Bryan Cranston Takes Aim At Godzilla, Elizabeth Olsen Chooses The Big Guy Over Ninja Turtles

From BleedingCool.com

Pending the quality of the finished screenplay, Elizabeth Olsen and Bryan Cranston are considering roles in the new Godzilla. Also waiting to approve the next draft is Aaron Johnson, who would take the lead role. Best information suggests that Johnson will be playing a soldier. It’s likely, but not definite, that Olsen and Cranston would too – there’s apparently a good number of military figures in the picture.

Frank Darabont has been reworking the script of late, and original writer Max Borenstein is apparently also hanging around, keeping things on course. Should the studio like this next iteration, Gareth Edwards will finally get the long awaited, hard earned green light and production can go ahead, as planned, in March.

I saw the proof of concept trailer at Comic-Con last year and it certainly lived up to that title – it proved that the concept was sound. Edwards has just the stuff to make this film feel right, move right, roar right. I hope he also has the script he deserves.

Incidentally, Variety say that Olsen was also being courted for the new Ninja Turtles movie but that’s not happening – at least not while Godzilla stomps on. April O’Neil, I’d suppose?

UPDATE: The Hollywood Reporter add that Cranston’s character is the stepfather of Johnson’s. They also say to expect “plenty” of monsters – more than the three we were already expecting?

Pacific Rim: Man, Machines, and Monsters

From acclaimed filmmaker Guillermo del Toro comes Warner Bros. Pictures' and Legendary Pictures' epic sci-fi action adventure Pacific Rim.

When legions of monstrous creatures, known as Kaiju, started rising from the sea, a war began that would take millions of lives and consume humanity's resources for years. To combat the giant Kaiju, a special weapon was devised: massive robots, called Jaegers, which are piloted by an international crew of soldiers in the Pan Pacific Defense Corps. But even the Jaegers are proving nearly defenseless in the face of the relentless Kaiju. On the verge of defeat, two unlikely heroes—a washed up former pilot and an untested trainee—team up to pilot a legendary but seemingly obsolete Jaeger on a mission to halt the mounting apocalypse.

Pacific Rim: Man, Machines & Monsters chronicles the production of the film with stunning concept art, captivating photography, and cast and crew descriptions of the shoot.

Coming June 11, 2013

Anthology Envisions World With Monsters As Weapons

From Toledofreepress.com

Jeff McGinnis, who had never written more than 1,000 words of fiction in his life, was asked to write 10 times that number for his first attempt at full-length fiction. The challenge, he said, was actually cutting down his drafts.

“When I turned in my first draft, it ended up being 17,000 words,” McGinnis said. “I ended up slimming it down to 13,000 and I sent that in and said, ‘Guys, I’ve cut it down as much as I could without feeling like I’m gutting out massively important parts of the plot, can you tell me where I can cut down some more?’”

McGinnis, Toledo Free Press Star pop culture editor, is one of seven writers who contributed to the science fiction collection “Monster Earth,” recently published by Mechanoid Press.

Toledo Free Press Star columnist Jim Beard, who created the concept, said he has been pushing McGinnis to write long-form fiction for a little over a year, after reading one of McGinnis’ Toledo Free Press Star columns.

The column, McGinnis said, revolved around a fictional universe involving cereal mascots such as the Trix Rabbit and Cocoa Puffs bird meeting up in a dark alley.

“I wrote it as an old-school pulp story about desperation,” McGinnis said. “For me, it’s always a matter of, I do these things because I think they are fun. I think it’s entertaining but I also try to make a point. I ended up doing this thing where these two characters were meeting up and almost immediately I got a comment from Jim saying, ‘You should really flush this out into a full book.’”

Beard said McGinnis’ style of writing was exactly what he wanted in his project.

“In his world of journalism, Jeff was pushing the boundaries; he wanted to do something more than the normal article so he weaved some fiction into it,” he said. “When we looked at all the writers, we wanted them to do that because in that way, we believe ‘Monster Earth’ is pushing the boundaries of what a pulp anthology can be.”

