Not at the time. Much later, Mr. Kusakari and I went to karaoke often. He was such a good singer; he’s wonderful. I’m good, too! (laughs) Mr. Kusakari is such a nice guy. They all are.

BH: Later on, you appeared in the movie Minbo (1992). Please talk about making this movie.

TM: I was cut out for Minbo. I’m so grateful they cast me in this role. I remember thinking, “Can I really be in this movie?” By this time, Mr. [Juzo] Itami had become a famous director. I never thought it would be possible that such a famous director would choose me, but he cast me.

In the beginning, I was super nervous whenever I stood in front of Mr. Itami. This was the movie that made me famous. I [was nominated for Best] Supporting Actor at the Japanese Academy Awards and won four or five other best supporting actor awards for this movie.

BH: This film was directed by Juzo Itami. Please talk about working with Mr. Itami.

TM: Like other great directors I worked with, Mr. Itami would just say one word, and I would know what to do. Juzo Itami used to be an actor, and his father was a director. So he understood what it’s like to be an actor. He would only say one or two words, and I immediately knew what I should do. So, midway through the shoot, it became very easy for me to act. Mr. Itami is very smart, very clever.

He drew the storyboards, but only drew line drawings. For example, he would only draw two lines, but you would know who those two lines represented. He was talented in that way, too. He was also a talented writer and was very eloquent when he spoke. I remember thinking that he was an amazing person. So I was very sad when he passed away.

BH: What was Mr. Itami’s directing style?

TM: Mr. Itami’s directing style was to say one or two words to the actors, but he would be able to convey what the actors needed to know in those few words. At the same time, he was adamant about details.

Let’s say you’re smoking, and the smoke is rising. He would only approve the shot if the smoke were rising straight up. If the smoke went slightly to the side, we would have to shoot it again. The smoke would go off to the side with the slightest movement in the air, so the staff painstakingly sealed every crack to stop the air from moving. Only if the smoke went straight up would Mr. Itami accept the shot. It was a lot of work!

He was very strict about creating the image he was after, but he was very kind to people. You often hear directors yelling, “What the hell are you doing?” or, “Do that again!” But, with Mr. Itami, he never said those kinds of things. He would always convey what he wanted with proper words. He didn’t have to yell or be strict because he could make himself understood without yelling or being strict. He’s an amazing director.

BH: You also worked with director Itami on other films. Could you share some highlights about those experiences?

TM: I worked with Mr. Itami on three movies: Minbo, The Last Dance (1993) – I was only in one scene for that movie – and Woman in Witness Protection (1997), which became his last movie. His directing style was consistent across all three movies, and each movie was very interesting.

In movies, actors have to act in the same exact way during rehearsals and the actual shoot. He was strict if we didn’t act the same exact way, and we would have to redo the shoot. That’s how focused we had to be.

But Mr. Itami created an environment for us to stay focused. A great director has a team that remains constant – the cameramen, lighting, recording, make-up – all the crew members were the same for the three movies. Of course, the assistants might be different, but the main technicians were always the same.

Everyone understood exactly what Mr. Itami was after and respected him, including the actors. That’s the kind of environment we worked in. It was very impressive. I think that’s why he was able to make great movies.

BH: Minbo also featured actors Akira Takarada and Akira Nakao. Could you tell us about working with these actors?

TM: Akira Takarada and Akira Nakao were regular members of Mr. Itami’s team. They were also my seniors. I was still very young then, so I remember being afraid of them. Mr. Takarada is a very kind person, but he’s a veteran. I remember seeing him [in movies] when I was young, so I was nervous when I was around him.

Mr. Nakao played a yakuza in Minbo. He was so powerful in that role, so I was afraid of him. But these are all wonderful memories to have worked with such veterans.

BH: [Please talk about] Godzilla vs. Mothra (1992) [in which you play] Kenji Ando.

TM: I wore a suit the entire time. In the primeval forest, in the cave – no matter where I went, I was always wearing a suit. I was often with Tetsuya Bessho, who was dressed casually. I remember being jealous of him because I was sweating in my suit and hated my costume.

