KING KONG VS GIGANTOSAURUS HOMEPAGE!!
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Copyright © 2002
WEATHER AND GEOLOGICAL SURVEYS
Destinations & Money
THE OFFICIAL "KKXG: KING KONG VS GIGANTOSAURUS" HOMEPAGEREGISTERED COPYRIGHT © 2006-2012 ALAN COLOSI. This page is designed for 1680 x 1050 pixel resolution monitors.
VAMPIRE MILITARY POLICE!! KKXG: KING KONG VS GIGANTOSAURUS!!
All Prima Facie US Registered Copyrights, incluidng those certified on June 12, 2011 TXu001767476; and June 12, 2012 (pending)
ALL AVAILABLE ON AMAZON.COM, THE AMAZON KINDLE, AND AMAZON JAPAN!!
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THE MAKING OF ***KKXG***KKXG: KING KONG VS GIGANTOSAURUS (The Book): WORDS: 94,808 PAGES: 326 (FINAL)
PUBLISHER STATUS: AUTHORIZED (THE ONE) -- 釈由美子さんの考えと知識への小説。 カイリー・ミノーグへも。
In the original KKXG Godzilla version, First Lt. Akane Yashiro (Shaku Yumiko 釈由美子) returned for the next round.
-- KKXG: KING KONG VS GIGANTOSAURUS (US Only - EXTENDED Version): WORDS: WORDS: 44,875, PAGES: 205.53, CAMERA SHOTS: 404. (SUBMITTED)
-- KKXG: KING KONG VS GIGANTOSAURUS (US and Japan EXTENDED Version) - WORDS: 50,969, PAGES: 225.28, CAMERA SHOTS: 421. (SUBMITTED)
-- KKXG: KING KONG VS GODZILLA (Original EXTENDED Version) - WORDS: 48,766, PAGES: 213.50, CAMERA SHOTS: 422. (SUBMITTED)
The KKXG: KING KONG VS GIGANTOSAURUS (US and Japan EXTENDED Version) - WORDS: 50,969, PAGES: 225.28, CAMERA SHOTS: 421. (SUBMITTED) has also been converted into the novel for publication. The first draft of the novel was finished on June 12, 2009. PRESENT TIME: The US Copyright Office initiated the certification for the final US registered copyright on June 12, 2010---a one-in-a-trillion chance for that to occur. But then that holy US Registered Copyright arrived in my mailbox as close to humanly possible to June 12, 2011 (Sunday), the direct morning on Monday at 9:00 AM---a one-in-three trillion chance for that to occur. Finally, the US Registered Copyright for the prequel, "Captain Yuriko Kumage", was physically certified on June 12, 2011 and stamped on August 30, 2011---that's a one-in-ten trillion chance!! This content is blessed by God.
The first edition of the KKXG novel is available for sale on all Amazon International sites. On Amazon.com (US) the paperback is $16.12, and on The Amazon Kindle, the e-book is a respectable $6.12. The Apple Ipad, Iphone, or Ipod Touch can also buy it with the appropriate free Amazon Kindle application through Apple's Istore. A final version of the book has been submitted to the strongest agents for its next step---worldwide major distribution through a major publisher. Access the KKXG BLOG or THE YURIKO KUMAGE - BUSINESS NEWS ROUNDUP for daily updates.
The main character in the original Godzilla version is First Lt. Akane Yashiro (portrayed by actress Shaku Yumiko 釈由美子). Shaku, her surname, knows everything about the screenplays, the finished manuscript and NOW---the complete book. She's right beside it, in case anyone can't even conceptualize that reality, let alone understand Japanese. The scripts contain numerous Japanese language scenes as bilingual English translations. Additionally, there does not exist any written "green screen" shots, leaving it to be amended by a director and/or producer. That leaves amendments available to shorten or enlarge the script from the number of pages listed. The KKXG: KING KONG VS GIGANTOSAURUS (US Only Screenplay Version) contains only American characters, American backdrops, American issues and is only in the English language. I am the screenwriter, author, prima facie registered copyright owner, and creator of the stories. I am also the creator and owner of the Gigantosaurus character, a different character that is NOT Godzilla.
