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In a career spanning five decades, Tsuburaya worked on approximately 250 filmsincluding globally renowned features directed by Ishir Honda, Hiroshi Inagaki, and Akira Kurosawaand earned six Japan Technical Awards. Over the years, there have been disputes over this account. Thunder - Cast: !Inferno - Cast: !Ice - Cast: ! At the age of thirty-two, Tsuburaya watched King Kong, which greatly influenced him to work in special effects. Eiji Tsuburaya was born Eiichi Tsumuraya ( , Tsumuraya Eiichi)[a] on July 7, 1901,[b] at a merchant house called tsukaya in Sukagawa, Iwase, Fukushima Prefecture, where his family ran a malted rice business. Deals 2 damage/sec to anyone close and lifesteal if you hit them. Known as the "Father of Tokusatsu",[6][d] he pioneered Japan's special effects industry, introducing several technological developments in film productions. [341], "Eiji is a true inspiration, and a one of a kind innovator of special effects, the likes of which we'll probably never see again in cinema. A witness of the incident, named Masano Araki, was one of the first people to run to his aid: she visited Tsuburaya daily while he was hospitalized, and the pair formed a relationship shortly thereafter. [254], Following Frankenstein vs. Baragon, Tsuburaya quickly moved on to his next film, Kengo Furusawa's The Crazy Adventure,[255] produced in celebration of the tenth anniversary of the Crazy Cats comedy group. It is worth noting that some racial abilities may also give the same de-buffs without the use of a cast, such as a Shinigami's burst applying the dark effect or fire breathing applying the fire effect. [253], After post-production on the film was finalized for its Japanese release, held two days after the twentieth anniversary of the Hiroshima atomic bombing (August 8, 1965), American co-producer Henry G. Saperstein asked for Toho to film a new ending for the U.S. version: Tsuburaya and Honda, accordingly, re-assembled the cast and crew to shoot the new ending, although it was eventually left unused in both American and Japanese iterations of the motion picture. [g] Tsuburaya reportedly paid homage to producer George Pal's Destination Moon (1950) in the film's moon landing sequence; he would later meet Pal in Los Angeles in 1962. [113], Toho's next assignment for Tsuburaya was Rodan, the first kaiju film ever produced in color. Magic is a system that is useable through incantations and hotkeys. Most of the direction he gave me for the performances was, 'I trust you to do it. "[367] Later that year, filmmaker Minoru Kawasaki began filming Monster Seafood Wars, a kaiju film loosely based on his unmade film prior to production of Godzilla. [156] Storm Over the Pacific obtained critical acclaim upon its release, with numerous of Tsuburaya's effects sequences being later featured in Midway (1976), a film by Jack Smight that was also about the Pacific War. However, Toho executives (such as Iwao Mori) urged Tsuburaya to feature gore in his kaiju films during the late 1960s due to the success of the popularity of juvenile-targeted television shows that featured an increase in violent content, with even Tsuburaya's own shows Ultraman and Ultraseven depicting heroes decapitating, slashing, chopping, or otherwise injuring their monster adversaries. [256][257] Inspired by popular spy films of the time,[258] Tsuburaya's department extensively used "wire action" in outdoor locations, while lead actor Hitoshi Ueki performed most of the movie's action sequences without any stunts.