BH: The movie was directed by Takao Okawara. What do you remember about working with Mr. Okawara during the making of [Godzilla vs.] Mothra?

TM: Director Okawara was a famous director at Toho. So, for Godzilla vs. Mothra, I was nervous. We did another movie together. [Godzilla] 2000 (1999). For that movie, I was able to discuss things with him [without being nervous].

BH: How would you describe his directing style?

TM: Mr. Okawara would often request something that wasn’t in the script. He would say, “Do it this way,” just before the shoot. That way, everything was fresh. That was his directing style.

BH: This movie starred Tetsuya Bessho. What do you remember about working with him?

TM: Mr. Bessho was also very smart. He was very sharp and grasped the situation very well – not just how he should act, but also where the cameras were and where the lights were. He was very quick to grasp the situation and also consented to things very quickly. The shoot went very smoothly, thanks to Mr. Bessho.

BH: How about the film’s female lead, Satomi Kobayashi?

TM: Satomi Kobayashi was a very charming person. She was also a very good actress. She was younger than me, but I learned a lot from her. She taught me so much.

BH: Another actor who appears with you in the film is Akiji Kobayashi. Do you have any memories of working with him that you could share?

TM: I don’t remember much about Shoji [Akiji] Kobayashi. We worked together, but I didn’t have that much contact with him. Since I was little, I had seen him in Ultra Q and Ultraman, so was very familiar with him and felt a certain closeness. I was happy to be in the same movie as him, since I had grown up watching movies that he starred in.

BH: Could you talk about filming the boat scene filmed on the way to Infant Island?

TM: I was on the boat to Infant Island with Mr. Bessho and Satomi when Godzilla – or maybe it was Mothra; I don’t remember – appears on the opposite shore.

We had to look in the right direction. There was someone showing us where to look, but we were taking a long shot at sea, and it was all sky, so it was difficult to keep looking in the right direction. We decided to look at a cloud, but the cloud would be blown by the wind and move. So our line of sight kept moving away from where we were supposed to look.

The cameraman said, “Not that way, we can’t see your faces.” So the three of us would try to return to the right direction, but then we weren’t looking in the same direction anymore, and we would have to shoot the scene again.

Our conclusion was, Don’t look at clouds because they move! We decided where we were going to look and tried not to deviate from that spot, but it was really difficult! (laughs)

BH: Where was the Infant Island location?

TM: It wasn’t a real location. The cave was a set. We were lighting our way with flashlights on a set. There were many night scenes, so it was probably easier for the lighting to use a set.

BH: The bridge scene is quite entertaining to watch. Are there any interesting stories behind it?

TM: Oh, the scene where the suspension bridge is cut off, and we scream. I actually fell into the pool at Toho. There are two pools at Toho – a large one and a small one. We were shooting in the small pool. I think the tower was about eight meters above the pool. The camera was filming from above, and I was hanging on like this.

When I let go, I fell into the pool. It was the scariest thing. Once I looked down, I couldn’t jump anymore. I would say, “OK, here we go!” and counted, “One, two, three!” But then I couldn’t jump, so I said, “Sorry, sorry! I’ll do it again. Sorry!” I did that about five times. Every time, we had to shoot it again.

BH: Was there a ladder?

TM: No, there was no ladder. There was one place to hang onto, and I had to jump from there. It was really difficult!

BH: The scenes with the Shobijin required the use of composite photography. Do you remember how the director handled the eyelines of the actors?

TM: There were two Shobijin. Of course, they used composite shots for this scene. Again, they had to look in the right direction. The two small Shobijin were supposed to be looking at the huge kaiju.

They placed two dolls where the Shobijin were supposed to look, so they had the right eyeline. The composite shots were very well done, but I think they shot the Shobijin and the kaiju separately, so the Shobijin never saw the real kaiju. That was the only way they could shoot it.