Jeff McGinnis, left, and Jim Beard.

Beard said the book is an alternate history that essentially replaces nuclear warfare with gigantic monsters.

“Some of the big things still happened, but with monsters right beside us,” Beard said. “One of the biggest divergent points in our universe is that we didn’t drop two atomic bombs on Japan; we dropped a giant monster on Japan, which was almost as destructive, and that ended the war.”

Each author wrote a separate narrative taking place between the 1930s and 1980s.

Beard said he has had the idea of combining the pulp style with giant monsters for a long time and after discussing the idea with Mechanoid’s publisher James Palmer, who also wrote one of the stories, the idea grew into the anthology.

“I threw that idea at him, literally that germ of an idea that almost every country on Earth has its own giant monster,” Beard said.

From there, Beard and Palmer began writing the bible, which gave the anthology’s writers an outline for its fictional universe.

Beard’s story, which is the first one, is set in 1937 and revolves around an incident during the Second Sino-Japanese War.

“They invaded and it was over a little incident at this Marco Polo Bridge. All I did was say, ‘OK, the Japanese came over, just like they did in the real world, but they brought a giant monster with them to give them an edge,’” Beard said. “Well what they find, without ruining the story, is the Chinese had a monster of their own but nobody knew this.”

Beard said what makes his story different is that his is told from the perspective of a person recounting the events in the present day during an interview.

“It really reads like an audio recording,” McGinnis said of Beard’s story. “It really has a great feel and it distinguishes itself from the rest of the novels. I think putting it in the front of the book helps give it immediacy from everything else. It drags the reader in right away with a certain type of story and certain type of event.”

While every other story has at least two monsters facing off, McGinnis said he took a “King Kong”-like approach, creating only a single monster in Los Angeles during the 1950s.

McGinnis said he was fascinated with the idea of what a society would be like if monsters were kept around and he wrote of the demise of the City of Angels.

“The thing that really grabbed me was the idea of what type of society would you have in a world where giant monsters existed and were kept in certain areas. What would the effect be on the people who lived around that?” he said. “I loved the idea of a community slowly disintegrating under the weight of a giant monster.”

While each of the stories is about monsters, Beard said they all focus more on human characters affected by the monsters, similar to the original “Godzilla” movies.

“In all the ‘Godzilla’ movies, there’s all the monsters and stuff going on bu there are always human characters and many times they have their own little story going on with the giant monster stuff going on around it,” he said.

McGinnis also pitched and wrote a second story for the “Monster Earth” universe. That tale, told as if it were a magazine article, follows a person who is still searching for the Loch Ness Monster despite being surrounded by other monsters.

“I love the idea of obsession; I’ve always been fascinated by this idea of being obsessed with something even if it’s not there,” he said. “So here’s this guy who is so passionate about something that just doesn’t exist.”

Beard said because the bible had more information than the writers could cover, it opens up the possibilities for new stories to be written in this universe, dealing with some topics such as space exploration.

McGinnis said each of the stories, while circulating around destruction, also features “the essential hope.”

“There is a fatalism about what is happening, but there is also a potential for hope. In each one, there’s a lot said about the conflicts at that point,” he said.

Jim Beard, Jeff McGinnis and cover illustrator Eric Johns will appear at a book signing for “Monster Earth” at 2 p.m. Feb. 16 at Monarch Cards & Comics, 4400 Heatherdowns Blvd.

Japanese Education

Far East Meets Old West In Monstrous 'Pacific Rim'

From USAToday

When the monsters attack in director Guillermo del Toro's Pacific Rim, they'll bring an Old West swagger to the Far East setting.

Yet it's the entire globe in peril in del Toro's sci-fi action-adventure (out July 12), which pits 25-foot-tall man-made robots against equally sizable creatures that rise from an inter-dimensional rift in the Pacific Ocean, threatening all of humanity.

