[Script Info]
Title: Godzilla 1977
ScriptType: v4.00+
Collisions: Normal
PlayResX: 1920
PlayResY: 1080

[V4+ Styles]
Format: Name, Fontname, Fontsize, PrimaryColour, SecondaryColour, OutlineColour, BackColour, Bold, Italic, Underline, StrikeOut, ScaleX, ScaleY, Spacing, Angle, BorderStyle, Outline, Shadow, Alignment, MarginL, MarginR, MarginV, Encoding
Style: Default,Arial,30,&H00FFFFFF,&H000000FF,&H00000000,&H80000000,-1,0,0,0,100,100,0,0,1,2,0,2,10,10,10,1

[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:01:25.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}Anyone else getting audio\Nstuttering on @miru ?\N\N
Dialogue: 0,0:01:25.00,0:01:52.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Perry Mason vs Godzilla\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}Anyone else getting audio\Nstuttering on @miru ?\N\N
Dialogue: 0,0:01:52.00,0:02:46.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}Here for and how about\Nsomebody just let me know\Nwhen the strobing stops\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Perry Mason vs Godzilla\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}Anyone else getting audio\Nstuttering on @miru ?\N\N
Dialogue: 0,0:02:46.00,0:04:36.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}oompa oompa oompa oompa\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}Here for and how about\Nsomebody just let me know\Nwhen the strobing stops\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Perry Mason vs Godzilla\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}Anyone else getting audio\Nstuttering on @miru ?\N\N
Dialogue: 0,0:04:36.00,0:04:44.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@ryan @miru Thanks, wasn't\Nsure if it was me or\Nsomething else.BTW the Miru\Nstream was very good for me\Ntonight, I watched it instead\Nof Plex\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}oompa oompa oompa oompa\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}Here for and how about\Nsomebody just let me know\Nwhen the strobing stops\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Perry Mason vs Godzilla\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}Anyone else getting audio\Nstuttering on @miru ?\N\N
Dialogue: 0,0:04:44.00,0:06:12.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I am using as the double\Nfeature hashtag and nobody\Ncan stop me\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@ryan @miru Thanks, wasn't\Nsure if it was me or\Nsomething else.BTW the Miru\Nstream was very good for me\Ntonight, I watched it instead\Nof Plex\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}oompa oompa oompa oompa\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}Here for and how about\Nsomebody just let me know\Nwhen the strobing stops\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Perry Mason vs Godzilla\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}Anyone else getting audio\Nstuttering on @miru ?\N\N
Dialogue: 0,0:06:12.00,0:06:35.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFFC5E7&}Ysengrin Blackpaw  AnthrOhio\N{\c&HFFFFFF&}Well, I'll leave y'all to\Nenjoy the movie :)\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I am using as the double\Nfeature hashtag and nobody\Ncan stop me\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@ryan @miru Thanks, wasn't\Nsure if it was me or\Nsomething else.BTW the Miru\Nstream was very good for me\Ntonight, I watched it instead\Nof Plex\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}oompa oompa oompa oompa\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}Here for and how about\Nsomebody just let me know\Nwhen the strobing stops\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Perry Mason vs Godzilla\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}Anyone else getting audio\Nstuttering on @miru ?\N\N
Dialogue: 0,0:06:35.00,0:06:50.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona What have you got\Nagainst ?!?!\N\N{\c&HFFC5E7&}Ysengrin Blackpaw  AnthrOhio\N{\c&HFFFFFF&}Well, I'll leave y'all to\Nenjoy the movie :)\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I am using as the double\Nfeature hashtag and nobody\Ncan stop me\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@ryan @miru Thanks, wasn't\Nsure if it was me or\Nsomething else.BTW the Miru\Nstream was very good for me\Ntonight, I watched it instead\Nof Plex\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}oompa oompa oompa oompa\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}Here for and how about\Nsomebody just let me know\Nwhen the strobing stops\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Perry Mason vs Godzilla\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}Anyone else getting audio\Nstuttering on @miru ?\N\N
Dialogue: 0,0:06:50.00,0:06:55.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}I'm so confused is this the\Nmovie or a preroll or what\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona What have you got\Nagainst ?!?!\N\N{\c&HFFC5E7&}Ysengrin Blackpaw  AnthrOhio\N{\c&HFFFFFF&}Well, I'll leave y'all to\Nenjoy the movie :)\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I am using as the double\Nfeature hashtag and nobody\Ncan stop me\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@ryan @miru Thanks, wasn't\Nsure if it was me or\Nsomething else.BTW the Miru\Nstream was very good for me\Ntonight, I watched it instead\Nof Plex\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}oompa oompa oompa oompa\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}Here for and how about\Nsomebody just let me know\Nwhen the strobing stops\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Perry Mason vs Godzilla\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}Anyone else getting audio\Nstuttering on @miru ?\N\N
Dialogue: 0,0:06:55.00,0:07:10.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}This synth track is actually\Nreally cool\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}I'm so confused is this the\Nmovie or a preroll or what\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona What have you got\Nagainst ?!?!\N\N{\c&HFFC5E7&}Ysengrin Blackpaw  AnthrOhio\N{\c&HFFFFFF&}Well, I'll leave y'all to\Nenjoy the movie :)\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I am using as the double\Nfeature hashtag and nobody\Ncan stop me\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@ryan @miru Thanks, wasn't\Nsure if it was me or\Nsomething else.BTW the Miru\Nstream was very good for me\Ntonight, I watched it instead\Nof Plex\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}oompa oompa oompa oompa\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}Here for and how about\Nsomebody just let me know\Nwhen the strobing stops\N\N
Dialogue: 0,0:07:10.00,0:08:11.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This opening is like the\Nequivalent of 10 minutes of\Nnarration, except that,\Ny'know, you don't have any\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}This synth track is actually\Nreally cool\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}I'm so confused is this the\Nmovie or a preroll or what\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona What have you got\Nagainst ?!?!\N\N{\c&HFFC5E7&}Ysengrin Blackpaw  AnthrOhio\N{\c&HFFFFFF&}Well, I'll leave y'all to\Nenjoy the movie :)\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I am using as the double\Nfeature hashtag and nobody\Ncan stop me\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@ryan @miru Thanks, wasn't\Nsure if it was me or\Nsomething else.BTW the Miru\Nstream was very good for me\Ntonight, I watched it instead\Nof Plex\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}oompa oompa oompa oompa\N\N
Dialogue: 0,0:08:11.00,0:09:00.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So, is this foreshadowing?\NDoes Godzilla get defeated by\Nclouds of cyanide gas this\Nmovie?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This opening is like the\Nequivalent of 10 minutes of\Nnarration, except that,\Ny'know, you don't have any\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}This synth track is actually\Nreally cool\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}I'm so confused is this the\Nmovie or a preroll or what\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona What have you got\Nagainst ?!?!\N\N{\c&HFFC5E7&}Ysengrin Blackpaw  AnthrOhio\N{\c&HFFFFFF&}Well, I'll leave y'all to\Nenjoy the movie :)\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I am using as the double\Nfeature hashtag and nobody\Ncan stop me\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@ryan @miru Thanks, wasn't\Nsure if it was me or\Nsomething else.BTW the Miru\Nstream was very good for me\Ntonight, I watched it instead\Nof Plex\N\N
Dialogue: 0,0:09:00.00,0:09:20.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H475289&}[empty]\N{\c&HFFFFFF&}Excessive credits, no?\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So, is this foreshadowing?\NDoes Godzilla get defeated by\Nclouds of cyanide gas this\Nmovie?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This opening is like the\Nequivalent of 10 minutes of\Nnarration, except that,\Ny'know, you don't have any\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}This synth track is actually\Nreally cool\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}I'm so confused is this the\Nmovie or a preroll or what\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona What have you got\Nagainst ?!?!\N\N{\c&HFFC5E7&}Ysengrin Blackpaw  AnthrOhio\N{\c&HFFFFFF&}Well, I'll leave y'all to\Nenjoy the movie :)\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I am using as the double\Nfeature hashtag and nobody\Ncan stop me\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@ryan @miru Thanks, wasn't\Nsure if it was me or\Nsomething else.BTW the Miru\Nstream was very good for me\Ntonight, I watched it instead\Nof Plex\N\N
Dialogue: 0,0:09:20.00,0:09:41.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H90C8C2&}bunnyhero\N{\c&HFFFFFF&}wish i could stay up for the\Nunofficial because i've\Nwanted to see this for some\Ntime! i might catch the first\Nfew minutes though\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}Excessive credits, no?\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So, is this foreshadowing?\NDoes Godzilla get defeated by\Nclouds of cyanide gas this\Nmovie?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This opening is like the\Nequivalent of 10 minutes of\Nnarration, except that,\Ny'know, you don't have any\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}This synth track is actually\Nreally cool\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}I'm so confused is this the\Nmovie or a preroll or what\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona What have you got\Nagainst ?!?!\N\N{\c&HFFC5E7&}Ysengrin Blackpaw  AnthrOhio\N{\c&HFFFFFF&}Well, I'll leave y'all to\Nenjoy the movie :)\N\N
Dialogue: 0,0:09:41.00,0:09:55.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@allanb Hmm now where have we\Nseen that before\N\N{\c&H90C8C2&}bunnyhero\N{\c&HFFFFFF&}wish i could stay up for the\Nunofficial because i've\Nwanted to see this for some\Ntime! i might catch the first\Nfew minutes though\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}Excessive credits, no?\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So, is this foreshadowing?\NDoes Godzilla get defeated by\Nclouds of cyanide gas this\Nmovie?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This opening is like the\Nequivalent of 10 minutes of\Nnarration, except that,\Ny'know, you don't have any\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}This synth track is actually\Nreally cool\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}I'm so confused is this the\Nmovie or a preroll or what\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona What have you got\Nagainst ?!?!\N\N
Dialogue: 0,0:09:55.00,0:10:15.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@klu9 wait is that its\Nofficial title or something?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@allanb Hmm now where have we\Nseen that before\N\N{\c&H90C8C2&}bunnyhero\N{\c&HFFFFFF&}wish i could stay up for the\Nunofficial because i've\Nwanted to see this for some\Ntime! i might catch the first\Nfew minutes though\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}Excessive credits, no?\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So, is this foreshadowing?\NDoes Godzilla get defeated by\Nclouds of cyanide gas this\Nmovie?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This opening is like the\Nequivalent of 10 minutes of\Nnarration, except that,\Ny'know, you don't have any\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}This synth track is actually\Nreally cool\N\N{\c&H8EE3C4&}starkraving666\N{\c&HFFFFFF&}I'm so confused is this the\Nmovie or a preroll or what\N\N
Dialogue: 0,0:10:15.00,0:10:51.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H475289&}[empty]\N{\c&HFFFFFF&}@diazona Not our first rodeo\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@klu9 wait is that its\Nofficial title or something?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@allanb Hmm now where have we\Nseen that before\N\N{\c&H90C8C2&}bunnyhero\N{\c&HFFFFFF&}wish i could stay up for the\Nunofficial because i've\Nwanted to see this for some\Ntime! i might catch the first\Nfew minutes though\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}Excessive credits, no?\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So, is this foreshadowing?\NDoes Godzilla get defeated by\Nclouds of cyanide gas this\Nmovie?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This opening is like the\Nequivalent of 10 minutes of\Nnarration, except that,\Ny'know, you don't have any\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}This synth track is actually\Nreally cool\N\N
Dialogue: 0,0:10:51.00,0:11:04.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Our protagonist is the\Nsinger of "King Tut"?\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@diazona Not our first rodeo\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@klu9 wait is that its\Nofficial title or something?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@allanb Hmm now where have we\Nseen that before\N\N{\c&H90C8C2&}bunnyhero\N{\c&HFFFFFF&}wish i could stay up for the\Nunofficial because i've\Nwanted to see this for some\Ntime! i might catch the first\Nfew minutes though\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}Excessive credits, no?\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So, is this foreshadowing?\NDoes Godzilla get defeated by\Nclouds of cyanide gas this\Nmovie?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This opening is like the\Nequivalent of 10 minutes of\Nnarration, except that,\Ny'know, you don't have any\N\N
Dialogue: 0,0:11:04.00,0:11:21.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb Apparently, cinema\Nchains in Italy in the 70s\Nwouldn't accept any feature\Nfilm under 90 minutes or\Nblack & white, so Cozzi had\Nto colourize it & pad it out\N(original Godzilla was 80\Nminutes).He ended up padding\Nit out to 105 minutes\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Our protagonist is the\Nsinger of "King Tut"?\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@diazona Not our first rodeo\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@klu9 wait is that its\Nofficial title or something?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@allanb Hmm now where have we\Nseen that before\N\N{\c&H90C8C2&}bunnyhero\N{\c&HFFFFFF&}wish i could stay up for the\Nunofficial because i've\Nwanted to see this for some\Ntime! i might catch the first\Nfew minutes though\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}Excessive credits, no?\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So, is this foreshadowing?\NDoes Godzilla get defeated by\Nclouds of cyanide gas this\Nmovie?\N\N