BH: What do you remember about acting with Makoto Otake, who played your boss?

TM: I was scared of Makoto Otake. I acted as best as I could.

His presence [made him scary]. He’s a scary guy just by being there, especially back then. Now, I think he’s softened a bit, but, back then, he was scary. He had a scary aura about him. He had a scary face, too, so I was scared of him.

BH: There is also the scene shot on the big ship that was pulling Mothra’s egg. Please tell us about shooting on this ship.

TM: I think they also shot the ship and Mothra’s egg separately. I don’t remember.

BH: You first went to the island on a small ship, then later you came back on a big ship.

TM: I don’t remember why; I’m sorry.

BH: Could you share your memories of the fight scene on the big ship with Tetsuya Bessho?

TM: I don’t remember this very well, either. I think the shoot for this action scene went smoothly. That’s probably why I don’t remember very much. Mr. Bessho is very athletic. If I had accidentally punched him or something, I would probably remember. But I think I don’t remember anything because the shoot went very smoothly.

BH: Do you remember where the Manila bar scene was filmed?

TM: For scenes where there isn’t a ship, we used a set. We didn’t rent a location or anything, and we didn’t go to Manila!

BH: There’s a big sendoff for Mothra at the end of the movie. What do you remember about filming this scene?

TM: Oh, the scene at the end of the movie when Mothra leaves. We were all standing, and Mothra was over there, and our backs are facing the camera, so it didn’t matter which way we looked.

BH: Was it in Tachikawa?

TM: Maybe it was Tachikawa, but I don’t remember. I wasn’t in the last scene in the script. But the casting producer said, “It won’t make sense if Murata’s not in that scene.” That’s why I was in the last scene. I’m grateful for that. I wasn’t supposed to be in that scene, but they decided that I could be in it.

BH: Akira Takarada also appears in Godzilla vs. Mothra. Did you have much interaction with him on the set?

TM: I was with Mr. Takarada in Godzilla vs. Mothra, but I remember him more in Minbo. We shot on location in Sasebo for Minbo. Mr. Takarada loved golf, and he was always at the golf course in between shoots. I didn’t interact with him much.

BH: Megumi Odaka appeared in six Godzilla movies during the late 1980s and 1990s. How was she to work with?

TM: Emi [Megumi] Odaka was very cute, really beautiful. I don’t see her these days [in movies or TV shows], so I wonder how she’s doing. Back then, Toho really promoted her. I guess many women retire after they get married and have kids.

If the actress really wanted to work [after they got married and had kids], they could. But everyone’s situation is different. I really thought Emi Odaka was cute back then. But we didn’t work together after that.

BH: How long did shooting last on Godzilla vs. Mothra?

TM: About one month, I think.

BH: Do you have any other Godzilla vs. Mothra memories that you could tell us?

TM: What I remember most about Godzilla vs. Mothra was the scene where I fall from the bridge. That was the only time I fell from such a high place, so it was really interesting.

BH: You returned to the Godzilla series in a small role in Godzilla vs. Destoroyah (1995) as Soichiro Hayami. Do you remember how you got cast?

TM: Yes, I had small roles in Godzilla movies after that, like Godzilla vs. Destoroyah. In a way, it felt like I was just dropping by the shoots. With director Shunsuke Kaneko, I was a pilot.

BH: Yes, GMK[: Giant Monsters All-Out Attack (2001)].

TM: [That’s] when I crash [due to Godzilla’s atomic ray]. I was very happy about that role because I wanted to be stepped on by Godzilla or get punched by him.

BH: Your next appearance in the Godzilla series was the starring role in Godzilla 2000 as Yuji Shinoda. How did you get cast in this role?

TM: [Godzilla] 2000 was very interesting. The car, the bag I was holding – I stuffed a lot of things into that bag. The bag was very well made – it was full of things like liquids for testing substances, documents, and knives. The bag was custom-made so that everything fit inside. The props were amazing, and so was the car.