Del Toro is halfway through finishing the special effects but Pacific Rim is already "the only movie I've done where I don't want it to end, frankly," says the filmmaker (Hellboy, Pan's Labyrinth), who co-wrote the screenplay with Travis Beacham. And it won't have to end for now: They're already working on a sequel, he says.

The director's monsters are called Kaiju, a Japanese word that translates to "strange beast." They're a homage to the destructive stars of Asian films and TV shows that del Toro watched as a kid in Mexico, such as Godzilla, Gamera, Ultraman and Frankenstein Conquers the World, which featured the fire-breathing Baragon.

"I grew up with a steady kaiju diet," the director recalls.

There's more than just that anomaly in the future world of Pacific Rim, del Toro says. "It's really creating a world that's been shaped by two anomalies: the giant monsters and the giant robots we create to fight them."

Del Toro put a spin on the humans and their robots, called Jaegers, that reflects Westerns as a key inspiration.

Raleigh Becket (Charlie Hunnam) and other Jaeger pilots are deemed "riders," and when they move in the suits to put their machines in motion, "we made it a point to put the sound of spurs like a cowboy," del Toro says.

The Jaeger station is "basically the Alamo," del Toro says, and there are rangers and marshals within it — most notably Marshal Stacker Pentecost, a spiritual, moral leader played by Idris Elba. "He's not playing second banana. He's at the center of the conflict. He's the only guy who cannot give up."

The director likens the faceoffs between Jaegers and Kaiju to a pair of gunfighters in a duel — although the monsters come packing more than just a six-shooter. One of them shoots corrosive lava out of his mouth.

While it's sometimes hard to choose "because they are like my children," del Toro's favorite Kaiju outlaw is a massive, muscular, brawling battering ram of a creature he lovingly refers to as Leatherback.

"I find him very, very endearing. He has a big belly so I identify with him," del Toro says with a laugh. "He's no doubt my main man."

From CosmicBookNews.com 

The director of Looper, Rian Johnson, got an early peek at Guillermo Del Toro's upcoming robot monster invasion science-fiction flick, Pacific Rim.

The movie sees humanity under attack by giant monsters known as the Kaiju, with mankind creating in response mechs known as Jaegers to defend themselves.

Johnson let loose a couple tweets offering his enthusiasm.

Go into Pacific Rim prepared to be transmogrified into a 12 year old. And then to pee your pants with joy. I love it so much.

Pacific Rim isn't totally finished as some visual effects need to be completed, but from what Rian Johnson saw, it definitely looks good.

FX aren't done yet, but the ones that are are gorgeous.

Guillermo Del Toro recently let known a bunch of details surrounding the movie in a commentary surrounding the recent Pacific Rim trailer, of which included the Kaiju's decomposing bodies melt cities and we'll get a peek at the portal from which they came.

Pacific Rim opens July 12th, 2013, directed by Guillermo Del Toro, starring Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day, and Ron Perlman.

Johnny Sokko And His Flying Robot: The Complete Series

“Robot, attack! Robot, destroy!” These commands launched a thousand sci-fi fantasies for budding fans of the genre, just as they brought Johnny Sokko’s Giant Robot into imminent battle action! Under the voice control of young Johnny Sokko, the massive, flying metal behemoth would bring his fiery breath, laser eyes, finger-launched missiles and, above all, his physical strength into battle with countless menacing monsters bent on destroying the Earth!

This epic fantasy series from Toei Studios aired from 1967 – 1968 and garnered even more fans in after-school reruns throughout the 70s. Collected here for the first time on DVD are all 26 episodes of explosive kaiju battles, nefarious alien takeover plots and mind-blowing heroics from jet-packed Johnny Sokko and his equally airborne friend and protector: Giant Robot!

Coming March 26 from Shout Factory.