Dialogue: 0,0:11:21.00,0:11:27.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Luigi Cozzi making GODZILLA\N(1977): nobody ever gonna\Nforget the name of Luigi\NCozzi. oh! I'm gonna make a\Nmovie about itwell, you're\Nnot wrong pal, people *are*\Ngoing to remember this work\Nyou're about to excrete onto\Nthe market\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb Apparently, cinema\Nchains in Italy in the 70s\Nwouldn't accept any feature\Nfilm under 90 minutes or\Nblack & white, so Cozzi had\Nto colourize it & pad it out\N(original Godzilla was 80\Nminutes).He ended up padding\Nit out to 105 minutes\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Our protagonist is the\Nsinger of "King Tut"?\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@diazona Not our first rodeo\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@klu9 wait is that its\Nofficial title or something?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@allanb Hmm now where have we\Nseen that before\N\N
Dialogue: 0,0:11:27.00,0:11:34.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Leave the color on? Or turn\Nthe saturation all the way\Ndown so it’s black and\Nwhite?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Luigi Cozzi making GODZILLA\N(1977): nobody ever gonna\Nforget the name of Luigi\NCozzi. oh! I'm gonna make a\Nmovie about itwell, you're\Nnot wrong pal, people *are*\Ngoing to remember this work\Nyou're about to excrete onto\Nthe market\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb Apparently, cinema\Nchains in Italy in the 70s\Nwouldn't accept any feature\Nfilm under 90 minutes or\Nblack & white, so Cozzi had\Nto colourize it & pad it out\N(original Godzilla was 80\Nminutes).He ended up padding\Nit out to 105 minutes\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Our protagonist is the\Nsinger of "King Tut"?\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@diazona Not our first rodeo\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@klu9 wait is that its\Nofficial title or something?\N\N
Dialogue: 0,0:11:34.00,0:12:20.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H475289&}[empty]\N{\c&HFFFFFF&}This first Godzilla is so\Ndepressing\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Leave the color on? Or turn\Nthe saturation all the way\Ndown so it’s black and\Nwhite?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Luigi Cozzi making GODZILLA\N(1977): nobody ever gonna\Nforget the name of Luigi\NCozzi. oh! I'm gonna make a\Nmovie about itwell, you're\Nnot wrong pal, people *are*\Ngoing to remember this work\Nyou're about to excrete onto\Nthe market\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb Apparently, cinema\Nchains in Italy in the 70s\Nwouldn't accept any feature\Nfilm under 90 minutes or\Nblack & white, so Cozzi had\Nto colourize it & pad it out\N(original Godzilla was 80\Nminutes).He ended up padding\Nit out to 105 minutes\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Our protagonist is the\Nsinger of "King Tut"?\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@diazona Not our first rodeo\N\N
Dialogue: 0,0:12:20.00,0:12:54.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Luigi Cozzi made his Godzilla\Nversion under the COZZILLA\Ns.r.l. production company.\NHeh.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}This first Godzilla is so\Ndepressing\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Leave the color on? Or turn\Nthe saturation all the way\Ndown so it’s black and\Nwhite?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Luigi Cozzi making GODZILLA\N(1977): nobody ever gonna\Nforget the name of Luigi\NCozzi. oh! I'm gonna make a\Nmovie about itwell, you're\Nnot wrong pal, people *are*\Ngoing to remember this work\Nyou're about to excrete onto\Nthe market\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb Apparently, cinema\Nchains in Italy in the 70s\Nwouldn't accept any feature\Nfilm under 90 minutes or\Nblack & white, so Cozzi had\Nto colourize it & pad it out\N(original Godzilla was 80\Nminutes).He ended up padding\Nit out to 105 minutes\N\N
Dialogue: 0,0:12:54.00,0:12:55.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona No, but a lot of\Nfolks refer to it like that\Ne.e uploads on Internet\NArchive & Youtube\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Luigi Cozzi made his Godzilla\Nversion under the COZZILLA\Ns.r.l. production company.\NHeh.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}This first Godzilla is so\Ndepressing\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Leave the color on? Or turn\Nthe saturation all the way\Ndown so it’s black and\Nwhite?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Luigi Cozzi making GODZILLA\N(1977): nobody ever gonna\Nforget the name of Luigi\NCozzi. oh! I'm gonna make a\Nmovie about itwell, you're\Nnot wrong pal, people *are*\Ngoing to remember this work\Nyou're about to excrete onto\Nthe market\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb Apparently, cinema\Nchains in Italy in the 70s\Nwouldn't accept any feature\Nfilm under 90 minutes or\Nblack & white, so Cozzi had\Nto colourize it & pad it out\N(original Godzilla was 80\Nminutes).He ended up padding\Nit out to 105 minutes\N\N
Dialogue: 0,0:12:55.00,0:13:11.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}It's a good thing Godzilla\Nspared him, otherwise he\Nwouldn't've been able to save\Na Mexican village from the\Ninfamous El Guapo.\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona No, but a lot of\Nfolks refer to it like that\Ne.e uploads on Internet\NArchive & Youtube\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Luigi Cozzi made his Godzilla\Nversion under the COZZILLA\Ns.r.l. production company.\NHeh.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}This first Godzilla is so\Ndepressing\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Leave the color on? Or turn\Nthe saturation all the way\Ndown so it’s black and\Nwhite?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Luigi Cozzi making GODZILLA\N(1977): nobody ever gonna\Nforget the name of Luigi\NCozzi. oh! I'm gonna make a\Nmovie about itwell, you're\Nnot wrong pal, people *are*\Ngoing to remember this work\Nyou're about to excrete onto\Nthe market\N\N
Dialogue: 0,0:13:11.00,0:13:24.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Jesus, that's\Ngovernment mandates for you!\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}It's a good thing Godzilla\Nspared him, otherwise he\Nwouldn't've been able to save\Na Mexican village from the\Ninfamous El Guapo.\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona No, but a lot of\Nfolks refer to it like that\Ne.e uploads on Internet\NArchive & Youtube\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Luigi Cozzi made his Godzilla\Nversion under the COZZILLA\Ns.r.l. production company.\NHeh.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}This first Godzilla is so\Ndepressing\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Leave the color on? Or turn\Nthe saturation all the way\Ndown so it’s black and\Nwhite?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Luigi Cozzi making GODZILLA\N(1977): nobody ever gonna\Nforget the name of Luigi\NCozzi. oh! I'm gonna make a\Nmovie about itwell, you're\Nnot wrong pal, people *are*\Ngoing to remember this work\Nyou're about to excrete onto\Nthe market\N\N
Dialogue: 0,0:13:24.00,0:13:25.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Oh I see, they still have 10\Nminutes of narration but they\N*waited* for it\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Jesus, that's\Ngovernment mandates for you!\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}It's a good thing Godzilla\Nspared him, otherwise he\Nwouldn't've been able to save\Na Mexican village from the\Ninfamous El Guapo.\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona No, but a lot of\Nfolks refer to it like that\Ne.e uploads on Internet\NArchive & Youtube\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Luigi Cozzi made his Godzilla\Nversion under the COZZILLA\Ns.r.l. production company.\NHeh.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}This first Godzilla is so\Ndepressing\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Leave the color on? Or turn\Nthe saturation all the way\Ndown so it’s black and\Nwhite?\N\N
Dialogue: 0,0:13:25.00,0:14:39.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb I don't know if it\Nwas government as opposed to\Nbusiness\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Oh I see, they still have 10\Nminutes of narration but they\N*waited* for it\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Jesus, that's\Ngovernment mandates for you!\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}It's a good thing Godzilla\Nspared him, otherwise he\Nwouldn't've been able to save\Na Mexican village from the\Ninfamous El Guapo.\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona No, but a lot of\Nfolks refer to it like that\Ne.e uploads on Internet\NArchive & Youtube\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Luigi Cozzi made his Godzilla\Nversion under the COZZILLA\Ns.r.l. production company.\NHeh.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}This first Godzilla is so\Ndepressing\N\N
Dialogue: 0,0:14:39.00,0:14:52.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"A few days earlier, I'd been\Nflying to meet my scientist\Nfriend. I was going to ask\Nhim about the possibility of\Ntransferring another brain\Ninto my good-for-nothing\Nwife's body."\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb I don't know if it\Nwas government as opposed to\Nbusiness\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Oh I see, they still have 10\Nminutes of narration but they\N*waited* for it\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Jesus, that's\Ngovernment mandates for you!\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}It's a good thing Godzilla\Nspared him, otherwise he\Nwouldn't've been able to save\Na Mexican village from the\Ninfamous El Guapo.\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona No, but a lot of\Nfolks refer to it like that\Ne.e uploads on Internet\NArchive & Youtube\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Luigi Cozzi made his Godzilla\Nversion under the COZZILLA\Ns.r.l. production company.\NHeh.\N\N
Dialogue: 0,0:14:52.00,0:15:12.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}"My name is Steve Martin"\NPerry Mason laying on a\Nstretcher with an\NArrow-through-the-head prop\Nand mumbling in Italian. I\Nknow this is (WAS) a very\Nserious film but between that\Nand the "Window on the dick"\Ncredit I'm having problems\Nstaying with it\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"A few days earlier, I'd been\Nflying to meet my scientist\Nfriend. I was going to ask\Nhim about the possibility of\Ntransferring another brain\Ninto my good-for-nothing\Nwife's body."\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb I don't know if it\Nwas government as opposed to\Nbusiness\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Oh I see, they still have 10\Nminutes of narration but they\N*waited* for it\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Jesus, that's\Ngovernment mandates for you!\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}It's a good thing Godzilla\Nspared him, otherwise he\Nwouldn't've been able to save\Na Mexican village from the\Ninfamous El Guapo.\N\N
Dialogue: 0,0:15:12.00,0:16:00.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}So this is just an italian\Ndub and re-edit of Godzilla,\Nwith ... are these color gel\Neffects deliberate? Or is it\Nthat an effect from too many\Ntelecines? Or what?\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}"My name is Steve Martin"\NPerry Mason laying on a\Nstretcher with an\NArrow-through-the-head prop\Nand mumbling in Italian. I\Nknow this is (WAS) a very\Nserious film but between that\Nand the "Window on the dick"\Ncredit I'm having problems\Nstaying with it\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"A few days earlier, I'd been\Nflying to meet my scientist\Nfriend. I was going to ask\Nhim about the possibility of\Ntransferring another brain\Ninto my good-for-nothing\Nwife's body."\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb I don't know if it\Nwas government as opposed to\Nbusiness\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Oh I see, they still have 10\Nminutes of narration but they\N*waited* for it\N\N
Dialogue: 0,0:16:00.00,0:16:27.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Are you Steve Martin? Could\Nyou sign my dapper hat?"\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}So this is just an italian\Ndub and re-edit of Godzilla,\Nwith ... are these color gel\Neffects deliberate? Or is it\Nthat an effect from too many\Ntelecines? Or what?\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}"My name is Steve Martin"\NPerry Mason laying on a\Nstretcher with an\NArrow-through-the-head prop\Nand mumbling in Italian. I\Nknow this is (WAS) a very\Nserious film but between that\Nand the "Window on the dick"\Ncredit I'm having problems\Nstaying with it\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"A few days earlier, I'd been\Nflying to meet my scientist\Nfriend. I was going to ask\Nhim about the possibility of\Ntransferring another brain\Ninto my good-for-nothing\Nwife's body."\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb I don't know if it\Nwas government as opposed to\Nbusiness\N\N
Dialogue: 0,0:16:27.00,0:16:37.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Yeah, true.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Are you Steve Martin? Could\Nyou sign my dapper hat?"\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}So this is just an italian\Ndub and re-edit of Godzilla,\Nwith ... are these color gel\Neffects deliberate? Or is it\Nthat an effect from too many\Ntelecines? Or what?\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}"My name is Steve Martin"\NPerry Mason laying on a\Nstretcher with an\NArrow-through-the-head prop\Nand mumbling in Italian. I\Nknow this is (WAS) a very\Nserious film but between that\Nand the "Window on the dick"\Ncredit I'm having problems\Nstaying with it\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"A few days earlier, I'd been\Nflying to meet my scientist\Nfriend. I was going to ask\Nhim about the possibility of\Ntransferring another brain\Ninto my good-for-nothing\Nwife's body."\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@allanb I don't know if it\Nwas government as opposed to\Nbusiness\N\N
Dialogue: 0,0:16:37.00,0:16:42.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Dr. Serizawa famously the\Nkind of man who would have an\Nassistant working with him\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Yeah, true.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Are you Steve Martin? Could\Nyou sign my dapper hat?"\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}So this is just an italian\Ndub and re-edit of Godzilla,\Nwith ... are these color gel\Neffects deliberate? Or is it\Nthat an effect from too many\Ntelecines? Or what?\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}"My name is Steve Martin"\NPerry Mason laying on a\Nstretcher with an\NArrow-through-the-head prop\Nand mumbling in Italian. I\Nknow this is (WAS) a very\Nserious film but between that\Nand the "Window on the dick"\Ncredit I'm having problems\Nstaying with it\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"A few days earlier, I'd been\Nflying to meet my scientist\Nfriend. I was going to ask\Nhim about the possibility of\Ntransferring another brain\Ninto my good-for-nothing\Nwife's body."\N\N