Director Okawara invited me to join 2000 and asked me if I wanted the main human role. I was very happy that the director invited me to join this movie.

BH: In this movie, you are sporting a beard. When did you decide to grow a beard?

TM: In creating the image of the character, I wanted to do something different, something I hadn’t done before. I also wanted to be a bit wild, so that’s why I grew a beard. I thought it would be boring if I were just a normal scientist. I wanted the character to be so enthralled with his research that he didn’t care about shaving. That’s why I grew a beard.

BH: This movie reunites you with director Okawara. Please talk about working with him on this movie.

TM: My character was the profligate son of an izakaya [Japanese bar] owner. Instead of taking over the izakaya, all I do is research. Kenichi Nagira played the role of someone working at the izakaya. This wasn’t in the script, but the director told me, “When you go near him, say, ‘You stink!'”

So, when we were shooting, I said, “You stink!” When I did, Mr. Nagira said, “Really?” and he didn’t know what to do. That’s the kind of director he was, making us do things on the spot.

The second time we did the scene, Mr. Nagira’s spontaneously came up with an amazing reaction. That was really interesting. Director Okawara had all sorts of ideas. I guess all directors do, more or less.

BH: The opening scene of Godzilla 2000 featured a lot of action. What can you tell us about shooting it?

TM: I don’t remember the opening scene of Godzilla 2000 very well, but I don’t think I did all the action myself. There was a stunt actor. In Japan, we tend to avoid accidents, so I probably didn’t do everything myself.

BH: Was the GPN home base location a studio set, or was it a real house?

TM: The GPN base was a set, not a real house. But the outside of the house was probably shot on location somewhere, maybe a sake brewery. The inside was a set.

BH: Your co-star is Naomi Nishida. What do you remember about working with her?

TM: Naomi Nishida was also a very smart actress. She was very friendly. I remember once, after a shoot, we really wanted to eat ramen, so we went looking for a long time for a ramen place near the location shoot.

BH: How about the child actress, Mayu Suzuki?

TM: Mayu Suzuki was a child actress. Child actors are all very mature. Mayu Suzuki helped me a lot, too. If I said the wrong line, she adapted to what I had said so it would turn out to be all right. I don’t remember the details – I guess it’s been over 20 years!

BH: Hiroshi Abe is also in Godzilla 2000. What was he like to work with?

TM: I played the main character, but Mr. Abe gets killed by Godzilla, so I was jealous of him.

BH: What locations were used when filming Godzilla 2000?

TM: I don’t remember the ones in Tokyo, but we shot on location in Hokkaido. We shot several scenes at sunrise, so I remember not sleeping at all for some of these shoots.

The car goes near Godzilla, and he does this [makes a roaring sound]. The front windshield shatters, and then we chase Godzilla. Naomi Nishida and I were chasing him for a long time [in the car], but we were driving very fast without a front windshield, so the air was rushing in, and we could hardly breathe.

[on whether the difficulty to breathe was because it was cold]

Yes, it was cold, and we were driving very fast.

[on whether it is illegal to drive without a windshield]

They had authorization for the shoot, so that wasn’t a problem.

BH: You also ride a motorcycle in the movie. Did you receive any special instruction for riding it? What do you remember about filming those scenes?

TM: Yes, we had a motorcycle in the back of the car. We drove in the smaller streets with the motorcycle. I don’t remember any of those scenes being difficult.

But that car was really cool, wasn’t it? There were all sorts of gadgets inside, and there was a motorcycle in the back. I remember thinking, “I want a car like this.” I really did.

I don’t remember [what kind of car it was], but it was all customized. There were all sorts of equipment in the back, and that alone was very cool.

BH: How were Godzilla’s footprints in the sand made?

TM: The staff had a hard time making Godzilla’s footprints. They were able to dig with a digger and other machinery up to a certain point, but the rest was dug out little by little by the staff. They had to get the details right and make the right shapes. I felt bad about stepping on the footprints they had so painstakingly made. It was these moments that made me feel that we actors are able to do our job thanks to the staff.

