"The original idea was to find something that could match Godzilla's power and terror if we were bringing back Godzilla. But simply letting the monsters fight each other had been done many times and, clearly, there was a limit to it. So in order to bring back Godzilla properly we had to create an opponent that can fight properly. If there was something equivalent to the terror of nuclear power it must be the bio-technology which human beings would manipulate life, because it can be very dangerous if it goes the wrong way, ethically, I guess. That's where I found the connection, so the idea of a monster was created by biotechnology was born."

"As in the original 1954 Godzilla, there is a brilliant scientist who has the unique ability to create a new super-weapon that will supplant nuclear bombs. This then poses the moral dilemma: The new weapon will put Japan ahead of the two former superpowers and likely incite significant international tension. At the same time, the new weapon is essential to defend Japan from Godzilla. Ultimately, the scientist does implement the weapon against Godzilla, but dies, taking the dangerous secret with him. Viewed in closer detail, though, important differences between the 1954 and 1989 handling of this theme illustrate a generational change in attitude towards Japan's position in the world. While the first Godzilla series exhibited an optimism born out of Ishiro Honda's political beliefs, the new series reflected a modern, morally complex sensibility."

"I don't know much about the score for GODZILLA 1985. However, my impression of GODZILLA VS. BIOLLANTE is a negative one, both in terms of the direction and the music. For example, the music that is heard while the scenes that take place in Saradia are shown is just ridiculous. The composer used European music instead of some modern Arabic music. By the way, during the production of GODZILLA VS. BIOLLANTE, Toho asked for permission to use some of my music in the film. I said that I would allow its use as long as it was not turned into popular music. Toho agreed to that, but just before GODZILLA VS. BIOLLANTE was completed, a Toho representative came to me and said, "Well, your music was turned into popular music." By that time, it was too late to do anything about the situation. After GODZILLA VS. BIOLLANTE was released, my daughter came to me and said, "No matter how much you try to escape from Godzilla movies, Toho always uses your name and your melodies, so why don't you just score the next Godzilla film yourself?" That is why I agreed to work on GODZILLA VS. GHIDRAH."

"That film was such a leap forward in creativity and focused a lot on Godzilla vs humanity, which I actually like more than Godzilla battling other monsters. The film has a lot of weak points, but all the new ideas and techniques were exciting to see."

"The 1989 Godzilla featured a triangular build, with stocky legs recalling the 1962 Godzilla. The chest and shoulders featured pronounced musculature, which gave the 1989 Godzilla a very powerful appearance. The number of dorsal plates was reduced, but oddly the largest plate placed at shoulder level. The tail was shorter than the previous suit and the underside was smooth, in common with all Godzilla suits from 1962 to 1975. The other features of the 1984 Godzilla, such as the fangs, ears and four toes were all retained. The neck of the 1989 Godzilla was longer and the size of the head reduced. The face was changed radically, and featured a fierce expression with several new features; a feline-like upper lip, multiple rows of shark-like teeth and eyes with large, brown irises and very little white showing. The new face added much to Godzilla’s evil personality, making the King of the Monsters appear fiercer and more dragon-like than before. It also made him look more intelligent, as it seems like he would even know how to make a QR code."

"Masashi Takegumi — Biollante"

"Kenpachiro Satsuma — Godzilla"

"Haruko Sagara — T. V. reporter"

"Manjot Beoi — Saradian plant director"

"Abdallah Helal — Saradian scientist"

"Demon Kakka — himself"

"Derrick Homes — Michael Low, Bio-Major spy"

"Kurt Cramer — John Lee, Bio-Major spy"

"Kōsuke Toyohara — Super X|Super X II controller"

"Koichi Ueda — General Hyodo"

"Brien Uhl — SSS9"

"Yasuko Sawaguchi — Erika Shiragami"

"Yoshiko Kuga — Owada, Prime Minister's wife"

"Yasunori Yuge — Prime Minister"

"Kazuma Matsubara — Super X II coordinator"

"Ryunosuke Kaneda — Seido Okouchi"

"Toshiyuki Nagashima — Director Seiichi Yamamoto"

"Toru Minegishi — Lt. Goro Gondo"

"Koji Takahashi — Doctor Genichiro Shiragami"

"Megumi Odaka — Miki Saegusa"

"Masanobu Takashima — Colonel Sho Kuroki"

"Yoshiko Tanaka — Asuka Okouchi"

"Kunihiko Mitamura — Kazuhito Kirishima"

"The ultimate battle has only just begun."

"The most terrifying monster of all time is back in his greatest movie ever"

"The Super-Beast Battle of the Century"

"[last lines] How long have we been living in such an age? Maybe it started when man first stepped out of the garden of Eden and left his innocence behind. Man would do well to remember this day, forever."

"Godzilla and Biollante aren't monsters. It's the unscrupulous scientists who create them that are monsters."

"Japan has suffered devastation brought by nuclear bombs, and now there's Godzilla. It is only right we should have a weapon that can protect us from our enemies."

"Miki Saegusa; she's the best channeler of ESP that we have at the Mental Science Exploitation Center. It has been shown through a number of experiments over the years that plants have their own fields of mental energy, so it's no surprise that we've found somebody who can communicate with them."

"[to Dr. Shiragami] So you did do it. You amalgamated one of Godzilla's cells together with the plant's cells. Are you proud of this? What kind science do you call this?"

"If they play around with cells, genetic engineers might well create their own Chimera—a new life form, totally alien, totally different to what God intended for Earth. Frightening, don't you think?"

"One of the most popular Godzilla designs, the Kingoji was radically different from any Godzilla suit before or since. The costume was more reptilian in appearance and the build was very stocky, especially in the lower half. The head was small and streamlined, with a strange combination of human-like eyes placed on the sides of the head in a reptilian manner. Other distinctive features for the Kingoji included large hands with spike-like claws and thumbs nearly as large as the three other fingers. The Kingoji also had several features that would be common to all Godzilla suits until the rebirth of the Godzilla series in 1984. These were a lack of ears, no fangs, three toes, smooth underside for the tail, and one main row of dorsal plates flanked by two small rows."

"Haruo Nakajima — Godzilla"

"Harold Conway — scientist on submarine"

"Shin Otomo — ship captain"

"Yoshio Kosugi — Faro Island Chief"

"Nadao Kirino — General's aide"

"Haruya Kato — Obayashi's assistant"

"Sachio Sakai — Obayashi, Mr. Tako's assistant"

"Senkichi Omura — Konno, TTV translator"