Dialogue: 0,0:16:42.00,0:17:00.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Feels like a Dash Shaw\Ngraphic novel\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Dr. Serizawa famously the\Nkind of man who would have an\Nassistant working with him\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Yeah, true.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Are you Steve Martin? Could\Nyou sign my dapper hat?"\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}So this is just an italian\Ndub and re-edit of Godzilla,\Nwith ... are these color gel\Neffects deliberate? Or is it\Nthat an effect from too many\Ntelecines? Or what?\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}"My name is Steve Martin"\NPerry Mason laying on a\Nstretcher with an\NArrow-through-the-head prop\Nand mumbling in Italian. I\Nknow this is (WAS) a very\Nserious film but between that\Nand the "Window on the dick"\Ncredit I'm having problems\Nstaying with it\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"A few days earlier, I'd been\Nflying to meet my scientist\Nfriend. I was going to ask\Nhim about the possibility of\Ntransferring another brain\Ninto my good-for-nothing\Nwife's body."\N\N
Dialogue: 0,0:17:00.00,0:17:20.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}keep hearing the Perry Mason\Nsoundtrack over this.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Feels like a Dash Shaw\Ngraphic novel\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Dr. Serizawa famously the\Nkind of man who would have an\Nassistant working with him\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Yeah, true.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Are you Steve Martin? Could\Nyou sign my dapper hat?"\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}So this is just an italian\Ndub and re-edit of Godzilla,\Nwith ... are these color gel\Neffects deliberate? Or is it\Nthat an effect from too many\Ntelecines? Or what?\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}"My name is Steve Martin"\NPerry Mason laying on a\Nstretcher with an\NArrow-through-the-head prop\Nand mumbling in Italian. I\Nknow this is (WAS) a very\Nserious film but between that\Nand the "Window on the dick"\Ncredit I'm having problems\Nstaying with it\N\N
Dialogue: 0,0:17:20.00,0:17:36.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Was this colorized with\Nwatercolors, then bleached?\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}keep hearing the Perry Mason\Nsoundtrack over this.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Feels like a Dash Shaw\Ngraphic novel\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Dr. Serizawa famously the\Nkind of man who would have an\Nassistant working with him\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Yeah, true.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Are you Steve Martin? Could\Nyou sign my dapper hat?"\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}So this is just an italian\Ndub and re-edit of Godzilla,\Nwith ... are these color gel\Neffects deliberate? Or is it\Nthat an effect from too many\Ntelecines? Or what?\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}"My name is Steve Martin"\NPerry Mason laying on a\Nstretcher with an\NArrow-through-the-head prop\Nand mumbling in Italian. I\Nknow this is (WAS) a very\Nserious film but between that\Nand the "Window on the dick"\Ncredit I'm having problems\Nstaying with it\N\N
Dialogue: 0,0:17:36.00,0:17:53.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}I am digging how the italian\Ntranslator got some of Burr's\Nspeech manorisms in their\Ndub.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Was this colorized with\Nwatercolors, then bleached?\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}keep hearing the Perry Mason\Nsoundtrack over this.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Feels like a Dash Shaw\Ngraphic novel\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Dr. Serizawa famously the\Nkind of man who would have an\Nassistant working with him\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Yeah, true.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Are you Steve Martin? Could\Nyou sign my dapper hat?"\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}So this is just an italian\Ndub and re-edit of Godzilla,\Nwith ... are these color gel\Neffects deliberate? Or is it\Nthat an effect from too many\Ntelecines? Or what?\N\N
Dialogue: 0,0:17:53.00,0:18:33.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@plaidtron3000 Deliberate? We\Nthink?\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}I am digging how the italian\Ntranslator got some of Burr's\Nspeech manorisms in their\Ndub.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Was this colorized with\Nwatercolors, then bleached?\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}keep hearing the Perry Mason\Nsoundtrack over this.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Feels like a Dash Shaw\Ngraphic novel\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Dr. Serizawa famously the\Nkind of man who would have an\Nassistant working with him\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Yeah, true.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Are you Steve Martin? Could\Nyou sign my dapper hat?"\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}So this is just an italian\Ndub and re-edit of Godzilla,\Nwith ... are these color gel\Neffects deliberate? Or is it\Nthat an effect from too many\Ntelecines? Or what?\N\N
Dialogue: 0,0:18:33.00,0:18:38.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Not sure why a theater\Nwould want people occupying\Nseats for longer periods of\Ntime though. It sounds like a\Npush to prevent patrons from\Ngetting ripped-off by\Noverly-short B&W films, but\Nwho knows\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@plaidtron3000 Deliberate? We\Nthink?\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}I am digging how the italian\Ntranslator got some of Burr's\Nspeech manorisms in their\Ndub.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Was this colorized with\Nwatercolors, then bleached?\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}keep hearing the Perry Mason\Nsoundtrack over this.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Feels like a Dash Shaw\Ngraphic novel\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Dr. Serizawa famously the\Nkind of man who would have an\Nassistant working with him\N\N
Dialogue: 0,0:18:38.00,0:19:20.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kinda trippy to see all the\Nclearly non-Italian people in\Nthis movie speaking Italian(I\Nget why they do it, but\Nstill)\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Not sure why a theater\Nwould want people occupying\Nseats for longer periods of\Ntime though. It sounds like a\Npush to prevent patrons from\Ngetting ripped-off by\Noverly-short B&W films, but\Nwho knows\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@plaidtron3000 Deliberate? We\Nthink?\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}I am digging how the italian\Ntranslator got some of Burr's\Nspeech manorisms in their\Ndub.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Was this colorized with\Nwatercolors, then bleached?\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}keep hearing the Perry Mason\Nsoundtrack over this.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Feels like a Dash Shaw\Ngraphic novel\N\N
Dialogue: 0,0:19:20.00,0:19:35.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Looks like it\Nwas just slop-tinted so they\Ncould pass it off as a\N"color" film\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kinda trippy to see all the\Nclearly non-Italian people in\Nthis movie speaking Italian(I\Nget why they do it, but\Nstill)\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Not sure why a theater\Nwould want people occupying\Nseats for longer periods of\Ntime though. It sounds like a\Npush to prevent patrons from\Ngetting ripped-off by\Noverly-short B&W films, but\Nwho knows\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@plaidtron3000 Deliberate? We\Nthink?\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}I am digging how the italian\Ntranslator got some of Burr's\Nspeech manorisms in their\Ndub.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Was this colorized with\Nwatercolors, then bleached?\N\N
Dialogue: 0,0:19:35.00,0:20:24.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}so wait, is the American\Nversion just scenes of Perry\NMason being inserted into\NGojira as if it's Jimmy\NStewart and the goofy angel\Nin "It's a Wonderful Life?"\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Looks like it\Nwas just slop-tinted so they\Ncould pass it off as a\N"color" film\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kinda trippy to see all the\Nclearly non-Italian people in\Nthis movie speaking Italian(I\Nget why they do it, but\Nstill)\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Not sure why a theater\Nwould want people occupying\Nseats for longer periods of\Ntime though. It sounds like a\Npush to prevent patrons from\Ngetting ripped-off by\Noverly-short B&W films, but\Nwho knows\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@plaidtron3000 Deliberate? We\Nthink?\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}I am digging how the italian\Ntranslator got some of Burr's\Nspeech manorisms in their\Ndub.\N\N
Dialogue: 0,0:20:24.00,0:20:41.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@plaidtron3000 It does at\Nleast seem to be a new movie\Nfor the most part, not a\Nre-edit. Most of this wasn't\Nin the OG.\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}so wait, is the American\Nversion just scenes of Perry\NMason being inserted into\NGojira as if it's Jimmy\NStewart and the goofy angel\Nin "It's a Wonderful Life?"\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Looks like it\Nwas just slop-tinted so they\Ncould pass it off as a\N"color" film\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kinda trippy to see all the\Nclearly non-Italian people in\Nthis movie speaking Italian(I\Nget why they do it, but\Nstill)\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Not sure why a theater\Nwould want people occupying\Nseats for longer periods of\Ntime though. It sounds like a\Npush to prevent patrons from\Ngetting ripped-off by\Noverly-short B&W films, but\Nwho knows\N\N
Dialogue: 0,0:20:41.00,0:21:04.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@ohiofi @plaidtron3000 You\Ncan never really tell with a\Nmovie\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@plaidtron3000 It does at\Nleast seem to be a new movie\Nfor the most part, not a\Nre-edit. Most of this wasn't\Nin the OG.\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}so wait, is the American\Nversion just scenes of Perry\NMason being inserted into\NGojira as if it's Jimmy\NStewart and the goofy angel\Nin "It's a Wonderful Life?"\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Looks like it\Nwas just slop-tinted so they\Ncould pass it off as a\N"color" film\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kinda trippy to see all the\Nclearly non-Italian people in\Nthis movie speaking Italian(I\Nget why they do it, but\Nstill)\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@klu9 Not sure why a theater\Nwould want people occupying\Nseats for longer periods of\Ntime though. It sounds like a\Npush to prevent patrons from\Ngetting ripped-off by\Noverly-short B&W films, but\Nwho knows\N\N
Dialogue: 0,0:21:04.00,0:21:51.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Watching an Italian Guy's\Nidea of an American Guy\Nwatching the events of GOJIRA\N(1954) and also some snuff\Nfootage, the GODZILLA (1977)\Nexperience\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@ohiofi @plaidtron3000 You\Ncan never really tell with a\Nmovie\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@plaidtron3000 It does at\Nleast seem to be a new movie\Nfor the most part, not a\Nre-edit. Most of this wasn't\Nin the OG.\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}so wait, is the American\Nversion just scenes of Perry\NMason being inserted into\NGojira as if it's Jimmy\NStewart and the goofy angel\Nin "It's a Wonderful Life?"\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Looks like it\Nwas just slop-tinted so they\Ncould pass it off as a\N"color" film\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kinda trippy to see all the\Nclearly non-Italian people in\Nthis movie speaking Italian(I\Nget why they do it, but\Nstill)\N\N
Dialogue: 0,0:21:51.00,0:22:38.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Do you really think a\Nmonster could be behind these\Ndisasters?""That or John\NCandy trying to steal your\Ncab. We'll have to see what\Nhappens on your coach-trip".\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Watching an Italian Guy's\Nidea of an American Guy\Nwatching the events of GOJIRA\N(1954) and also some snuff\Nfootage, the GODZILLA (1977)\Nexperience\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@ohiofi @plaidtron3000 You\Ncan never really tell with a\Nmovie\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@plaidtron3000 It does at\Nleast seem to be a new movie\Nfor the most part, not a\Nre-edit. Most of this wasn't\Nin the OG.\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}so wait, is the American\Nversion just scenes of Perry\NMason being inserted into\NGojira as if it's Jimmy\NStewart and the goofy angel\Nin "It's a Wonderful Life?"\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Looks like it\Nwas just slop-tinted so they\Ncould pass it off as a\N"color" film\N\N
Dialogue: 0,0:22:38.00,0:24:06.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Sounds like the dictum\N"show, don't tell" didn't\Nmake it to Italian\Nrepackaging of foreign films.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Do you really think a\Nmonster could be behind these\Ndisasters?""That or John\NCandy trying to steal your\Ncab. We'll have to see what\Nhappens on your coach-trip".\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Watching an Italian Guy's\Nidea of an American Guy\Nwatching the events of GOJIRA\N(1954) and also some snuff\Nfootage, the GODZILLA (1977)\Nexperience\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@ohiofi @plaidtron3000 You\Ncan never really tell with a\Nmovie\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@plaidtron3000 It does at\Nleast seem to be a new movie\Nfor the most part, not a\Nre-edit. Most of this wasn't\Nin the OG.\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}so wait, is the American\Nversion just scenes of Perry\NMason being inserted into\NGojira as if it's Jimmy\NStewart and the goofy angel\Nin "It's a Wonderful Life?"\N\N
Dialogue: 0,0:24:06.00,0:24:14.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@allanb "slop-tinted" sounds\Nabout right :DBut it also\Nlooks like they took the\NItalian flag, rotated it and\Npainted it over the movie.\NBottom green, top red, middle\Nuntouched. Sometimes\Nreversed.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Sounds like the dictum\N"show, don't tell" didn't\Nmake it to Italian\Nrepackaging of foreign films.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Do you really think a\Nmonster could be behind these\Ndisasters?""That or John\NCandy trying to steal your\Ncab. We'll have to see what\Nhappens on your coach-trip".\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Watching an Italian Guy's\Nidea of an American Guy\Nwatching the events of GOJIRA\N(1954) and also some snuff\Nfootage, the GODZILLA (1977)\Nexperience\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@ohiofi @plaidtron3000 You\Ncan never really tell with a\Nmovie\N\N
Dialogue: 0,0:24:14.00,0:24:34.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}The love triangle may be the\Nmost interesting thing\Nhappening in the movie so far\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@allanb "slop-tinted" sounds\Nabout right :DBut it also\Nlooks like they took the\NItalian flag, rotated it and\Npainted it over the movie.\NBottom green, top red, middle\Nuntouched. Sometimes\Nreversed.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Sounds like the dictum\N"show, don't tell" didn't\Nmake it to Italian\Nrepackaging of foreign films.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Do you really think a\Nmonster could be behind these\Ndisasters?""That or John\NCandy trying to steal your\Ncab. We'll have to see what\Nhappens on your coach-trip".\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Watching an Italian Guy's\Nidea of an American Guy\Nwatching the events of GOJIRA\N(1954) and also some snuff\Nfootage, the GODZILLA (1977)\Nexperience\N\N
