Robert Longo: Well, I always had this fantasy that on the 25th anniversary I would try to get some redemption in relation to this film, because making it was really difficult. And I, at one point, thought about re-editing, but then I realized if I just turned it black-and-white that would be the best, easiest thing to do, and the most radical way of kind of imprinting how I really wanted it, because I wanted to make it in black-and-white originally. I wanted it to be like a contemporary version of Alphaville or something like that. Anyway, the movie, by dealing with Hollywood, had gotten out of control. Keanu had just blown up with Speed. Tristar wanted it to be their summer movie. It was kind of crazy. For me, for William, and for Keanu, this is a bit of redemption. They really love this new black-and-white conversion. And it looks like a shitty, million-dollar movie. It has a bit of a grunge to it and an attitude to it, which I think is really great.

When I first heard about the black-and-white version, I thought about the color, which was one of the things that I really liked about the original. But when I saw the black-and-white version, I was like, "Oh, this feels so right." Because it has this kind of a dreamy, 16mm feel to it. It reminds me of Tetsuo and Eraserhead, and all these great, kind of dreamy, black-and-white movies.

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Yeah, exactly. And I love all the video graphic stuff in black-and-white, it seems so great. In hindsight, the color graphics now look all pretty retro, but in black-and-white, it has its own quality to it for sure.

Originally, it was supposed to be a February release. Instead, Johnny Mnemonic opened the same month as Die Hard [with a Vengeance] and Batman [Forever], but it did pretty well in the beginning. It was number four for a while. And then it got trashed by the critics, and I completely understand it, because the Hollywood people just messed with it so much. They tried to pump more money into it because they were making it their summer movie, and they were complete idiots. It was a difficult time, because the guy that was editing the film with me was Ron Sanders, Cronenberg's editor. It had a very different pace to it. And then the studio brought in another editor, and he didn't get it at all. It was a difficult situation. I mean, I'd say half the movie is what I want.

The DP that wanted to shoot the movie for me was a guy named Michael Chapman, who was Scorsese's DP. But the problem was that I couldn't have him do the movie because he wasn't Canadian, because we're shooting the movie in Canada. So, all of a sudden, our DP went from Michael Chapman to some Canadian DP. And the Canadian pool of DPs was quite weak. The one guy I really wanted to do it couldn't do it, and the guy I ended up with was a French guy who at least knew who Godard was. But, I mean, his major film credit was Weekend at Bernie's, so it was really difficult.

You said, and I think you've said this consistently in the past, that you conceived the film in black-and-white. How long did that dream last? I imagine the studio wasn't even going to consider it.

Yeah. Well, there you go. You said it yourself. The evolution of the movie went through so many people. They had already planned in the very beginning to take me off the movie. I mean, the second unit director was promised the movie after the first week of the movie.

So, I got the hi-res footage from the studio, and we graded it into black-and-white. I worked with Cyrus Stowe, who was the colorist on this version. Basically, we went through it scene-by-scene, and he was really great. He's really a very talented guy.

In a lot of the interiors of the color version, there's kind of a smoke machine effect. It's a very hazy movie. And I think the black-and-white sharpens certain visual elements of it, while also giving it this dreamy vibe, which is really neat. Do you see a future in filmmaking at this scale?

Well, I've made a bunch of small arty films that I'm very happy with. I showed one in my gallery last year called Icarus Rising. Making a narrative film is really tough because you have to have a really great script. The problem with our script for Johnny Mnemonic was, the script was fucked with so much. The first couple of drafts were so great, but it was just so fucked-with. And here are these people telling Gibson how to write.

Well, it's been pretty wild. William's been talking about it, too. It's kind of great that people are starting to see the movie that was in the movie. Do you know what I mean? It took a pandemic to change people's minds. It took a crazy-ass president. It was all sorts of things.