CREATURE FEATURE : Mothra

Mothra (モスラ Mosura) is a kaiju, a type of fictional monster who first appeared in the serialized novel The Luminous Fairies and Mothra by Takehiko Fukunaga, Shinichiro Nakamura, and Yoshie Hotta. Since her film début in the 1961 film Mothra, she has appeared in several Toho tokusatsu films.
Generally regarded as female by English-speaking audiences, she is a giant lepidopteran with characteristics both of butterflies and of moths. She closely resembles an Inachis io, or a European Peacock Butterfly. The name "Mothra" is the suffixation of "-ra" (a common last syllable in kaiju names, viz. Hedo-ra, Ghido-ra, Ebi-ra, Goji-ra(Godzilla)) to "moth"; since the Japanese language does not have dental fricatives, it is approximated "Mosura" in Japanese. In the American dubbing of Mothra vs. Godzilla, Mothra is also referred to as: "The Thing". She is occasionally an ally to Godzilla but more often than not engaged in conflict due to his anger toward the human race. Mothra holds the most victories against the "King of Monsters." Mothra has never defeated Godzilla on her own, however. In each of these victories, Mothra had an ally; its own twin in Mothra vs Godzilla, Battra in Godzilla and Mothra: The Battle for Earth, and Mechagodzilla in Godzilla: Tokyo S.O.S..

Character overview
Film have depicted Mothra in various stages of the lepidopteran life cycle: Mothra's mammoth egg is brightly colored in blue and yellow waves. The egg hatches into her larva, a massive brown, segmented caterpillar (resembling a silkworm) with glowing blue—red when angry—eyes. In rare circumstances, twins may emerge from the egg. The caterpillar eventually spins a silken cocoon around itself (the pupa stage), and from this cocoon the imago (adult) Mothra emerges, a gigantic moth-like creature with brightly colored wings. Mothra's life cycle—particularly the tendency of an imago's death to coincide with its larvae hatching—echoes that of the Phoenix, resembling resurrection and suggesting divinity. Despite having wrought destruction worthy of any Toho daikaiju, she is almost always portrayed as a kind and benevolent creature, causing destruction only when acting as protector to her worshipers on Infant Island or to her egg, or as collateral damage while protecting Earth from a greater threat. She has also fertilized her own eggs.
Mothra has proven a formidable adversary in combat: in larval form she may use her silken spray to wrap and immobilize an opponent, and has a knack for biting and clinging to foes' tails. In imago form her powers vary widely from film to film, including very animalistic scratching and dragging, incorporating several bolt and beam weapons in the Heisei era, and often concluding with a poisonous yellow powder (or "scales") —her last defense. Also, Mothra is given a short origin story in the Heisei series, with the Cosmos explaining that Mothra is a genetically engineered creation of the Cosmos made from fusing the remaining life energy of their race with a common lepidoptera.

Mothra is one of the most powerful psychics in the Toho universe. She has had the ability to use this power benevolently, to communicate with humans, or aggressively, to destroy her enemies. As suggested earlier, Mothra is assumed to be divine and draws many parallels to the Phoenix, which makes her one of the more powerful kaiju of the Toho universe.
Mothra has become one of Godzilla's more challenging opponents, having achieved the greatest success rate in battle save Godzilla himself: She has once rid of Godzilla in imago form, and twice Godzilla has fought her to the death only later to be bested by her newborn larvae. Mothra has never beaten Godzilla alone (in her Imago Form). Godzilla was defeated by Mothra twin-larvae in Godzilla vs. Mothra in the Showa Era, Imago Mothra and Imago Battra in Godzilla and Mothra: The Battle for Earth in the Heisei series, and the twin-larvae and Kiryu (MechaGodzilla) in the Millennium Series.
Mothra is the only kaiju other than Godzilla, Junior, and Mecha-King Ghidorah to appear in more than one Heisei Godzilla movie as she appears in Godzilla vs. Spacegodzilla when she sends her Cosmos and Fairy Mothras to help out Miki. In the Heisei Era (1984–1995), Mothra gained her own series of films dubbed in America as the Rebirth of Mothra series (Rebirth of Mothra, Rebirth of Mothra II, and Rebirth of Mothra III). In Japan, the series is simply called the "Mothra Series"(Mothra, Mothra 2: Adventure Under the Sea, and Mothra 3: Attack of Grand King Ghidorah). These series are not connected to the Showa, Heisei or Millennium Godzilla movies and are standalone films aiming towards children. The movies start off as the last Mothra puts the last of her energy into a new egg. From this egg hatches Mothra Leo.
Mothra Leo is supposedly, and regarded as, male, as opposed to the pure female Mothras before (though the English dubbing is inconsistent, going back and forth between "she/her" to "he/him", even "it", and therefore its gender is left ambiguous). It also has "ever-increasing energy" which allows it to absorb energy from other sources to become stronger. The 10,000 year-old tree in Rebirth of Mothra allowed Mothra Leo to change into its imago form as "Mothra Leo", thought to be the most powerful Mothra of all time. Mothra Leo gains several forms throughout the Rebirth trilogy, such as Rainbow Mothra, Aqua Mothra, Light Speed Mothra, Armor Mothra, and Eternal Mothra.