Dialogue: 0,0:24:34.00,0:24:41.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Oh good point!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}The love triangle may be the\Nmost interesting thing\Nhappening in the movie so far\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@allanb "slop-tinted" sounds\Nabout right :DBut it also\Nlooks like they took the\NItalian flag, rotated it and\Npainted it over the movie.\NBottom green, top red, middle\Nuntouched. Sometimes\Nreversed.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Sounds like the dictum\N"show, don't tell" didn't\Nmake it to Italian\Nrepackaging of foreign films.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Do you really think a\Nmonster could be behind these\Ndisasters?""That or John\NCandy trying to steal your\Ncab. We'll have to see what\Nhappens on your coach-trip".\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}Watching an Italian Guy's\Nidea of an American Guy\Nwatching the events of GOJIRA\N(1954) and also some snuff\Nfootage, the GODZILLA (1977)\Nexperience\N\N
Dialogue: 0,0:24:41.00,0:24:42.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}@ohiofi Yeah, IMDB says it\Nwas a directorial choice to\Nput gels over the film. Mind\Nboggling.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Oh good point!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}The love triangle may be the\Nmost interesting thing\Nhappening in the movie so far\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@allanb "slop-tinted" sounds\Nabout right :DBut it also\Nlooks like they took the\NItalian flag, rotated it and\Npainted it over the movie.\NBottom green, top red, middle\Nuntouched. Sometimes\Nreversed.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Sounds like the dictum\N"show, don't tell" didn't\Nmake it to Italian\Nrepackaging of foreign films.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Do you really think a\Nmonster could be behind these\Ndisasters?""That or John\NCandy trying to steal your\Ncab. We'll have to see what\Nhappens on your coach-trip".\N\N
Dialogue: 0,0:24:42.00,0:25:45.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}FantastiCozzi, documentary\Nabout tonight's director\NLuigi Cozzi free streaming:\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}@ohiofi Yeah, IMDB says it\Nwas a directorial choice to\Nput gels over the film. Mind\Nboggling.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Oh good point!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}The love triangle may be the\Nmost interesting thing\Nhappening in the movie so far\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@allanb "slop-tinted" sounds\Nabout right :DBut it also\Nlooks like they took the\NItalian flag, rotated it and\Npainted it over the movie.\NBottom green, top red, middle\Nuntouched. Sometimes\Nreversed.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Sounds like the dictum\N"show, don't tell" didn't\Nmake it to Italian\Nrepackaging of foreign films.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Do you really think a\Nmonster could be behind these\Ndisasters?""That or John\NCandy trying to steal your\Ncab. We'll have to see what\Nhappens on your coach-trip".\N\N
Dialogue: 0,0:25:45.00,0:25:51.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Why do girls always have to\Nbe the sacrifices? None of\Nthese monsters have a taste\Nfor boys? Or better yet,\Npoliticians?\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}FantastiCozzi, documentary\Nabout tonight's director\NLuigi Cozzi free streaming:\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}@ohiofi Yeah, IMDB says it\Nwas a directorial choice to\Nput gels over the film. Mind\Nboggling.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Oh good point!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}The love triangle may be the\Nmost interesting thing\Nhappening in the movie so far\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@allanb "slop-tinted" sounds\Nabout right :DBut it also\Nlooks like they took the\NItalian flag, rotated it and\Npainted it over the movie.\NBottom green, top red, middle\Nuntouched. Sometimes\Nreversed.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}So... Sounds like the dictum\N"show, don't tell" didn't\Nmake it to Italian\Nrepackaging of foreign films.\N\N
Dialogue: 0,0:25:51.00,0:27:15.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}Pathetic fallacy? Or do\Nmonsters stir from their\Naquatic slumbers because of\Nthe bad weather and tides?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Why do girls always have to\Nbe the sacrifices? None of\Nthese monsters have a taste\Nfor boys? Or better yet,\Npoliticians?\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}FantastiCozzi, documentary\Nabout tonight's director\NLuigi Cozzi free streaming:\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}@ohiofi Yeah, IMDB says it\Nwas a directorial choice to\Nput gels over the film. Mind\Nboggling.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Oh good point!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}The love triangle may be the\Nmost interesting thing\Nhappening in the movie so far\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@allanb "slop-tinted" sounds\Nabout right :DBut it also\Nlooks like they took the\NItalian flag, rotated it and\Npainted it over the movie.\NBottom green, top red, middle\Nuntouched. Sometimes\Nreversed.\N\N
Dialogue: 0,0:27:15.00,0:27:57.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Nothing that was hidden will\Nbe revealed.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}Pathetic fallacy? Or do\Nmonsters stir from their\Naquatic slumbers because of\Nthe bad weather and tides?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Why do girls always have to\Nbe the sacrifices? None of\Nthese monsters have a taste\Nfor boys? Or better yet,\Npoliticians?\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}FantastiCozzi, documentary\Nabout tonight's director\NLuigi Cozzi free streaming:\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}@ohiofi Yeah, IMDB says it\Nwas a directorial choice to\Nput gels over the film. Mind\Nboggling.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Oh good point!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}The love triangle may be the\Nmost interesting thing\Nhappening in the movie so far\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@allanb "slop-tinted" sounds\Nabout right :DBut it also\Nlooks like they took the\NItalian flag, rotated it and\Npainted it over the movie.\NBottom green, top red, middle\Nuntouched. Sometimes\Nreversed.\N\N
Dialogue: 0,0:27:57.00,0:28:27.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}IMDB: "featuring 80 minutes\Nof footage from the original\NGodzilla (1954) and the US\Nversion Godzilla: King of the\NMonsters! (1956) plus 25\Nminutes of WWII newsreel\Nfootage and clips from other\Nmonster 1950's movies"in a\N93-minute film\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Nothing that was hidden will\Nbe revealed.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}Pathetic fallacy? Or do\Nmonsters stir from their\Naquatic slumbers because of\Nthe bad weather and tides?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Why do girls always have to\Nbe the sacrifices? None of\Nthese monsters have a taste\Nfor boys? Or better yet,\Npoliticians?\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}FantastiCozzi, documentary\Nabout tonight's director\NLuigi Cozzi free streaming:\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}@ohiofi Yeah, IMDB says it\Nwas a directorial choice to\Nput gels over the film. Mind\Nboggling.\N\N
Dialogue: 0,0:28:27.00,0:28:35.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Also, if they\Nmix red and green they get\Nsome brown, which sortof\Nlooks like skin tones. They\Nwould do this trick in\Nprinting stills with purple\Nand orange using two layer\Ncolor separations instead of\N3 or 4 to save money.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}IMDB: "featuring 80 minutes\Nof footage from the original\NGodzilla (1954) and the US\Nversion Godzilla: King of the\NMonsters! (1956) plus 25\Nminutes of WWII newsreel\Nfootage and clips from other\Nmonster 1950's movies"in a\N93-minute film\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Nothing that was hidden will\Nbe revealed.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}Pathetic fallacy? Or do\Nmonsters stir from their\Naquatic slumbers because of\Nthe bad weather and tides?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Why do girls always have to\Nbe the sacrifices? None of\Nthese monsters have a taste\Nfor boys? Or better yet,\Npoliticians?\N\N
Dialogue: 0,0:28:35.00,0:28:50.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}The way this is shot reminds\Nme a bit of Throne of Blood.\NJust a little.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Also, if they\Nmix red and green they get\Nsome brown, which sortof\Nlooks like skin tones. They\Nwould do this trick in\Nprinting stills with purple\Nand orange using two layer\Ncolor separations instead of\N3 or 4 to save money.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}IMDB: "featuring 80 minutes\Nof footage from the original\NGodzilla (1954) and the US\Nversion Godzilla: King of the\NMonsters! (1956) plus 25\Nminutes of WWII newsreel\Nfootage and clips from other\Nmonster 1950's movies"in a\N93-minute film\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Nothing that was hidden will\Nbe revealed.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}Pathetic fallacy? Or do\Nmonsters stir from their\Naquatic slumbers because of\Nthe bad weather and tides?\N\N
Dialogue: 0,0:28:50.00,0:29:37.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}@diazona According to IMDB\Nit's a mashup of Godzilla,\Nthe US Godzilla King Of\NMonsters, and 25 minutes of\Nnewsreel and WWII footage.New\Nsoundtrack"Colorization".\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}The way this is shot reminds\Nme a bit of Throne of Blood.\NJust a little.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Also, if they\Nmix red and green they get\Nsome brown, which sortof\Nlooks like skin tones. They\Nwould do this trick in\Nprinting stills with purple\Nand orange using two layer\Ncolor separations instead of\N3 or 4 to save money.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}IMDB: "featuring 80 minutes\Nof footage from the original\NGodzilla (1954) and the US\Nversion Godzilla: King of the\NMonsters! (1956) plus 25\Nminutes of WWII newsreel\Nfootage and clips from other\Nmonster 1950's movies"in a\N93-minute film\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Nothing that was hidden will\Nbe revealed.\N\N
Dialogue: 0,0:29:37.00,0:30:22.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}okay this is where I admit I\Nhaven't seen GODZILLA: KING\NOF THE MONSTERS! (1956) so\Nsome of my disorientation\Nhere is the rewriting of the\Nstory that is at the core of\N*this* version of the movieso\Nsome of my "WTF" is really\Nattributable to the American\Ncut of the original film, and\Nsome of it lies with Signor\NCozzi's reinterpretation of\Nsame"reporter was there" is\Nnot a bad way to re-spin a\Nfilm for a different audience\Nat the time of the original\Nfilm, and by 1977 Toho was\Nwell-aware of the value of\Ntheir brand, so they had no\Nstrong compulsion to sell off\Nthe original film, I'm sure\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}@diazona According to IMDB\Nit's a mashup of Godzilla,\Nthe US Godzilla King Of\NMonsters, and 25 minutes of\Nnewsreel and WWII footage.New\Nsoundtrack"Colorization".\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}The way this is shot reminds\Nme a bit of Throne of Blood.\NJust a little.\N\N{\c&H475289&}[empty]\N{\c&HFFFFFF&}@combatwombat Also, if they\Nmix red and green they get\Nsome brown, which sortof\Nlooks like skin tones. They\Nwould do this trick in\Nprinting stills with purple\Nand orange using two layer\Ncolor separations instead of\N3 or 4 to save money.\N\N
Dialogue: 0,0:30:22.00,0:30:33.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@plaidtron3000 Yeah I figured\Nit out after posting... I'm\Nstarting to remember more of\Nthis now\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}okay this is where I admit I\Nhaven't seen GODZILLA: KING\NOF THE MONSTERS! (1956) so\Nsome of my disorientation\Nhere is the rewriting of the\Nstory that is at the core of\N*this* version of the movieso\Nsome of my "WTF" is really\Nattributable to the American\Ncut of the original film, and\Nsome of it lies with Signor\NCozzi's reinterpretation of\Nsame"reporter was there" is\Nnot a bad way to re-spin a\Nfilm for a different audience\Nat the time of the original\Nfilm, and by 1977 Toho was\Nwell-aware of the value of\Ntheir brand, so they had no\Nstrong compulsion to sell off\Nthe original film, I'm sure\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}@diazona According to IMDB\Nit's a mashup of Godzilla,\Nthe US Godzilla King Of\NMonsters, and 25 minutes of\Nnewsreel and WWII footage.New\Nsoundtrack"Colorization".\N\N
Dialogue: 0,0:30:33.00,0:30:39.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"This well is\Ncontaminated...... there\Nappears to be monsterous\Nfootprints."So... Godzilla\Ntook a radioactive piss in\Nit?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@plaidtron3000 Yeah I figured\Nit out after posting... I'm\Nstarting to remember more of\Nthis now\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}okay this is where I admit I\Nhaven't seen GODZILLA: KING\NOF THE MONSTERS! (1956) so\Nsome of my disorientation\Nhere is the rewriting of the\Nstory that is at the core of\N*this* version of the movieso\Nsome of my "WTF" is really\Nattributable to the American\Ncut of the original film, and\Nsome of it lies with Signor\NCozzi's reinterpretation of\Nsame"reporter was there" is\Nnot a bad way to re-spin a\Nfilm for a different audience\Nat the time of the original\Nfilm, and by 1977 Toho was\Nwell-aware of the value of\Ntheir brand, so they had no\Nstrong compulsion to sell off\Nthe original film, I'm sure\N\N
Dialogue: 0,0:30:39.00,0:32:14.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Baby ring my bell!" - These\Nguys. And also Anita Ward.\NShe did it better.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"This well is\Ncontaminated...... there\Nappears to be monsterous\Nfootprints."So... Godzilla\Ntook a radioactive piss in\Nit?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@plaidtron3000 Yeah I figured\Nit out after posting... I'm\Nstarting to remember more of\Nthis now\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}okay this is where I admit I\Nhaven't seen GODZILLA: KING\NOF THE MONSTERS! (1956) so\Nsome of my disorientation\Nhere is the rewriting of the\Nstory that is at the core of\N*this* version of the movieso\Nsome of my "WTF" is really\Nattributable to the American\Ncut of the original film, and\Nsome of it lies with Signor\NCozzi's reinterpretation of\Nsame"reporter was there" is\Nnot a bad way to re-spin a\Nfilm for a different audience\Nat the time of the original\Nfilm, and by 1977 Toho was\Nwell-aware of the value of\Ntheir brand, so they had no\Nstrong compulsion to sell off\Nthe original film, I'm sure\N\N