The script and book took more than nine (9+) years since the idea inception, seven (7) years to create (I work on it everyday, still today) and naturally four (4) years from 09/12/2001 to come to finalize the link with the previous films. For the manuscript (first draft), the total was 93 months to the Japan Standard Time (JST) day, from inception. After receiving the official acknowledgement from Shaku's entire team, face to face, I can now make the information public and legally shop the script in America and Japan. Naturally, characters owned and trademarked by Toho Co. Ltd. (TSE 9602:JP) cannot be used by other producers in the United States unless they buy the rights to those characters. However, in the Gigantosaurus story, all characters have been recreated and the story altered and detached in order to not link the previous films. The original Godzilla script exists for the linkage. That makes "KKXG: King Kong vs Gigantosaurus" not a sequel and completely original. Only the USA ONLY version removes the Japanese locations and a super majority of the Japanese language scenes, making it shorter and less costly.
This file explains the complete development of the story, the script, the interest, the push, the frustration, the mathematics (investment business strategy), the law, the rumors, and how---if produced correctly and distributed correctly can make MORE THAN $1 Billion USD (now). Shaku Yumiko wants to be kept informed as to the success of this entire project, period.
Yashiro (Shaku Yumiko 釈由美子). Time for an education, boys and girls.
After graduation from Boston University, Cum Laude in Computer Science with Japanese as a foreign language, the economy, albeit in a Wall Street tumble, was great for graduates. I continued going to Japan with affordable airfare, yet at the same time, slowly paying off my massive college loan. I met many, many friends in Japan and continued to stay in touch. I decided one perfect time to land in Japan was on September 12, 2001, which would have required I fly American Airlines Flight 11. Instead, last minute, I decided to fly a week earlier and onward to Bangkok, not telling anyone. If anyone knows what it felt like going into Tokyo, and then finding out airplanes were hijacked from your own airport and flown into The World Trade Center with all your friends assuming you were "on your way" from Boston, MA to Japan, with all the flights, all over the world cancelled, and there you were, one of the only Americans flying from Boston landing into Tokyo, Narita airport---if not the only one---you close your eyes and contemplate what you want to do, if you were to survive this. My email inbox was flooded with mail from every person that knew of my existence that day asking me "if I was all right", "what happened". Shock, horror, it was frightening. Chaos at the airport, except in the arrivals area where it was empty. That day I knew what it felt like to be dead. I have all the boarding passes and the stamp in my passport to prove it. I closed my eyes and made a wish on that airplane, I made a thought, a wish, whatever you want to call it. Only one person will ever know what I saw when I opened my eyes.
The idea for KKXG was created at that moment, on the jet. All my friends from Tokyo, Osaka, and Sendai held these huge dinners for me, thanking any creator or any reason I was alive. It was fascinating, but to me, it was not a time for celebration, but a time for action. I had an idea that was to everyone else, impossible, but I had no choice but to implement it and keep it secret. Slowly, as the years progressed, I attempted to get it out and convince people. What a learning experience between action and non-action. Everyone wants to hear about it, no one wants to take action with me and make it real. Not one can conceive what I already know.
The events of September 11, 2001 did not in any way stop me from flying to Japan. In fact, it increased to a monthly basis, sometimes twice a month on my dime (i.e.: I paid for it). Not too long after the 9/11 tragedy, "GMK: Godzilla, Mothra, King Ghidorah - Giant Monsters All Out Attack 2002" was released in November 2001 at The Tokyo International Film Festival, and I managed to get a 3rd row seat, thanks to my good otaku friends (i.e.: "otoku" high interest fans in a particular genre). As I watched the film and sat there, all that went through my mind was how to create a correct story for KING KONG VS GODZILLA. It's obvious that such a story, linking the United States and Japan, based on mutual exclusion, would be very difficult. However GMK, which was a terrific movie, gave me one of the many ideas required. I put the idea in my head and moved on. Create a semaphore.
After monthly trips to Japan, "GXMG: Godzilla vs MechaGodzilla 2003" was finally released and it was the first Godzilla movie produced after September 11, 2001 starring Shaku Yumiko as the lead after her "Princess Blade" film. Written by Wataru Mimura, it's obvious Shaku made the complete character development for the film herself. Again with 3rd row seats at the next Tokyo International Film Festival, one year later, I watched the film with new characters like Kiryu (aka: MechaGodzilla), Akane Yashiro, Hayato Igarashi and a different form of Godzilla. At the end I met Mr. Shougo Tomiyama, the producer of the film and President of Toho Eiga where he asked me personally what I thought of MechaGodzilla. And I told him, it was good as I tried to figure out if Kiryu was a sentient being and if so then he has his rights. My otoku friend, who was with me, became totally scared of the situation.