BH: Another notable actor you worked with was Shiro Sano. Could you tell us about working with him?

TM: Shiro Sano was such a Godzilla otaku! I knew Mr. Sano for a long time before we worked on Godzilla [2000]. We went drinking often, and all we talked about was Godzilla. Then I got cast, and Mr. Sano got cast. I thought, “Of course he’s going to get cast!” It was amazing how much he knew about Godzilla. I forget the details, but once Mr. Sano talked passionately about how Godzilla should really be. He’s so interesting!

BH: Do you remember where the science lab scenes were shot?

TM: Those were also filmed on a set, I think. Scenes like the one where I slide down the elevator shaft were all filmed on sets. The scene with all the computers was shot at a company in Suginami Ward [in Tokyo]. The rest were filmed on sets.

BH: How about the tall office building location? Where was that?

TM: I think the exterior was shot in Yokohama.

BH: There was an explosion in one of your scenes in the office tower. Could you tell us how it was filmed? Was it dangerous?

TM: No, it wasn’t that dangerous, but I was scared when I was sliding down [the elevator shaft]! But I had a safety rope, so it was all right. It was the same when I fell into the pool, but part of me didn’t care if something actually happened to me. That was the only way I could do those scenes.

BH: How long was the shaft?

TM: About five meters, I think. We shot the scene twice, so I went down the shaft twice. It wasn’t dozens of meters long, but it could have been eight meters or so. Eight meters is a scary height.

BH: When I interviewed him, Godzilla 2000 co-screenwriter Hiroshi Kashiwabara criticized Mr. Okawara’s direction of the elevator shaft scene, saying that a person who slid down an elevator shaft without gloves would get his hands burned. Of course, in the movie, your character doesn’t feel any pain after sliding down the shaft with his hands. What’s your reaction to this criticism?

TM: In the story, there was no time to put gloves on because I had to escape. So I had no choice but to go with my bare hands. But, now that you mention it, it may have been more interesting if my character blew on his hands after sliding down with his bare hands because they had gotten burned, and then he escapes. I wish someone had thought of that during the shoot. But maybe it would have been too much of a gag.

BH: Do you remember what kind of makeup was applied to your body after the elevator scene to simulate the dirt or blood?

TM: It was a spontaneous decision to apply blood. We never know what will happen during a shoot. We have to go through the scene first to know how the blood would spurt or where it would spurt. There was oil on the shaft, so I needed to have black oil applied to my clothes and face. If I hit something as I went down the shaft, I would need blood applied there. That kind of makeup was applied on the spot at the shoot.

BH: Do you remember what you were told about keeping an eyeline with Godzilla offscreen?

TM: Of course, Godzilla isn’t really there, so the assistant director held a really long bamboo stick with a cloth attached to the tip and moved it around so we would know where to look. We imagined Godzilla to be where the long bamboo stick was.

[on shooting the eyeline in Godzilla vs. Mothra]

For that scene, the screen wasn’t wide enough, so the only choice we had was to look at a cloud. But, normally, the eyeline would be decided, and the assistant director would hold a bamboo stick there the entire time. If they decided to shift the eyeline, they would have to move the stick to the new location, and we would look there.

If Godzilla was supposed to move, the assistant director would move the stick to mimic Godzilla’s movement, and we would follow the stick with our eyes. That’s how we normally kept our eyeline. But, on the boat, we weren’t able to do that; that’s why it was so hard.

BH: Godzilla 2000 was made as a reaction to the negative opinions the 1998 American Godzilla received from audiences. What did you think of the American Godzilla movie?

TM: The first American Godzilla? My reaction was, “That’s not Godzilla.” But I guess the Americans wanted to make him more realistic, like a dinosaur. If that’s what they intended, I accept it. But it wasn’t Godzilla. It was like a Tyrannosaurus. They didn’t need to use a Tyrannosaurus for Godzilla. But, after that, the Americans made a proper Godzilla.