In this series Mothra battled three opponents: Death Ghidorah, a flora-destroying horned beast with three heads; Dagahra, a toxic dragon-like sea creature; and finally Cretaceous King Ghidorah/Grand King Ghidorah, who comes back to Earth to feed of the life force of Japan's children.
In Godzilla Final Wars, Mothra once protected the world in ancient times from the space monster Gigan (this scenario echoes from the Heisei series of Godzilla films where Mothra was portrayed as an ancient defender of the earth and battle Battra, there are also similar cave-drawings of these two events). After being summoned by her Shobijin to help the Earth in a 21st century assault, Mothra flew over Tokyo to aid Godzilla in a battle against Monster X. The Xilien wouldn't let that happen, though, and they sent an improved Gigan to stop Mothra. Mothra is quickly dispatched by Gigan. Mothra quickly recovers and attacks Gigan and Monster X. Gigan resumes his battle with Mothra, using its laser vision beam, turning Mothra to a wall of fire. As a final effort, a burning Mothra flies towards Gigan, and both kaiju are destroyed in a kamakaze attack by the lepidopteran deity. Mothra does survive and she returns to Infant Island at the ending credits. This is the first time imago Mothra returns home directly after a battle involving Godzilla, excluding her brief appearances in Godzilla vs. the Sea Monster.
Unlike the majority of other Toho daikaiju, which are usually performed by stunt actors in a large costume, Mothra has always been operated mechanically as a wire controlled marionette, remote controlled robotic prop, or a combination of the two. Her characteristic chirp was created by speeding up the roar of Anguirus from Godzilla Raids Again. Mothra is known for her habit of dying somehow in many of the movies she has appeared in.

Popularity
Toho had intended to follow 1989's Godzilla vs. Biollante with a revival of Mothra in her own spin-off film, Mothra vs. Bagan, for 1990 release. However, following the disappointing box office performance of Biollante, Toho discarded the project in favor of another Godzilla film, Godzilla vs. King Ghidorah (1991). A 1992 survey revealed that Mothra was Toho's most popular daikaiju among women, an observation which inspired Toho to again revise its plans, abandoning a proposed sequel to King Ghidorah in favor of a Godzilla/Mothra feature. Following the end of the Heisei Godzilla series, Toho produced a trilogy of Mothra films, known in the U.S. as Rebirth of Mothra (1996–1998). Mothra thus became the first Toho daikaiju to lead its own film(s) after its incorporation into the Godzilla franchise.