Dialogue: 0,0:32:14.00,0:33:29.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}@plaidtron3000 @diazona yea,\Nthere's a fairly interesting\N(from the standpoint of "how\Ndoes the movie industry work"\Nanyway) history to how this\Nparticular piece of cinema\Ncame to exist.Including a\Ncute -flavored bit of trivia:\NCozzi wanted the rights to\NGORGO (1960) but couldn't get\Nthem, and he called up Toho\Nafter that.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Baby ring my bell!" - These\Nguys. And also Anita Ward.\NShe did it better.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"This well is\Ncontaminated...... there\Nappears to be monsterous\Nfootprints."So... Godzilla\Ntook a radioactive piss in\Nit?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@plaidtron3000 Yeah I figured\Nit out after posting... I'm\Nstarting to remember more of\Nthis now\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}okay this is where I admit I\Nhaven't seen GODZILLA: KING\NOF THE MONSTERS! (1956) so\Nsome of my disorientation\Nhere is the rewriting of the\Nstory that is at the core of\N*this* version of the movieso\Nsome of my "WTF" is really\Nattributable to the American\Ncut of the original film, and\Nsome of it lies with Signor\NCozzi's reinterpretation of\Nsame"reporter was there" is\Nnot a bad way to re-spin a\Nfilm for a different audience\Nat the time of the original\Nfilm, and by 1977 Toho was\Nwell-aware of the value of\Ntheir brand, so they had no\Nstrong compulsion to sell off\Nthe original film, I'm sure\N\N
Dialogue: 0,0:33:29.00,0:33:36.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Look at the size of those\Nfootprints!"Ironically the\Nradiation shrunk its package.\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}@plaidtron3000 @diazona yea,\Nthere's a fairly interesting\N(from the standpoint of "how\Ndoes the movie industry work"\Nanyway) history to how this\Nparticular piece of cinema\Ncame to exist.Including a\Ncute -flavored bit of trivia:\NCozzi wanted the rights to\NGORGO (1960) but couldn't get\Nthem, and he called up Toho\Nafter that.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Baby ring my bell!" - These\Nguys. And also Anita Ward.\NShe did it better.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"This well is\Ncontaminated...... there\Nappears to be monsterous\Nfootprints."So... Godzilla\Ntook a radioactive piss in\Nit?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@plaidtron3000 Yeah I figured\Nit out after posting... I'm\Nstarting to remember more of\Nthis now\N\N
Dialogue: 0,0:33:36.00,0:33:49.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kind of unbelievable how this\Nis so much less compelling\Nthan the original film\Ndespite using a lot of the\Nsame footage\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Look at the size of those\Nfootprints!"Ironically the\Nradiation shrunk its package.\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}@plaidtron3000 @diazona yea,\Nthere's a fairly interesting\N(from the standpoint of "how\Ndoes the movie industry work"\Nanyway) history to how this\Nparticular piece of cinema\Ncame to exist.Including a\Ncute -flavored bit of trivia:\NCozzi wanted the rights to\NGORGO (1960) but couldn't get\Nthem, and he called up Toho\Nafter that.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Baby ring my bell!" - These\Nguys. And also Anita Ward.\NShe did it better.\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"This well is\Ncontaminated...... there\Nappears to be monsterous\Nfootprints."So... Godzilla\Ntook a radioactive piss in\Nit?\N\N
Dialogue: 0,0:33:49.00,0:34:51.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H4E966E&}bobert\N{\c&HFFFFFF&}"150m". Three times taller\Nthan in the originl already.\NThey will probably keep that\Nin mind in the city scenes.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kind of unbelievable how this\Nis so much less compelling\Nthan the original film\Ndespite using a lot of the\Nsame footage\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Look at the size of those\Nfootprints!"Ironically the\Nradiation shrunk its package.\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}@plaidtron3000 @diazona yea,\Nthere's a fairly interesting\N(from the standpoint of "how\Ndoes the movie industry work"\Nanyway) history to how this\Nparticular piece of cinema\Ncame to exist.Including a\Ncute -flavored bit of trivia:\NCozzi wanted the rights to\NGORGO (1960) but couldn't get\Nthem, and he called up Toho\Nafter that.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Baby ring my bell!" - These\Nguys. And also Anita Ward.\NShe did it better.\N\N
Dialogue: 0,0:34:51.00,0:35:53.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"It's huge and terrible.\NWorse than anything I\Ncould've imagined."Yes yes,\NI've also met your mother.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}"150m". Three times taller\Nthan in the originl already.\NThey will probably keep that\Nin mind in the city scenes.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kind of unbelievable how this\Nis so much less compelling\Nthan the original film\Ndespite using a lot of the\Nsame footage\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Look at the size of those\Nfootprints!"Ironically the\Nradiation shrunk its package.\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}@plaidtron3000 @diazona yea,\Nthere's a fairly interesting\N(from the standpoint of "how\Ndoes the movie industry work"\Nanyway) history to how this\Nparticular piece of cinema\Ncame to exist.Including a\Ncute -flavored bit of trivia:\NCozzi wanted the rights to\NGORGO (1960) but couldn't get\Nthem, and he called up Toho\Nafter that.\N\N
Dialogue: 0,0:35:53.00,0:36:00.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}It's Shimura Takashi from\NKurosawa's Ikiru\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"It's huge and terrible.\NWorse than anything I\Ncould've imagined."Yes yes,\NI've also met your mother.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}"150m". Three times taller\Nthan in the originl already.\NThey will probably keep that\Nin mind in the city scenes.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kind of unbelievable how this\Nis so much less compelling\Nthan the original film\Ndespite using a lot of the\Nsame footage\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Look at the size of those\Nfootprints!"Ironically the\Nradiation shrunk its package.\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}@plaidtron3000 @diazona yea,\Nthere's a fairly interesting\N(from the standpoint of "how\Ndoes the movie industry work"\Nanyway) history to how this\Nparticular piece of cinema\Ncame to exist.Including a\Ncute -flavored bit of trivia:\NCozzi wanted the rights to\NGORGO (1960) but couldn't get\Nthem, and he called up Toho\Nafter that.\N\N
Dialogue: 0,0:36:00.00,0:36:13.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}"It was terrifying" he says\Nin a monotone voice\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}It's Shimura Takashi from\NKurosawa's Ikiru\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"It's huge and terrible.\NWorse than anything I\Ncould've imagined."Yes yes,\NI've also met your mother.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}"150m". Three times taller\Nthan in the originl already.\NThey will probably keep that\Nin mind in the city scenes.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kind of unbelievable how this\Nis so much less compelling\Nthan the original film\Ndespite using a lot of the\Nsame footage\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Look at the size of those\Nfootprints!"Ironically the\Nradiation shrunk its package.\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}@plaidtron3000 @diazona yea,\Nthere's a fairly interesting\N(from the standpoint of "how\Ndoes the movie industry work"\Nanyway) history to how this\Nparticular piece of cinema\Ncame to exist.Including a\Ncute -flavored bit of trivia:\NCozzi wanted the rights to\NGORGO (1960) but couldn't get\Nthem, and he called up Toho\Nafter that.\N\N
Dialogue: 0,0:36:13.00,0:36:20.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}y'know, with all the\Ncompression pixelation this\Nthing gets kind of arty at\Ntimes\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}"It was terrifying" he says\Nin a monotone voice\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}It's Shimura Takashi from\NKurosawa's Ikiru\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"It's huge and terrible.\NWorse than anything I\Ncould've imagined."Yes yes,\NI've also met your mother.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}"150m". Three times taller\Nthan in the originl already.\NThey will probably keep that\Nin mind in the city scenes.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kind of unbelievable how this\Nis so much less compelling\Nthan the original film\Ndespite using a lot of the\Nsame footage\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"Look at the size of those\Nfootprints!"Ironically the\Nradiation shrunk its package.\N\N
Dialogue: 0,0:36:20.00,0:37:43.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"How did your experiments\Ninto using radio nucleotides\Nto giganticise and mutate\Nlizards go? Very well? That's\Noutstanding!"\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}y'know, with all the\Ncompression pixelation this\Nthing gets kind of arty at\Ntimes\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}"It was terrifying" he says\Nin a monotone voice\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}It's Shimura Takashi from\NKurosawa's Ikiru\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"It's huge and terrible.\NWorse than anything I\Ncould've imagined."Yes yes,\NI've also met your mother.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}"150m". Three times taller\Nthan in the originl already.\NThey will probably keep that\Nin mind in the city scenes.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Kind of unbelievable how this\Nis so much less compelling\Nthan the original film\Ndespite using a lot of the\Nsame footage\N\N
Dialogue: 0,0:37:43.00,0:37:55.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@combatwombat I wonder if 50m\Nin original got translated to\N150 feet in US version, and\Nthat became 150m in this\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"How did your experiments\Ninto using radio nucleotides\Nto giganticise and mutate\Nlizards go? Very well? That's\Noutstanding!"\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}y'know, with all the\Ncompression pixelation this\Nthing gets kind of arty at\Ntimes\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}"It was terrifying" he says\Nin a monotone voice\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}It's Shimura Takashi from\NKurosawa's Ikiru\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"It's huge and terrible.\NWorse than anything I\Ncould've imagined."Yes yes,\NI've also met your mother.\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}"150m". Three times taller\Nthan in the originl already.\NThey will probably keep that\Nin mind in the city scenes.\N\N
Dialogue: 0,0:37:55.00,0:38:40.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}As it goes on, you get used\Nto the color.The editing and\Npacing on the other hand…\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@combatwombat I wonder if 50m\Nin original got translated to\N150 feet in US version, and\Nthat became 150m in this\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"How did your experiments\Ninto using radio nucleotides\Nto giganticise and mutate\Nlizards go? Very well? That's\Noutstanding!"\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}y'know, with all the\Ncompression pixelation this\Nthing gets kind of arty at\Ntimes\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}"It was terrifying" he says\Nin a monotone voice\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}It's Shimura Takashi from\NKurosawa's Ikiru\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"It's huge and terrible.\NWorse than anything I\Ncould've imagined."Yes yes,\NI've also met your mother.\N\N
Dialogue: 0,0:38:40.00,0:38:42.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Cozzi wanted to give an old\Nfilm an 'up-to-date and more\Nviolent look,' so the\Ndirector added real footage\Nof death and destruction from\Nwar-time and Hiroshima stock\Nfootage, as well as scenes\Nfrom [other monster movies]"\N- IMDB\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}As it goes on, you get used\Nto the color.The editing and\Npacing on the other hand…\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@combatwombat I wonder if 50m\Nin original got translated to\N150 feet in US version, and\Nthat became 150m in this\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"How did your experiments\Ninto using radio nucleotides\Nto giganticise and mutate\Nlizards go? Very well? That's\Noutstanding!"\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}y'know, with all the\Ncompression pixelation this\Nthing gets kind of arty at\Ntimes\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}"It was terrifying" he says\Nin a monotone voice\N\N
Dialogue: 0,0:38:42.00,0:39:22.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}oxigione destruccione\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Cozzi wanted to give an old\Nfilm an 'up-to-date and more\Nviolent look,' so the\Ndirector added real footage\Nof death and destruction from\Nwar-time and Hiroshima stock\Nfootage, as well as scenes\Nfrom [other monster movies]"\N- IMDB\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}As it goes on, you get used\Nto the color.The editing and\Npacing on the other hand…\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@combatwombat I wonder if 50m\Nin original got translated to\N150 feet in US version, and\Nthat became 150m in this\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"How did your experiments\Ninto using radio nucleotides\Nto giganticise and mutate\Nlizards go? Very well? That's\Noutstanding!"\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}y'know, with all the\Ncompression pixelation this\Nthing gets kind of arty at\Ntimes\N\N
Dialogue: 0,0:39:22.00,0:40:19.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Toho disliked this version\Nof the film, considering it\Nan 'abomination'. They even\Nwent as far as having\Nreferences to it removed from\Nthe audio commentary for the\NCriterion DVD and Blu-ray\Nreleases of Godzilla (1954)."\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}oxigione destruccione\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Cozzi wanted to give an old\Nfilm an 'up-to-date and more\Nviolent look,' so the\Ndirector added real footage\Nof death and destruction from\Nwar-time and Hiroshima stock\Nfootage, as well as scenes\Nfrom [other monster movies]"\N- IMDB\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}As it goes on, you get used\Nto the color.The editing and\Npacing on the other hand…\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@combatwombat I wonder if 50m\Nin original got translated to\N150 feet in US version, and\Nthat became 150m in this\N\N{\c&H93A862&}Social Commentary Bot\N{\c&HFFFFFF&}"How did your experiments\Ninto using radio nucleotides\Nto giganticise and mutate\Nlizards go? Very well? That's\Noutstanding!"\N\N
Dialogue: 0,0:40:19.00,0:41:19.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual WWII footage\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Toho disliked this version\Nof the film, considering it\Nan 'abomination'. They even\Nwent as far as having\Nreferences to it removed from\Nthe audio commentary for the\NCriterion DVD and Blu-ray\Nreleases of Godzilla (1954)."\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}oxigione destruccione\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Cozzi wanted to give an old\Nfilm an 'up-to-date and more\Nviolent look,' so the\Ndirector added real footage\Nof death and destruction from\Nwar-time and Hiroshima stock\Nfootage, as well as scenes\Nfrom [other monster movies]"\N- IMDB\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}As it goes on, you get used\Nto the color.The editing and\Npacing on the other hand…\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@combatwombat I wonder if 50m\Nin original got translated to\N150 feet in US version, and\Nthat became 150m in this\N\N