BH: Near the end of the movie, there is some burning debris on the set from Godzilla’s battle with the other monster. How was it done? Was it dangerous?

TM: Among all the studios at Toho, they made several miniature cities that were destroyed. That was another moment that made me want to be Godzilla. Those city sets were incredible. They put in lights that lit up when explosions went off.

I’m sure they added a lot of CG afterward, but, when Godzilla stomps all over the city and destroys it, it really made me want to be Godzilla. I wanted to do the same thing.

BH: The burning debris was not tokusatsu; it was actually shot with the actors. How was that filmed?

TM: They added in the CG later, of course, but we were at a safe distance from the debris, and the camera angle made it look like we were right next to the debris. They maintained a safe distance, so it wasn’t that dangerous. But, from the camera, it looks like we were right by the debris.

BH: You also have a brief fight scene with Mr. Abe, who punches you, and you fall down. Please tell us about shooting this scene.

TM: I liked being punched and falling down, so it was very satisfying doing this action scene. It was a short but symbolic scene. Mr. Abe and I spent a long time discussing how we could do it, including the camera angle, to make it look as realistic as possible.

[on whether Mr. Murata was actually punched]

Of course not. Slapping was done for real [in shoots], but punching wasn’t done for real.

BH: Do you have any other memories of filming Godzilla 2000 to share?

TM: The shoots went on for a long time, so I didn’t have time to sleep. There was hardly any time to sleep, especially during the shoot in Hokkaido. I was young, so I was able to do it, but the shoots were very tiring. I got really dirty, too. There was a lot of action, so I was really tired. But I liked working really hard like that. It was so much fun. The more tired I got, the happier I was. It was really exciting.

BH: After Godzilla 2000, you appeared in two other Godzilla movies in cameo appearances. The first one was in GMK: Giant Monsters All-Out Attack as an F-7J pilot. How did this come about?

TM: I was the pilot who crashed into Godzilla. I loved that! But that was the only time I worked with director Kaneko, and it was for a very short time. It felt like a different Godzilla from Mr. Okawara’s Godzilla. But I loved being killed by Godzilla.

BH: What do you remember about working with director Shusuke Kaneko?

TM: Director Kaneko also did Gamera. I loved Gamera, too, so I was really happy to meet him. Mr. Okawara shot Godzilla in a very matter-of-fact way, one scene after the other. But I think director Kaneko was really happy about shooting Godzilla, so he was always excited and cheerful. He looked like he was having fun, which made everyone enjoy himself. So I was like, “Here I go; I’m going to enjoy dying!” He was a wonderful director.

BH: You also had a cameo appearance in Godzilla against Mechagodzilla (2002) as a convenience store clerk with director [Masaaki] Tezuka. How did you land this role?

TM: I had fun in that movie, too. I’m a convenience store clerk, and something was happening outside the store. When I go outside, there are all these Self-Defense Forces vehicles passing by. We actually shot that inside an SDF base – I think it was in Fujiyoshida.

It was my first time inside a base. I’m sure it would be impossible now, but, at the time, they let us climb inside a tank in between takes. Actually, there weren’t any vehicles in that scene. I just acted surprised, but there was nothing in front of me. But I had fun on the base!

BH: What was director Masaaki Tezuka like?

TM: At the time, director Tezuka was working on many movies. But I only worked with him for a short time, so I can’t say much about him.

BH: Another director you’ve worked with is Nobuhiko Obayashi. Could you describe working with him?

TM: We became friends and often met outside of work. As a director, he didn’t give many instructions. He liked to take a lot of shots and edit them. It was always surprising to see the final movie because I would see myself acting with much more emotion than I actually did during the shoot.

So I always looked forward to seeing the final movie. Sometimes, during editing, I would be asked to record lines that I hadn’t said during the shoot that they wanted to edit in. They would have a shot of me from the back and add in the new line. That happened quite frequently. So it was really interesting to participate in the editing process. Mr. Obayashi was a very interesting person.