In Yurakucho, one month later in December for the wide release premier, another 3rd row seat at a different theater. This time Shaku Yumiko was there and I received a strong, very long eye-to-eye contact with her while she was wearing that Akane Yashiro "uniform". Another actor explained to her something about me in her ear and she kept looking. She never stopped. It was sad, in a way. Because now I'm in a position where I have an otoku-fan representing me whom was not a business elite, and here I have Shaku Yumiko ready to do business with me when I am creating KKXG. Now I had a more professional problem. Everyone knows me, my friend is too otoku and I have two, mutually exclusive Godzilla ideas from two (2) different films (aka: GMK and GXMG). How can I include two (2) mutually exclusive Godzilla movie ideas (GMK & GXMG) into another separate mutually exclusive King Kong story where only one Godzilla is required? And with Shaku Yumiko's complete involvement too--especially for what she did with the Akane Yashiro character? I'll find something. I'll find a way or make a way. As Sumner Redstone, Chairman of Viacom and my very first employer, once said to me, "working with (a J-Idol) will be the least of your problems."
Another year passes, and more monthly trips to Japan commence. Shaku is doing "Sky High" in both film and Japanese television. My otaku friends have no solidified media experience (and I have loads.....TONS). It's Japan, not America. It's different. Where are my business friends, around a corner? I'm separated from where I belong. It's hard and I can't figure it out. And with economic developments, my otaku friends start going their own separate ways with their own families---the economy is getting worse, and yes, the interest of these movies start to deteriorate (and it is an outside force that requires computer science to understand it). Maybe they are getting older, while I am getting "younger"? Nevertheless, Toho releases "GMMG: Godzilla Mothra MechaGodzilla - Tokyo S.O.S. 2004" as a direct sequel to "GXMG: Godzilla vs MechaGodzilla 2003", but no mention, anywhere, of Shaku Yumiko. What kind of business collapse went on there? The woman who singlehandedly saved GXMG, is no where to be found in the sequel? That's like Carrie Fisher not in "The Empire Strikes Back", if you ask me. Now it's my 3rd Tokyo International Film Festival, but this time no one could go. Therefore I had to do the entire way of getting a ticket by myself, with no English, all Japanese. Does anyone see how important a college education is? When everything goes against you, you have your education to fall back on---and it's such an advantage that pays off in the end. I did it, I got in for the premier. I watched the film and by the Grace of God, the door opens for a KKXG story! Shaku Yumiko **is** in the film portraying Akane Yashiro. In the plot, they send her to The United States, under orders for "additional training". YES! She's coming home. A link. I've got the one an only character made by Shaku Yumiko. But what is the real Shaku Yumiko going to do over the next 4 - 5 years? 10 years? I am not otaku-fan, I am business, a writer, and an original creator. Real business with real people. Good people, bad people, smart people and stupid people. Just like any other business. I got it.
Now all these KKXG ideas pop into my head like never before, and they come in as separate raw scenes---all in seperate areas of the story. I have to link them. Now I have too many ideas. I've got a POV character. A protagonist (Yashiro). An antagonist. And more characters come to mind. I can link "GXMG: Godzilla vs MechaGodzilla 2003" and "GMMG: Godzilla Mothra MechaGodzilla - Tokyo S.O.S. 2004", and I can link it in a way, which doesn't have to be a sequel, if I choose the concept to be that way. I've got something. But it's all in my head, it's not on paper. Later in time at another "get together" with my otoku friends (good fans and good people sharing similar interests and ideas---let's not take anything away here), I pop out the storyline. The response. "Woah, ALAN! That's a very original idea." If that is the initial reaction, then I have to find a way to link these ideas once and for all to see if I can go through the entire story in my head from beginning to end. And I did it, on an American Airlines flight in economy class going to Japan---yep, economy class (I had to get Executive Platinum status too). The entire story fit, beginning, middle, and end, all the entire fight scenes, everything. I did it! YEAH! But there is a problem. It now *********BURNS********* in my head and I have to release this to paper. I've written six (6) other movie scripts and the business of shopping four point five (4.5) of them with titles that no one gave a damn about is an experience in itself. Six (6) stories. But this time, I have a title that shops itself, that's creates automatic demand. I'm one man with a group of otaku friends. Where are the business executives? Where are the banks? Where is the money? My friends can't go over the edge for me, they have families to attend to. To conceive millions of dollars as if it were play money is not rational to them. And if they try, the business will get to them faster to quit than will it ever get to me to stay forever. They won't go toward Shaku, it will look like they are "chasing after a model" (absolutely ridiculous)!! Well, let's take this one step at a time. Toho is releasing the 50th Anniversary Godzilla movie........it ends up as a money loser. A big-time loser.