Dialogue: 0,0:41:19.00,0:41:39.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the military march part of a\NGodzilla movie is a hard\Nthing to resist enjoyingit's\Njust such a good theme\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual WWII footage\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Toho disliked this version\Nof the film, considering it\Nan 'abomination'. They even\Nwent as far as having\Nreferences to it removed from\Nthe audio commentary for the\NCriterion DVD and Blu-ray\Nreleases of Godzilla (1954)."\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}oxigione destruccione\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Cozzi wanted to give an old\Nfilm an 'up-to-date and more\Nviolent look,' so the\Ndirector added real footage\Nof death and destruction from\Nwar-time and Hiroshima stock\Nfootage, as well as scenes\Nfrom [other monster movies]"\N- IMDB\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}As it goes on, you get used\Nto the color.The editing and\Npacing on the other hand…\N\N
Dialogue: 0,0:41:39.00,0:42:15.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}anyway, time for an extended\Nsequence of real wartime\Nsub-hunting footage cut\Ntogether\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the military march part of a\NGodzilla movie is a hard\Nthing to resist enjoyingit's\Njust such a good theme\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual WWII footage\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Toho disliked this version\Nof the film, considering it\Nan 'abomination'. They even\Nwent as far as having\Nreferences to it removed from\Nthe audio commentary for the\NCriterion DVD and Blu-ray\Nreleases of Godzilla (1954)."\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}oxigione destruccione\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Cozzi wanted to give an old\Nfilm an 'up-to-date and more\Nviolent look,' so the\Ndirector added real footage\Nof death and destruction from\Nwar-time and Hiroshima stock\Nfootage, as well as scenes\Nfrom [other monster movies]"\N- IMDB\N\N
Dialogue: 0,0:42:15.00,0:42:20.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}It’s a shame Cozzi didn’t\Nbring back the ominous synth\Ntrack from the Hiroshima\Ntitle sequence. Maybe he\Nre-uses it later?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}anyway, time for an extended\Nsequence of real wartime\Nsub-hunting footage cut\Ntogether\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the military march part of a\NGodzilla movie is a hard\Nthing to resist enjoyingit's\Njust such a good theme\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual WWII footage\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Toho disliked this version\Nof the film, considering it\Nan 'abomination'. They even\Nwent as far as having\Nreferences to it removed from\Nthe audio commentary for the\NCriterion DVD and Blu-ray\Nreleases of Godzilla (1954)."\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}oxigione destruccione\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Cozzi wanted to give an old\Nfilm an 'up-to-date and more\Nviolent look,' so the\Ndirector added real footage\Nof death and destruction from\Nwar-time and Hiroshima stock\Nfootage, as well as scenes\Nfrom [other monster movies]"\N- IMDB\N\N
Dialogue: 0,0:42:20.00,0:42:55.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Toho's Godzilla didn't use\Nfootage from Hiroshima or\NNagasaki out of respect for\Nthe dead and injured.Cozzi\Nhad no such qualms.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}It’s a shame Cozzi didn’t\Nbring back the ominous synth\Ntrack from the Hiroshima\Ntitle sequence. Maybe he\Nre-uses it later?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}anyway, time for an extended\Nsequence of real wartime\Nsub-hunting footage cut\Ntogether\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the military march part of a\NGodzilla movie is a hard\Nthing to resist enjoyingit's\Njust such a good theme\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual WWII footage\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Toho disliked this version\Nof the film, considering it\Nan 'abomination'. They even\Nwent as far as having\Nreferences to it removed from\Nthe audio commentary for the\NCriterion DVD and Blu-ray\Nreleases of Godzilla (1954)."\N\N
Dialogue: 0,0:42:55.00,0:42:56.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}distributors apparently would\Nnot touch a movie that was\Nany shorter than 90 minutes,\Nso Cozzi had to pad the\Nruntime of the American cut\Nof the original film\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Toho's Godzilla didn't use\Nfootage from Hiroshima or\NNagasaki out of respect for\Nthe dead and injured.Cozzi\Nhad no such qualms.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}It’s a shame Cozzi didn’t\Nbring back the ominous synth\Ntrack from the Hiroshima\Ntitle sequence. Maybe he\Nre-uses it later?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}anyway, time for an extended\Nsequence of real wartime\Nsub-hunting footage cut\Ntogether\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the military march part of a\NGodzilla movie is a hard\Nthing to resist enjoyingit's\Njust such a good theme\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual WWII footage\N\N
Dialogue: 0,0:42:56.00,0:43:37.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ Eduigi Woodozzi\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}distributors apparently would\Nnot touch a movie that was\Nany shorter than 90 minutes,\Nso Cozzi had to pad the\Nruntime of the American cut\Nof the original film\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Toho's Godzilla didn't use\Nfootage from Hiroshima or\NNagasaki out of respect for\Nthe dead and injured.Cozzi\Nhad no such qualms.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}It’s a shame Cozzi didn’t\Nbring back the ominous synth\Ntrack from the Hiroshima\Ntitle sequence. Maybe he\Nre-uses it later?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}anyway, time for an extended\Nsequence of real wartime\Nsub-hunting footage cut\Ntogether\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the military march part of a\NGodzilla movie is a hard\Nthing to resist enjoyingit's\Njust such a good theme\N\N
Dialogue: 0,0:43:37.00,0:45:24.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual people\Nactually dying in WWII,\Nthanks Cozzi, you piece of\Nshit.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ Eduigi Woodozzi\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}distributors apparently would\Nnot touch a movie that was\Nany shorter than 90 minutes,\Nso Cozzi had to pad the\Nruntime of the American cut\Nof the original film\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Toho's Godzilla didn't use\Nfootage from Hiroshima or\NNagasaki out of respect for\Nthe dead and injured.Cozzi\Nhad no such qualms.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}It’s a shame Cozzi didn’t\Nbring back the ominous synth\Ntrack from the Hiroshima\Ntitle sequence. Maybe he\Nre-uses it later?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}anyway, time for an extended\Nsequence of real wartime\Nsub-hunting footage cut\Ntogether\N\N
Dialogue: 0,0:45:24.00,0:46:46.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ PRO-TIP: make most of\Nyour movie slow motion so you\Ncan hit the 90 minute runtime\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual people\Nactually dying in WWII,\Nthanks Cozzi, you piece of\Nshit.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ Eduigi Woodozzi\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}distributors apparently would\Nnot touch a movie that was\Nany shorter than 90 minutes,\Nso Cozzi had to pad the\Nruntime of the American cut\Nof the original film\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Toho's Godzilla didn't use\Nfootage from Hiroshima or\NNagasaki out of respect for\Nthe dead and injured.Cozzi\Nhad no such qualms.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}It’s a shame Cozzi didn’t\Nbring back the ominous synth\Ntrack from the Hiroshima\Ntitle sequence. Maybe he\Nre-uses it later?\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}anyway, time for an extended\Nsequence of real wartime\Nsub-hunting footage cut\Ntogether\N\N
Dialogue: 0,0:46:46.00,0:47:12.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ that explains a lot\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ PRO-TIP: make most of\Nyour movie slow motion so you\Ncan hit the 90 minute runtime\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual people\Nactually dying in WWII,\Nthanks Cozzi, you piece of\Nshit.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ Eduigi Woodozzi\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}distributors apparently would\Nnot touch a movie that was\Nany shorter than 90 minutes,\Nso Cozzi had to pad the\Nruntime of the American cut\Nof the original film\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Toho's Godzilla didn't use\Nfootage from Hiroshima or\NNagasaki out of respect for\Nthe dead and injured.Cozzi\Nhad no such qualms.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}It’s a shame Cozzi didn’t\Nbring back the ominous synth\Ntrack from the Hiroshima\Ntitle sequence. Maybe he\Nre-uses it later?\N\N
Dialogue: 0,0:47:12.00,0:48:52.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}and sometimes the gel effects\Njust straight up work\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ that explains a lot\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ PRO-TIP: make most of\Nyour movie slow motion so you\Ncan hit the 90 minute runtime\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual people\Nactually dying in WWII,\Nthanks Cozzi, you piece of\Nshit.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ Eduigi Woodozzi\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}distributors apparently would\Nnot touch a movie that was\Nany shorter than 90 minutes,\Nso Cozzi had to pad the\Nruntime of the American cut\Nof the original film\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Toho's Godzilla didn't use\Nfootage from Hiroshima or\NNagasaki out of respect for\Nthe dead and injured.Cozzi\Nhad no such qualms.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}It’s a shame Cozzi didn’t\Nbring back the ominous synth\Ntrack from the Hiroshima\Ntitle sequence. Maybe he\Nre-uses it later?\N\N
Dialogue: 0,0:48:52.00,0:49:41.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I'll give it this, the grainy\Nlow-res footage of Godzilla\Ndoes actually work - it feels\Nlike a historical\NdocumentaryEverything else in\Nthis movie, not so much\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}and sometimes the gel effects\Njust straight up work\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ that explains a lot\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ PRO-TIP: make most of\Nyour movie slow motion so you\Ncan hit the 90 minute runtime\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual people\Nactually dying in WWII,\Nthanks Cozzi, you piece of\Nshit.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ Eduigi Woodozzi\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}distributors apparently would\Nnot touch a movie that was\Nany shorter than 90 minutes,\Nso Cozzi had to pad the\Nruntime of the American cut\Nof the original film\N\N
Dialogue: 0,0:49:41.00,0:51:58.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}The 1954 music still whips\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I'll give it this, the grainy\Nlow-res footage of Godzilla\Ndoes actually work - it feels\Nlike a historical\NdocumentaryEverything else in\Nthis movie, not so much\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}and sometimes the gel effects\Njust straight up work\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ that explains a lot\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ PRO-TIP: make most of\Nyour movie slow motion so you\Ncan hit the 90 minute runtime\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual people\Nactually dying in WWII,\Nthanks Cozzi, you piece of\Nshit.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ Eduigi Woodozzi\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}distributors apparently would\Nnot touch a movie that was\Nany shorter than 90 minutes,\Nso Cozzi had to pad the\Nruntime of the American cut\Nof the original film\N\N
Dialogue: 0,0:51:58.00,0:53:51.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@Terencio Buona notte\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}The 1954 music still whips\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I'll give it this, the grainy\Nlow-res footage of Godzilla\Ndoes actually work - it feels\Nlike a historical\NdocumentaryEverything else in\Nthis movie, not so much\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}and sometimes the gel effects\Njust straight up work\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ that explains a lot\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ PRO-TIP: make most of\Nyour movie slow motion so you\Ncan hit the 90 minute runtime\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual people\Nactually dying in WWII,\Nthanks Cozzi, you piece of\Nshit.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ Eduigi Woodozzi\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}distributors apparently would\Nnot touch a movie that was\Nany shorter than 90 minutes,\Nso Cozzi had to pad the\Nruntime of the American cut\Nof the original film\N\N
Dialogue: 0,0:53:51.00,0:55:36.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}That Contra-Bassoon tho\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@Terencio Buona notte\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}The 1954 music still whips\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I'll give it this, the grainy\Nlow-res footage of Godzilla\Ndoes actually work - it feels\Nlike a historical\NdocumentaryEverything else in\Nthis movie, not so much\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}and sometimes the gel effects\Njust straight up work\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ that explains a lot\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ PRO-TIP: make most of\Nyour movie slow motion so you\Ncan hit the 90 minute runtime\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual people\Nactually dying in WWII,\Nthanks Cozzi, you piece of\Nshit.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ Eduigi Woodozzi\N\N
Dialogue: 0,0:55:36.00,0:56:02.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}"he's as tall as a 30-story\Nbuilding"[cuts to footage of\NGodzilla next to power lines\Nfor a very well-deifned scale\Nreference]film-making!\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}That Contra-Bassoon tho\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@Terencio Buona notte\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}The 1954 music still whips\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I'll give it this, the grainy\Nlow-res footage of Godzilla\Ndoes actually work - it feels\Nlike a historical\NdocumentaryEverything else in\Nthis movie, not so much\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}and sometimes the gel effects\Njust straight up work\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ that explains a lot\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ PRO-TIP: make most of\Nyour movie slow motion so you\Ncan hit the 90 minute runtime\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual people\Nactually dying in WWII,\Nthanks Cozzi, you piece of\Nshit.\N\N
Dialogue: 0,0:56:02.00,0:56:42.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla has a jingle\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}"he's as tall as a 30-story\Nbuilding"[cuts to footage of\NGodzilla next to power lines\Nfor a very well-deifned scale\Nreference]film-making!\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}That Contra-Bassoon tho\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@Terencio Buona notte\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}The 1954 music still whips\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I'll give it this, the grainy\Nlow-res footage of Godzilla\Ndoes actually work - it feels\Nlike a historical\NdocumentaryEverything else in\Nthis movie, not so much\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}and sometimes the gel effects\Njust straight up work\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ that explains a lot\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}@SnoopJ PRO-TIP: make most of\Nyour movie slow motion so you\Ncan hit the 90 minute runtime\N\N