BH: Another of your roles was in director Kihachi Okamoto’s last movie, Vengeance for Sale (2002). Please talk about this work.

TM: That’s right; it became his last movie. While we were shooting Vengeance for Sale, director Okamoto collapsed and was hospitalized. The shoot had to go on, so the assistant director tried to continue the shoot, but, when director Okamoto heard about it, he came to the shoot.

His doctor had said to him, “If you leave the hospital now, you’re going to die!” He said, “I don’t care if I do!” and came, anyway. Hiroyuki Sanada and I were shocked because director Okamoto, who wasn’t supposed to be at the shoot, suddenly appeared.

He didn’t even know which scene we were shooting, but he arrived and said, “Ready, action!” So we had to redo whatever we had done. That’s how much he poured his life into making movies. Maybe that’s how all movie directors are.

Director Obayashi was the same. I was in his last film, as well, but he came to the shoot every day from the hospital.

Director Obayashi had cancer, and director Kihachi had a stroke or something like that. He also collapsed when he was shooting East Meets West (1995) in the U.S., which starred Mr. Sanada and Naoto Takenaka. The same thing happened during Vengeance for Sale – he collapsed and was hospitalized. But that didn’t stop him from coming to the shoot!

BH: Could you tell us specifically about working with director Okamoto?

TM: Director Okamoto would sit next to the camera. When the actors started acting, he would get very passionate and move forward. He would get so passionate that he eventually came into the frame. We would have to retake the scene, and the cameraman would say, “I’m sorry, director, but could you please move behind the camera?” That happened so many times. That’s how passionate he got! I thought that was wonderful about him. We actors really enjoyed working with him – it didn’t matter that we had to retake the scene.

BH: Do you have any memories of working with actors Hiroyuki Sanada and Tatsuya Nakadai on this movie?

TM: I was in several movies with Mr. Sanada. He’s very athletic. I really enjoyed working with him. At the end of the movie, Mr. Sanada escapes on horseback. They were talking about what he could do when he suddenly rode off and let go of the reins, then rolled onto the back of the horse. I don’t think that was used in the movie, but I thought, “I could never do that!”

Tatsuya Nakadai was always moving. In between takes, he was constantly walking and repeating his lines. He was constantly walking and moving. Only during the actual shoots would he stop moving, and he would be very focused. Other than that, he was always walking.

BH: Is it true that Stanley Kubrick praised your dubbing of Leonard [played by Vincent D’Onofrio] in Full Metal Jacket (1987)? Please tell us about it.

TM: I heard about this, but I don’t think it was about my acting. I think it was more about my voice and how it matched the character’s voice. I’ve never met Stanley Kubrick, and he’s never said anything to me.

BH: I understand you’re friends with Ken Watanabe. How did you become friends, and what can you tell us about Mr. Watanabe?

TM: I’ve worked with Ken since we were young. We first worked on an NHK [taiga] drama series together called Dokuganryu Masamune (1987). Ken played the main character, General Date Masamune. That was the first time he played the main character in an NHK drama series.

I played his vassal [servant], and we hit it off. There were a lot of scenes where we were on horseback, and we had the same horse trainer, so we spent a lot of time together during this [TV series]. That’s how we became friends.

We’re the same age, but Ken is so much more mature than me, and he’s very open-minded. We became very good friends. I don’t see him at all these days, though.

BH: Which was your favorite Godzilla movie to make?

TM: Honestly, my favorite Godzilla movie to make is the one where I’m a pilot [GMK]. I had the honor of being in [Godzilla] 2000 where I was in many more scenes, but what I really wanted to do was come face to face with Godzilla and die. So I was really happy about my role in this movie.

BH: Which is your favorite Godzilla movie of all time?

TM: Actually, my favorite Godzilla movie of all time is the one where Minya, Godzilla’s son, does the shie. It’s the most memorable one for me. Of course, I like the ones I was in, but that’s the most memorable of all the movies I saw when I was a kid. I also liked King Ghidorah, so all the movies he’s in.