Abilities
As a larva, Mothra sprays her opponents with silk as a ranged attack (to entrap or disorient an enemy). She also uses her mandibles for a close combat bite. (Mothra has a habit of biting opponents' tails, although it is rarely effective and, predictably, is usually self-defeating.) As an adult, her wings can (and generally do) create gales which tear apart buildings and send other kaiju flying. Her great bulk of a body is commonly used to her advantage in battle to slam into opponents (both in larva and adult form), and her surprising levels of strength can help her to drag and even lift monsters like Godzilla. Her final strategy is to emit "scales", a yellow poisonous powder that can hopefully asphyxiate an enemy. She only uses that attack when she knows she is going to die, though, because the extreme loss of scales will cause her to lose her flight.
The Heisei version of Mothra had some differences. She could now fire a beam of energy from her antennae, and fire arcs of lightning from her wings, or keep it in her body to release to another through touch. The powder now had a different effect; It would act as a 3-D mirror to trap energy blasts, making them rebound over whatever was inside the cloud of powder over and over again. This proved very effective in turning Godzilla's own atomic breath against him. Godzilla's Nuclear Pulse wasn't reflected by her mirror and she was thrown back, possibly because her mirror can't reflect energy attacks if it is able to pass around her mirror.
In the Mothra Trilogy, Mothra displayed a wide use of energy-projection abilities; ranging from triple prismatic beams from her forehead, to energized tackles, to her Sun Strike Buster, a very potent attack that comes from the sky like a sacred lightning bolt. Mothra Leo, her offspring and successor, shared her energy powers and also possessed the ability to gain alternate forms as a means of adapting to his opponent's fighting styles.
In GMK Mothra was able to shoot poison darts from her abdomen but she lacked both her hurricane force winds and her poison powder. In both Tokyo SOS and Final Wars, Mothra's powder was able to redirect both energy and physical projectiles back to their original senders.

Mothra's Fairies (Shōbijin, Cosmos, and Elias)
Mothra is usually accompanied by two tiny priestesses or fairies, often called the shōbijin (小美人, "small beauties"), who also speak for her. For Mothra's first three film appearances these twin fairies were played by the Peanuts. In Mothra they demonstrate telepathic ability, within speaking range with people and over great distances with Mothra. They explain that while they call to Mothra in prayer and song, they and Mothra are also connected on some deeper level beyond their control, and it is this connection that impels Mothra to find them no matter where they are. These qualities are part of the continuity of all subsequent Mothra appearances. In Mothra vs. Godzilla the Shobijin also demonstrate teleportation, when trying to escape from Kumayama and Torahata. In Ghidorah, the Three-Headed Monster the girls translate not only Mothra's chirps but an entire conversation among three daikaiju. Decades later, in Godzilla: Tokyo SOS, two other shobijin (portrayed by Masami Nagasawa and Chihiro Ôtsuka) demonstrate telekinesis as well.
In the Godzilla films of the 1990s Mothra's priestesses (played by Keiko Imamura and Sayaka Osawa) identify themselves as Earth's Cosmos, who claim to have been created by the very life force of Earth, along with Mothra and Battra—a "Black Mothra" (as described in Godzilla and Mothra: The Battle for Earth) or "Battle Mothra" (as described in the Super Godzilla video game manual). The Cosmos speak not only for Battra and Mothra, but for the living Earth as well. The Cosmos say that Battra was first created by the Earth to balance the ecosystem, which was disrupted by the climate-altering device of an advanced civilization, 12,000 years ago. However, Battra proved to be a little too enthusiastic about its task, and not only destroyed the things of man, but of the natural order as well. The first Mothra was then created to restore the true balance, and stop Battra's rampage. The Cosmos revere both Mothra and Battra as two different divine forces of nature. They act concerned when Battra is injured, and are pleased when Mothra finds a nonviolent method of stopping Battra, "making friends", as they say in the film. They know when Battra has awoken, and what his tasks and motivations are, but Battra does not appear motivated to seek them out, unlike Mothra, who seems compelled to protect them, and talks to them directly.
In the Rebirth of Mothra trilogy, made in the late 1990s, Mothra's priestesses were the Elias; the Elias differ from earlier incarnations in that they are not mindlinked twins but individual persons, Moll (or Moru or Mona) and Lora. They are also seen to have an older sister, a dark Elias called Belvera. In addition to accompanying Mothra, the Elias would also ride smaller offspring called Fairy Mothras. Mothra would reprise the role of ancient guardian, though with only a passing homage to the Cosmos, (who were the twins from Gamera 3: Awakening of Irys) in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack.