Dialogue: 0,0:56:42.00,0:57:37.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona Eine kleine\Nleitmotif\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla has a jingle\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}"he's as tall as a 30-story\Nbuilding"[cuts to footage of\NGodzilla next to power lines\Nfor a very well-deifned scale\Nreference]film-making!\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}That Contra-Bassoon tho\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@Terencio Buona notte\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}The 1954 music still whips\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I'll give it this, the grainy\Nlow-res footage of Godzilla\Ndoes actually work - it feels\Nlike a historical\NdocumentaryEverything else in\Nthis movie, not so much\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}and sometimes the gel effects\Njust straight up work\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ that explains a lot\N\N
Dialogue: 0,0:57:37.00,0:57:51.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Why stop at incomprehensibly\Nbad, when it can also be\Nincomprehensible?" - Cozzi\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona Eine kleine\Nleitmotif\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla has a jingle\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}"he's as tall as a 30-story\Nbuilding"[cuts to footage of\NGodzilla next to power lines\Nfor a very well-deifned scale\Nreference]film-making!\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}That Contra-Bassoon tho\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@Terencio Buona notte\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}The 1954 music still whips\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I'll give it this, the grainy\Nlow-res footage of Godzilla\Ndoes actually work - it feels\Nlike a historical\NdocumentaryEverything else in\Nthis movie, not so much\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}and sometimes the gel effects\Njust straight up work\N\N
Dialogue: 0,0:57:51.00,0:59:06.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Was that an actual person\Nset on fire? You can guess,\Nbut you'll never know!" -\NCozzi\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Why stop at incomprehensibly\Nbad, when it can also be\Nincomprehensible?" - Cozzi\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona Eine kleine\Nleitmotif\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla has a jingle\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}"he's as tall as a 30-story\Nbuilding"[cuts to footage of\NGodzilla next to power lines\Nfor a very well-deifned scale\Nreference]film-making!\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}That Contra-Bassoon tho\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@Terencio Buona notte\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}The 1954 music still whips\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I'll give it this, the grainy\Nlow-res footage of Godzilla\Ndoes actually work - it feels\Nlike a historical\NdocumentaryEverything else in\Nthis movie, not so much\N\N
Dialogue: 0,0:59:06.00,0:59:40.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@SnoopJ It's the magazine\Npublishing building. They get\Nat least 30 stories out a\Nmonth.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Was that an actual person\Nset on fire? You can guess,\Nbut you'll never know!" -\NCozzi\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Why stop at incomprehensibly\Nbad, when it can also be\Nincomprehensible?" - Cozzi\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona Eine kleine\Nleitmotif\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla has a jingle\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}"he's as tall as a 30-story\Nbuilding"[cuts to footage of\NGodzilla next to power lines\Nfor a very well-deifned scale\Nreference]film-making!\N\N{\c&HDECCA8&}RandyunderscoreS\N{\c&HFFFFFF&}That Contra-Bassoon tho\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@Terencio Buona notte\N\N
Dialogue: 0,0:59:40.00,1:00:33.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}GOJIRA (1954) is such a\Nmoving film that even this\Ncough-syrup recut is not able\Nto suppress the chilling\Npower it contains\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@SnoopJ It's the magazine\Npublishing building. They get\Nat least 30 stories out a\Nmonth.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Was that an actual person\Nset on fire? You can guess,\Nbut you'll never know!" -\NCozzi\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Why stop at incomprehensibly\Nbad, when it can also be\Nincomprehensible?" - Cozzi\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona Eine kleine\Nleitmotif\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla has a jingle\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}"he's as tall as a 30-story\Nbuilding"[cuts to footage of\NGodzilla next to power lines\Nfor a very well-deifned scale\Nreference]film-making!\N\N
Dialogue: 0,1:00:33.00,1:00:57.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ well said\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}GOJIRA (1954) is such a\Nmoving film that even this\Ncough-syrup recut is not able\Nto suppress the chilling\Npower it contains\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@SnoopJ It's the magazine\Npublishing building. They get\Nat least 30 stories out a\Nmonth.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Was that an actual person\Nset on fire? You can guess,\Nbut you'll never know!" -\NCozzi\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Why stop at incomprehensibly\Nbad, when it can also be\Nincomprehensible?" - Cozzi\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona Eine kleine\Nleitmotif\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla has a jingle\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}"he's as tall as a 30-story\Nbuilding"[cuts to footage of\NGodzilla next to power lines\Nfor a very well-deifned scale\Nreference]film-making!\N\N
Dialogue: 0,1:00:57.00,1:03:06.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ wait did you mean the\N1957 French remake, or the\N1954 original?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ well said\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}GOJIRA (1954) is such a\Nmoving film that even this\Ncough-syrup recut is not able\Nto suppress the chilling\Npower it contains\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@SnoopJ It's the magazine\Npublishing building. They get\Nat least 30 stories out a\Nmonth.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Was that an actual person\Nset on fire? You can guess,\Nbut you'll never know!" -\NCozzi\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Why stop at incomprehensibly\Nbad, when it can also be\Nincomprehensible?" - Cozzi\N\N{\c&HFCAB6C&}klu9\N{\c&HFFFFFF&}@diazona Eine kleine\Nleitmotif\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla has a jingle\N\N
Dialogue: 0,1:03:06.00,1:04:13.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Still a nice shot (in motion,\Nwhere you can see him more\Nclearly).\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ wait did you mean the\N1957 French remake, or the\N1954 original?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ well said\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}GOJIRA (1954) is such a\Nmoving film that even this\Ncough-syrup recut is not able\Nto suppress the chilling\Npower it contains\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@SnoopJ It's the magazine\Npublishing building. They get\Nat least 30 stories out a\Nmonth.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Was that an actual person\Nset on fire? You can guess,\Nbut you'll never know!" -\NCozzi\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Why stop at incomprehensibly\Nbad, when it can also be\Nincomprehensible?" - Cozzi\N\N
Dialogue: 0,1:04:13.00,1:04:18.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}READY SETSEIZURE\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Still a nice shot (in motion,\Nwhere you can see him more\Nclearly).\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ wait did you mean the\N1957 French remake, or the\N1954 original?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ well said\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}GOJIRA (1954) is such a\Nmoving film that even this\Ncough-syrup recut is not able\Nto suppress the chilling\Npower it contains\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@SnoopJ It's the magazine\Npublishing building. They get\Nat least 30 stories out a\Nmonth.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Was that an actual person\Nset on fire? You can guess,\Nbut you'll never know!" -\NCozzi\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Why stop at incomprehensibly\Nbad, when it can also be\Nincomprehensible?" - Cozzi\N\N
Dialogue: 0,1:04:18.00,1:04:36.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Ah cool cool, I kinda\Nsuspected but I found that\Nthe 1957 version actually did\Nhave Steve Martin as a\Ncharacter so wasn't sure\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}READY SETSEIZURE\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Still a nice shot (in motion,\Nwhere you can see him more\Nclearly).\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ wait did you mean the\N1957 French remake, or the\N1954 original?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ well said\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}GOJIRA (1954) is such a\Nmoving film that even this\Ncough-syrup recut is not able\Nto suppress the chilling\Npower it contains\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}@SnoopJ It's the magazine\Npublishing building. They get\Nat least 30 stories out a\Nmonth.\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}"Was that an actual person\Nset on fire? You can guess,\Nbut you'll never know!" -\NCozzi\N\N
Dialogue: 0,1:04:36.00,1:05:15.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}cutting in WWII footage does\Nmake the failure of the\Nmilitary to respond to\NGodzilla more prominentlike\Nyea guys, AA into the clouds\Nis not very effective with a\Nkaiju who is decidedly not up\Nin the clouds\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Ah cool cool, I kinda\Nsuspected but I found that\Nthe 1957 version actually did\Nhave Steve Martin as a\Ncharacter so wasn't sure\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}READY SETSEIZURE\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Still a nice shot (in motion,\Nwhere you can see him more\Nclearly).\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ wait did you mean the\N1957 French remake, or the\N1954 original?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ well said\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}GOJIRA (1954) is such a\Nmoving film that even this\Ncough-syrup recut is not able\Nto suppress the chilling\Npower it contains\N\N
Dialogue: 0,1:05:15.00,1:05:42.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Not the worst job with\Ncolorization of Godzilla's\Nattack, honestly\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}cutting in WWII footage does\Nmake the failure of the\Nmilitary to respond to\NGodzilla more prominentlike\Nyea guys, AA into the clouds\Nis not very effective with a\Nkaiju who is decidedly not up\Nin the clouds\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Ah cool cool, I kinda\Nsuspected but I found that\Nthe 1957 version actually did\Nhave Steve Martin as a\Ncharacter so wasn't sure\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}READY SETSEIZURE\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Still a nice shot (in motion,\Nwhere you can see him more\Nclearly).\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ wait did you mean the\N1957 French remake, or the\N1954 original?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ well said\N\N
Dialogue: 0,1:05:42.00,1:07:08.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Me neither until I\Nlooked it up on\NIMDBDefinitely a possibility,\Nalthough I'm worried it'd\Nhave a lot of the same issues\Nas what we're watching now\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Not the worst job with\Ncolorization of Godzilla's\Nattack, honestly\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}cutting in WWII footage does\Nmake the failure of the\Nmilitary to respond to\NGodzilla more prominentlike\Nyea guys, AA into the clouds\Nis not very effective with a\Nkaiju who is decidedly not up\Nin the clouds\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Ah cool cool, I kinda\Nsuspected but I found that\Nthe 1957 version actually did\Nhave Steve Martin as a\Ncharacter so wasn't sure\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}READY SETSEIZURE\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}Still a nice shot (in motion,\Nwhere you can see him more\Nclearly).\N\N
Dialogue: 0,1:07:08.00,1:07:12.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Can't wait to see Burr doing\Nstandup and playing\Nbanjo.That's going to happen\Nsoon, right?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Me neither until I\Nlooked it up on\NIMDBDefinitely a possibility,\Nalthough I'm worried it'd\Nhave a lot of the same issues\Nas what we're watching now\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Not the worst job with\Ncolorization of Godzilla's\Nattack, honestly\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}cutting in WWII footage does\Nmake the failure of the\Nmilitary to respond to\NGodzilla more prominentlike\Nyea guys, AA into the clouds\Nis not very effective with a\Nkaiju who is decidedly not up\Nin the clouds\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Ah cool cool, I kinda\Nsuspected but I found that\Nthe 1957 version actually did\Nhave Steve Martin as a\Ncharacter so wasn't sure\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}READY SETSEIZURE\N\N
Dialogue: 0,1:07:12.00,1:08:50.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This movie's best moments all\Ncome straight from another\Nmovie\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Can't wait to see Burr doing\Nstandup and playing\Nbanjo.That's going to happen\Nsoon, right?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Me neither until I\Nlooked it up on\NIMDBDefinitely a possibility,\Nalthough I'm worried it'd\Nhave a lot of the same issues\Nas what we're watching now\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Not the worst job with\Ncolorization of Godzilla's\Nattack, honestly\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}cutting in WWII footage does\Nmake the failure of the\Nmilitary to respond to\NGodzilla more prominentlike\Nyea guys, AA into the clouds\Nis not very effective with a\Nkaiju who is decidedly not up\Nin the clouds\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Ah cool cool, I kinda\Nsuspected but I found that\Nthe 1957 version actually did\Nhave Steve Martin as a\Ncharacter so wasn't sure\N\N
Dialogue: 0,1:08:50.00,1:09:10.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Steve Martin: “It’s these\Ncans! He hates these cans!”\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This movie's best moments all\Ncome straight from another\Nmovie\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Can't wait to see Burr doing\Nstandup and playing\Nbanjo.That's going to happen\Nsoon, right?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Me neither until I\Nlooked it up on\NIMDBDefinitely a possibility,\Nalthough I'm worried it'd\Nhave a lot of the same issues\Nas what we're watching now\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Not the worst job with\Ncolorization of Godzilla's\Nattack, honestly\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}cutting in WWII footage does\Nmake the failure of the\Nmilitary to respond to\NGodzilla more prominentlike\Nyea guys, AA into the clouds\Nis not very effective with a\Nkaiju who is decidedly not up\Nin the clouds\N\N