A $20 million investment that makes only $8 million, "GFW: Godzilla Final Wars 2005". But I actually got in the film itself---as an "important extra and made the cut"---and I did it the hard way!! My otaku-friends did helped and deserve most of that credit. It's the United Nations scene and I'm the first (and only) foreigner sitting with all the Japanese suits that represent "all the countries" (ehh?)! I'm in it for 1 second, the first cut breaking to the audience. I would have been in it for three (3) seconds had one of my otoku friends not lean forward as if he were written in the script for an Academy Award, but there it is. I'm in. They decided to use my cut, done deal and a smart move. Ironic too, they filmed that scene at Tokyo Big Site for one full day, the day President Ronald Reagan passed away, so I did it for The Gipper. I also required the entire day to actually encompass the feel of being inside an actual Japanese Godzilla film, so I could incorporate that feel inside the KKXG story. One cannot write a Japanese "Godzilla" story correctly (and that includes surpassing those written with a lack of conceptual ideas) without being inside a Japanese Godzilla story with the Japanese. Mandatory requirement---all others immediately fail. At the end, I even stood up and saluted for AMERICA. No one figured out what I was doing. No one knew, my President Ronald Reagan passed away.
Toho had to feed all of us for that shoot and with a bento meal (rice, egg, sausage, deep fried chicken, Japanese plums and vegetables and wonderful "O~iocha" (tasty roasted tea). Then all of a sudden, Shougo Tomiyama comes walking in, looks at all the Japanese eating and then, bang! Eye contact with me. Here is me, "Mr.Wonderful", doing his best Matt Damon, "Good Will Hunting" smiling impersonation, and looking straight at The President of Toho Eiga---the producer, and co-screenwriter of this film---with chopsticks (hashi) in my hand. He looks up and all he is thinking is deal making. Yeah, I got KKXG, but my otaku friends CANNOT represent me as a manager---as we find out later.
GFW is shown at Yurakucho in December and my otaku friends couldn't make it. Imagine that, they get in the cut, and don't even go. I worked my butt off, with a huge risk, and they didn't even show-up. Would Sylvester Stallone pushing "Rocky" do that? Maybe the movie must have sucked, or maybe that Rodan scene was disrespectful to the 9/11 tragedy. Nevertheless, I had yet to see it; therefore, I had to get the ticket (again) all by myself, all in Japanese, through the gauntlet; but this time I had to get the 2nd showing, the first one is sold out. No big deal. And what happens as I wait in line for the second showing? At the end of the first showing, Shougo Tomiyama comes out from the front door and is mobbed by people and business men giving him their business cards (i.e.: meishi). He sees me in line (wearing a hat), gives me the same look, and I cannot say anything. He picks me out of all these swarming Japanese men and women (both fans and business men). I want to say something, but this is NOT a business meeting. He walks right beside me and stops three centimeters beside me, his back there, his ear....he wants to say something to me, I'm now next to his shoulder. If he was any closer, I'd would kiss him for Shaku, but then I'd be thrown out of the country. What would Shaku Yumiko do in this situation? Really, what would she do if I were her in this specific position at her equal level at this specific moment? You'd have to ask her. What I did was let the people giving him their business cards deal with this instead. He can meet me (again) another time. I have KKXG. I have the BILLION DOLLAR EQUATION. But it's still only in my head...........and it ******BURNS****** It ******BURNS****** in my head. We made a reliable business corrspondence above and beyond all that was there trying.
After that, I see this film and it's awful. One person claps at the end. No reaction from the crowd. I'm not here to write a critical review. Making movies is a risk, it's a job, it doesn't always work. In this case, Mr. Tomiyama "started with a large fortune and ended up with a small one" (re: Mel Simon). However GMMG 2004 didn't make money, either. This appears to be what Sumner Redstone always warns of.....The movie industry is not a growth business. I go to the stage and slam my hat down. I hop up and sit on that stage when all the patrons were leaving. I looked at the seats. "So this is what a movie theater looks like from this side of the screen", I said aloud in English. Practically no one spoke English, so no one knew what I said.