Mothra's songs
The fairies' famous song "Mosura No Uta" ("Mothra's Song") was written in Indonesian, though the Shobijin often sing Japanese approximations to the original lyrics.[7] The song was composed by Yuji Koseki. Other verses and entirely new songs (in Japanese) have been added by various composers over Mothra's film history. The Shobijin have also been portrayed by Pair Bambi (Godzilla vs. the Sea Monster) and Megumi Kobayashi and Sayako Yamaguchi (the Mothra Trilogy).
There are many other Mothra songs that have been used over the years all the way from the Showa series to the Millennium series:
"Mahara Mothra" - Godzilla vs. Mothra (1964), Godzilla and Mothra: The Battle for Earth (1992)
"Sacred Springs" - Godzilla vs. Mothra (1964), Godzilla and Mothra: The Battle for Earth (1992)
"Mothra's Song" - Godzilla vs. the Sea Monster (1966)
"The Song of Prayer" - Rebirth of Mothra (1996)
"Mothra Leo" - Rebirth of Mothra (1996)
"Haora Mothra" - Rebirth of Mothra 3 (1998)
Outside of Kaiju Films, the Mothra Songs have received a lot of popular acclaim and have been performed by many musical groups as well as individual artists.
Covers by musical groups:
"Mothra Song " – Deja Vu
"Mothra Song" – All-Male Japanese Choir
Broadway: Mothra is given mention in the song "Two by Two" in the musical Book of Mormon. Two characters are assigned their mission in Japan, and they exclaim "Japan...Home of soy sauce..and Mothra!"
Heavy metal band Anvil has a song about Mothra on their 1982 album Metal on Metal.
Canadian artist C.J. Harder has a song called Mothra, a track of his Fear Of A Digital Planet album. The song has recurring child vocals, singing Mosura No Uta.

Mothra's character and personality
Mothra's character/personality has developed substantially over the years. For instance, when she appeared in her first movie, she only protected her own people on Infant Island and did not care for the entire world like the later Heisei and Rebirth versions did. In the Heisei Era, Mothra became the environmental savior as well as the human savior of the Earth—which means that she was the guardian of the planet as stated by the Cosmos in Godzilla and Mothra: The Battle for Earth. In the Shinsei series though, Mothra reverted back to her original self as she was in the Showa series. Mothra is an unusual kaiju (in the Toho universe—Gamera fulfills this role in his own long-running series) in that she battles on behalf of the betterment of the Earth, and for years has continued to establish that pureness of heart in her character. In the trilogy, Mothra even sacrificed her own life for the sake of other guardian monsters.

Film appearances
Mothra (1961)
Godzilla vs. Mothra (1964)
Ghidorah, the Three-Headed Monster (1964)
Godzilla vs. the Sea Monster (1966)
Destroy All Monsters (1968)
Godzilla vs. Gigan (1972) (stock footage)
Godzilla and Mothra: The Battle for Earth (1992)
Monster Planet Of Godzilla (1994)
Godzilla vs. SpaceGodzilla (1994) (also as "Fairy Mothra")
Rebirth of Mothra (1996) (also as "Mothra Leo")
Godzilla Island (1997)
Rebirth of Mothra II (1997) (as "Mothra Leo", "Rainbow Mothra", and "Aqua Mothra")
Rebirth of Mothra III (1998) (as "Rainbow Mothra", "Light Speed Mothra", "Armor Mothra", and "Eternal Mothra")
Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001)
Godzilla Against Mechagodzilla (2002) (stock footage)
Godzilla: Tokyo S.O.S. (2003)
Godzilla: Final Wars (2004)

SATURDAY SHOWCASE : Godzilla And Gamera

Bonus King Kong and Godzilla have some fun.