Dialogue: 0,1:09:10.00,1:10:40.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}@diazona No, it's really not.\NIt's a combination of\Nsurreality and blood, and...\Nit kinda works.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Steve Martin: “It’s these\Ncans! He hates these cans!”\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This movie's best moments all\Ncome straight from another\Nmovie\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Can't wait to see Burr doing\Nstandup and playing\Nbanjo.That's going to happen\Nsoon, right?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Me neither until I\Nlooked it up on\NIMDBDefinitely a possibility,\Nalthough I'm worried it'd\Nhave a lot of the same issues\Nas what we're watching now\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Not the worst job with\Ncolorization of Godzilla's\Nattack, honestly\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}cutting in WWII footage does\Nmake the failure of the\Nmilitary to respond to\NGodzilla more prominentlike\Nyea guys, AA into the clouds\Nis not very effective with a\Nkaiju who is decidedly not up\Nin the clouds\N\N
Dialogue: 0,1:10:40.00,1:14:01.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual corpses\Nagain.Fuck it, I'm out.\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}fuck you Cozzi\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}@diazona No, it's really not.\NIt's a combination of\Nsurreality and blood, and...\Nit kinda works.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Steve Martin: “It’s these\Ncans! He hates these cans!”\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This movie's best moments all\Ncome straight from another\Nmovie\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Can't wait to see Burr doing\Nstandup and playing\Nbanjo.That's going to happen\Nsoon, right?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Me neither until I\Nlooked it up on\NIMDBDefinitely a possibility,\Nalthough I'm worried it'd\Nhave a lot of the same issues\Nas what we're watching now\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Not the worst job with\Ncolorization of Godzilla's\Nattack, honestly\N\N
Dialogue: 0,1:14:01.00,1:17:16.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I gotta say, this focus on\Nthe injured and dead people\Nin the aftermath of\NGodzilla's attack does not\Nreally fit with the vibe of\Nthe original movie\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual corpses\Nagain.Fuck it, I'm out.\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}fuck you Cozzi\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}@diazona No, it's really not.\NIt's a combination of\Nsurreality and blood, and...\Nit kinda works.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Steve Martin: “It’s these\Ncans! He hates these cans!”\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}This movie's best moments all\Ncome straight from another\Nmovie\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Can't wait to see Burr doing\Nstandup and playing\Nbanjo.That's going to happen\Nsoon, right?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@SnoopJ Me neither until I\Nlooked it up on\NIMDBDefinitely a possibility,\Nalthough I'm worried it'd\Nhave a lot of the same issues\Nas what we're watching now\N\N
Dialogue: 0,1:17:16.00,1:18:05.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the horror of the fish\Ngetting all oxygen destroyed\Nkinda hits different after\Nthe dickhead director has\Nshown you footage of actual\Nwartime corpsestrampling all\Nover the original film's art\Nof leaving the worst of the\Nhorror *implied*, inviting\Nthe viewer to reflect on that\Nhorror and draw comparisons\Nfor themselves\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I gotta say, this focus on\Nthe injured and dead people\Nin the aftermath of\NGodzilla's attack does not\Nreally fit with the vibe of\Nthe original movie\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual corpses\Nagain.Fuck it, I'm out.\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}fuck you Cozzi\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}@diazona No, it's really not.\NIt's a combination of\Nsurreality and blood, and...\Nit kinda works.\N\N{\c&H9FD65F&} J Riley \N{\c&HFFFFFF&}Steve Martin: “It’s these\Ncans! He hates these cans!”\N\N
Dialogue: 0,1:18:05.00,1:19:58.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}"I told Ogawa and Steve"\Noofone of these men is not\Nlike the otherone man's in\Nit, one man's not\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the horror of the fish\Ngetting all oxygen destroyed\Nkinda hits different after\Nthe dickhead director has\Nshown you footage of actual\Nwartime corpsestrampling all\Nover the original film's art\Nof leaving the worst of the\Nhorror *implied*, inviting\Nthe viewer to reflect on that\Nhorror and draw comparisons\Nfor themselves\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I gotta say, this focus on\Nthe injured and dead people\Nin the aftermath of\NGodzilla's attack does not\Nreally fit with the vibe of\Nthe original movie\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual corpses\Nagain.Fuck it, I'm out.\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}fuck you Cozzi\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}@diazona No, it's really not.\NIt's a combination of\Nsurreality and blood, and...\Nit kinda works.\N\N
Dialogue: 0,1:19:58.00,1:21:08.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}, Cozzi replayed footage from\Nthe same movie for a padded\Nexposition.\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}"I told Ogawa and Steve"\Noofone of these men is not\Nlike the otherone man's in\Nit, one man's not\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the horror of the fish\Ngetting all oxygen destroyed\Nkinda hits different after\Nthe dickhead director has\Nshown you footage of actual\Nwartime corpsestrampling all\Nover the original film's art\Nof leaving the worst of the\Nhorror *implied*, inviting\Nthe viewer to reflect on that\Nhorror and draw comparisons\Nfor themselves\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I gotta say, this focus on\Nthe injured and dead people\Nin the aftermath of\NGodzilla's attack does not\Nreally fit with the vibe of\Nthe original movie\N\N{\c&H345D56&}Plaid\N{\c&HFFFFFF&}Hey look, actual corpses\Nagain.Fuck it, I'm out.\N\N
Dialogue: 0,1:21:08.00,1:23:01.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}just amazing to see Cozzi's\Ncrude bullshit juxtaposed\Nagainst like, actual\Nfilmmakingthe only strong\Nreaction Cozzi's crude\Ncontributions to "gosh look\Nhow bad this is" elicit is\Ndisgust\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}, Cozzi replayed footage from\Nthe same movie for a padded\Nexposition.\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}"I told Ogawa and Steve"\Noofone of these men is not\Nlike the otherone man's in\Nit, one man's not\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the horror of the fish\Ngetting all oxygen destroyed\Nkinda hits different after\Nthe dickhead director has\Nshown you footage of actual\Nwartime corpsestrampling all\Nover the original film's art\Nof leaving the worst of the\Nhorror *implied*, inviting\Nthe viewer to reflect on that\Nhorror and draw comparisons\Nfor themselves\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}I gotta say, this focus on\Nthe injured and dead people\Nin the aftermath of\NGodzilla's attack does not\Nreally fit with the vibe of\Nthe original movie\N\N
Dialogue: 0,1:23:01.00,1:23:48.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Nothing like a children's\Nchoir for manufacturing drama\N/s\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}just amazing to see Cozzi's\Ncrude bullshit juxtaposed\Nagainst like, actual\Nfilmmakingthe only strong\Nreaction Cozzi's crude\Ncontributions to "gosh look\Nhow bad this is" elicit is\Ndisgust\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}, Cozzi replayed footage from\Nthe same movie for a padded\Nexposition.\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}"I told Ogawa and Steve"\Noofone of these men is not\Nlike the otherone man's in\Nit, one man's not\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the horror of the fish\Ngetting all oxygen destroyed\Nkinda hits different after\Nthe dickhead director has\Nshown you footage of actual\Nwartime corpsestrampling all\Nover the original film's art\Nof leaving the worst of the\Nhorror *implied*, inviting\Nthe viewer to reflect on that\Nhorror and draw comparisons\Nfor themselves\N\N
Dialogue: 0,1:23:48.00,1:26:54.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}TENTACLES!!!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Nothing like a children's\Nchoir for manufacturing drama\N/s\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}just amazing to see Cozzi's\Ncrude bullshit juxtaposed\Nagainst like, actual\Nfilmmakingthe only strong\Nreaction Cozzi's crude\Ncontributions to "gosh look\Nhow bad this is" elicit is\Ndisgust\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}, Cozzi replayed footage from\Nthe same movie for a padded\Nexposition.\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}"I told Ogawa and Steve"\Noofone of these men is not\Nlike the otherone man's in\Nit, one man's not\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the horror of the fish\Ngetting all oxygen destroyed\Nkinda hits different after\Nthe dickhead director has\Nshown you footage of actual\Nwartime corpsestrampling all\Nover the original film's art\Nof leaving the worst of the\Nhorror *implied*, inviting\Nthe viewer to reflect on that\Nhorror and draw comparisons\Nfor themselves\N\N
Dialogue: 0,1:26:54.00,1:28:41.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&HEBB5D2&}Brad\N{\c&HFFFFFF&}Is Cozzilla a “mondo”\Nfilm?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}TENTACLES!!!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Nothing like a children's\Nchoir for manufacturing drama\N/s\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}just amazing to see Cozzi's\Ncrude bullshit juxtaposed\Nagainst like, actual\Nfilmmakingthe only strong\Nreaction Cozzi's crude\Ncontributions to "gosh look\Nhow bad this is" elicit is\Ndisgust\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}, Cozzi replayed footage from\Nthe same movie for a padded\Nexposition.\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}"I told Ogawa and Steve"\Noofone of these men is not\Nlike the otherone man's in\Nit, one man's not\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}the horror of the fish\Ngetting all oxygen destroyed\Nkinda hits different after\Nthe dickhead director has\Nshown you footage of actual\Nwartime corpsestrampling all\Nover the original film's art\Nof leaving the worst of the\Nhorror *implied*, inviting\Nthe viewer to reflect on that\Nhorror and draw comparisons\Nfor themselves\N\N
Dialogue: 0,1:28:41.00,1:34:11.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@strangefour And the water\Nturns orange, apparently\N\N{\c&HEBB5D2&}Brad\N{\c&HFFFFFF&}Is Cozzilla a “mondo”\Nfilm?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}TENTACLES!!!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Nothing like a children's\Nchoir for manufacturing drama\N/s\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}just amazing to see Cozzi's\Ncrude bullshit juxtaposed\Nagainst like, actual\Nfilmmakingthe only strong\Nreaction Cozzi's crude\Ncontributions to "gosh look\Nhow bad this is" elicit is\Ndisgust\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}, Cozzi replayed footage from\Nthe same movie for a padded\Nexposition.\N\N{\c&HD7D8F2&}Solarbird :flagcascadia:\N{\c&HFFFFFF&}"I told Ogawa and Steve"\Noofone of these men is not\Nlike the otherone man's in\Nit, one man's not\N\N
Dialogue: 0,1:34:11.00,1:34:58.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla being killed off by\Noxygen-deprived water that\Nhis head is sticking up out\Nof ‍\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@strangefour And the water\Nturns orange, apparently\N\N{\c&HEBB5D2&}Brad\N{\c&HFFFFFF&}Is Cozzilla a “mondo”\Nfilm?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}TENTACLES!!!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Nothing like a children's\Nchoir for manufacturing drama\N/s\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}just amazing to see Cozzi's\Ncrude bullshit juxtaposed\Nagainst like, actual\Nfilmmakingthe only strong\Nreaction Cozzi's crude\Ncontributions to "gosh look\Nhow bad this is" elicit is\Ndisgust\N\N{\c&H74E6C8&}motherofbiscuits\N{\c&HFFFFFF&}, Cozzi replayed footage from\Nthe same movie for a padded\Nexposition.\N\N
Dialogue: 0,1:34:58.00,1:35:17.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H4E966E&}bobert\N{\c&HFFFFFF&}And now he can be killed by\Nartillery because we want to\Nuse all our amazing WW2\Nfootage that goes bang. Eh.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla being killed off by\Noxygen-deprived water that\Nhis head is sticking up out\Nof ‍\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@strangefour And the water\Nturns orange, apparently\N\N{\c&HEBB5D2&}Brad\N{\c&HFFFFFF&}Is Cozzilla a “mondo”\Nfilm?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}TENTACLES!!!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Nothing like a children's\Nchoir for manufacturing drama\N/s\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}just amazing to see Cozzi's\Ncrude bullshit juxtaposed\Nagainst like, actual\Nfilmmakingthe only strong\Nreaction Cozzi's crude\Ncontributions to "gosh look\Nhow bad this is" elicit is\Ndisgust\N\N
Dialogue: 0,1:35:17.00,1:35:44.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Most dramatic bubbles everor,\Nso says the soundtrack\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}And now he can be killed by\Nartillery because we want to\Nuse all our amazing WW2\Nfootage that goes bang. Eh.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla being killed off by\Noxygen-deprived water that\Nhis head is sticking up out\Nof ‍\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@strangefour And the water\Nturns orange, apparently\N\N{\c&HEBB5D2&}Brad\N{\c&HFFFFFF&}Is Cozzilla a “mondo”\Nfilm?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}TENTACLES!!!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Nothing like a children's\Nchoir for manufacturing drama\N/s\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}just amazing to see Cozzi's\Ncrude bullshit juxtaposed\Nagainst like, actual\Nfilmmakingthe only strong\Nreaction Cozzi's crude\Ncontributions to "gosh look\Nhow bad this is" elicit is\Ndisgust\N\N
Dialogue: 0,1:35:44.00,1:36:00.00,Default,,0,0,0,,{\pos(20,20)}{\an7}{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Most dramatic bubbles everor,\Nso says the soundtrack\N\N{\c&H4E966E&}bobert\N{\c&HFFFFFF&}And now he can be killed by\Nartillery because we want to\Nuse all our amazing WW2\Nfootage that goes bang. Eh.\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Godzilla being killed off by\Noxygen-deprived water that\Nhis head is sticking up out\Nof ‍\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}@strangefour And the water\Nturns orange, apparently\N\N{\c&HEBB5D2&}Brad\N{\c&HFFFFFF&}Is Cozzilla a “mondo”\Nfilm?\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}TENTACLES!!!\N\N{\c&H636399&}David Zaslavsky\N{\c&HFFFFFF&}Nothing like a children's\Nchoir for manufacturing drama\N/s\N\N{\c&H6A4A33&}SnoopJ\N{\c&HFFFFFF&}just amazing to see Cozzi's\Ncrude bullshit juxtaposed\Nagainst like, actual\Nfilmmakingthe only strong\Nreaction Cozzi's crude\Ncontributions to "gosh look\Nhow bad this is" elicit is\Ndisgust\N\N