"Live and resist in a world of black and white." Toho in Japan has unveiled plans to release a special black & white version of Godzilla: Minus One in theaters in January 2024 in Japan. The studio has dubbed this new version as "Godzilla-1.0/C", meaning Godzilla Minus One/Minus Color. It's a "monochrome video version" that will be playing in theaters - only in Japan for now, but perhaps later in the US. One can hope! Post war Japan is at its lowest point when a new crisis emerges in the form of a giant monster, baptized in the horrific power of the atomic bomb. This epic action sci-fi movie stars Ryunosuke Kamiki, Minami Hamabe, Yuki Yamada, Munetaka Aoki, Hidetaka Yoshioka, Sakura Ando, Kuranosuke Sasaki. This is the latest B&W release of a great action movie, following Mad Max: Fury Road and The Mist, among others. It's actually much more of a throwback to the first 1954 Gojira movie, which was originally in B&W anyway. This is an awesome trailer, properly evoking that classic 1954 feel. This movie rules! Go see it again.

"Set in a post-war Japan, Godzilla Minus 1 will once again show us a Godzilla that is a terrifying and overwhelming force, which you already get a sense of from the teaser trailer and poster," Koji Ueda, President of Toho International, said in a statement. "The concept is that Japan, which had already been devastated by the war, faces a new threat with Godzilla, bringing the country into the 'minus.'" Godzilla Minus One, also known as -1.0 or Gojira Mainasu Wan in Japanese, is both written and directed by the Japanese producer / filmmaker Takashi Yamazaki, director of many films including Space Battleship Yamato, The Fighter Pilot, Stand by Me Doraemon, Parasyte: Part 1 & 2, Destiny: The Tale of Kamakura, Lupin III: The First, Dragon Quest: Your Story, and Ghost Book previously. Filming began in mid-March 2022, taking place in Kant and wrapped in mid-June. Toho first opened Godzilla Minus One in theaters in Japan on November 3rd, 2023, along with a worldwide release starting on December 1st, 2023 earlier this month. This black & white version opens in Japan on January 12th, 2024. For info - visit Toho's site.

Bong Joon-ho's much-lauded Parasite has a black-and-white version, and it's like watching an entirely different movie. In the months since it released, Bong Joon-ho's masterful family drama has been enjoying a lot of success. Parasite swept the 2020 Oscars, including a remarkable Best Picture win; there have been talks of a HBO spin-off series, and the film has received a makeover with a monochromatic edition too. It is, of course, the same movie that picked up plenty of acclaim towards the end of last year. The only difference is that this version has been stripped of its color and the result is like watching a different movie entirely.

Parasite has become the landmark of Bong Joon-ho's career thus far; considering some of his other efforts include Okja and Snowpiercer, it says a lot about how much audiences love his latest. The film recounts the story of the Kims - a poor, disheveled family - as they infiltrate a wealthier household, an impressive mansion belonging to the Park family. A lot of praise was given to Bong Joon-ho's use of social commentary in Parasite, with the narrative acting as a fascinating microcosm for capitalism. But the film was great in so many other regards as well - the performances, the themes, the direction. One of Parasite's most memorable components was its beautiful cinematography and the use of luscious colors to add texture to its story. Naturally, a black-and-white rendition seems baffling at first. However, Bong Joon-ho and cinematographer Hong Kyung-pyo didn't just remove the color from the frames; instead, they carefully regraded the whole film to work with its new monochromatic aesthetic. Despite being the same film, the new colorization changes how audiences will view the South Korean masterpiece.

The black-and-white version of Parasite first premiered at the Rotterdam film festival and has enjoyed some time on the festival circuit since. The film follows in the footsteps of Mad Max: Fury Road and Logan, which both received versions offering an altered color palette after their initial releases. Just like those versions, stripping the color doesn't change the movie itself but, instead, it refines the experience and allows for a different perspective on a story you otherwise wouldn't get with color. The same can be said for the new rendition of Parasite, which offers audiences the chance to view the film in a whole new light.

Parasite in black & white offers a more focused viewing experience of the film. The reason for this is that much of the visual appeal has been stripped away; whilst the framework and shots are still impressively constructed, the lack of color allows viewers to spend less time soaking in the visual appeal and more time focusing on the rich characterization and subliminal writing. This, in turn, offers a more intimate experience with the Kim family. The monochromatic palette adds an intensity to the proceedings that elevates every scene, making their bad conditions feel even worse. It re-enforces the poor quality of life that they have when audiences first meet them tucked into their tiny apartment, with the black-and-white adding to the scuzzy, kitchen sink feeling of the Kim family home. This is because the lack of color forces the viewers to fill in blanks with their minds; seeing four characters cramped into a small, claustrophobic space makes audiences heighten the situation in their minds. 152ee80cbc

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