That day, I started to write the treatment for KKXG, and when it was finished, I registered it inside the Writers Guild of America West, immediately (in March 2006). That's important, because one of my otoku friends wanted to edit the Japanese sections. In the world where law, contracts, and regulations are king, you have to protect yourself, even from your friends. Blood is thicker than water; therefore, always make every necessary step before doing it. Think of the cost if one loses the trust! My friend did fix some of the Japanese, and I did my best to decipher his "red ink" notations (like back in the days of Boston University Japanese classes). However, I did my best and that was it. I had a good treatment. Then without warning, my otaku friend comes back and says "Oh, let me fix the Japanese again!". Why? Because who knows what he "said to someone, of whatever". But I let him re-do it, and now the treatment looks much better. Fine. The treatment is ready, it's KKXG, a BILLION DOLLAR money maker; therefore, I write a letter to Shougo Tomiyama and tell him it exists. I mail the letter in Tokyo.
Within one (1) minute from receiving the letter, he calls my otoku friend (who's business card I provided)---that is absolultely true and an undisputed fact---ONE MINUTE! It scared the living daylights out my otaku friend. In my letter, I asked to meet with Tomiyama officially in his Toho office to discuss the business of Godzilla, both its efficiencies and inefficiencies, plus the business of KING KONG VS GODZILLA. Mr. Tomiyama said on the voice mail, "KING KONG VS GODZILLA is very difficult to do." Well, to me, that's an obvious yes. He continued: "And...we don't own the rights to KING KONG"......AH!.....Does anyone see a BOB WOODWARD, "All the President's Men" moment here? Does anyone remember what happened in that scene, inside the editor's office at The Washington Post (newspaper) when the White House admitted "innocence" to an investigation that hadn't started yet? Robert Redford played the part of Bob Woodward.
EDITOR: "Isn't that what you expected him to say?"
ME (as Woodward): "Absolutely."
ME (as Woodward): "I didn't say anything about the rights to King Kong. Mr Tomiyama, The President of Toho Eiga and producer of many Godzilla films immediately volunteered he didn't own the rights to King Kong. I have "Universal Studios vs. Nintendo Co."
EDITOR: (Pause) "Be careful how you write it."
Yes, I'm a "humper". I busted my ass off to get to this point. Then Mr. Tomiyama specifically says to my otoku friend (who is now acting as if he were my manager) in a separate conversation, to let him know the next time I'm in Japan to meet in his Toho office. I immediately register the script for its copyright at the US Copyright Office. I return to Japan in November, but there was a scheduling conflict. I return again in December and this time I had a serious scheduling confict.
CASE #0000 失った過去の記憶を取り戻す事が出来たら、LOVE GAMEクリア。
PAGE 0: 釈由美子さんの考えと知識への小説。
STRONG MANAGER REQUIRED.
It looks like all bets were off, yet I continued to travel monthly to Japan. At the same time, I also contined to run my business SHADO CONTROL selling tons and tons of Japanese toys. Then luck comes to Boston, MA. My first employer is scheduled to speak at The Boston University School of Law. My otaku friend never even heard of the name---he doesn't know who he is. That person is Sumner Redstone (HON '94), my mentor. The BU School of Law is also where his daughter, Shari Redstone (LAW '78, '90), was a graduate. In my case, I was an usher in his theater (in 1982) at THE SHOWCASE DEDHAM (now, Legacy Place) before he owned any media companies (like VIACOM INC., CBS INC., MTV NETWORKS, NATIONAL AMUSEMENTS, etc.). In 1982, Mr. Redstone signed my paychecks and provided me with my very first "W-2" taxform from "31 St. James Avenue, Boston, MA" (yes, I still have the "W-2"). On September 18, 2007, Sumner Redstone issued an ultimatum to all BU students, graduates, and alumni in attendence. The "Call to Arms, Digital Manifesto speech" demanded we create new content and become "young knights". "All the technology in the world would be worthless without stories, songs, games, films, and so on." Redstone lectured. "We need to redouble our efforts to create the best, most interesting, and most novel content to hold the interest of our consumers. I used to say that content is king. I tell you, there's another king, the consumer." I decide, with his best wishes, to push Toho again, but this time, write and complete the full 1st draft of the screenplay. I had "KKXG: King Kong vs Godzilla" on paper, while Paramount was doing "The Transformers". To view Sumner Redstone's speech at Boston University School of Law and College of Communication on September 18, 2007, please access the following link: BOSTON UNIVERSITY SCHOOL OF LAW: A Conversation with Sumner Redstone and see why I always take his advice. It was this event that made me continue and finish "KKXG: KING KONG VS GODZILLA" and "KKXG: KING KONG VS GIGANTOSAURUS" all the way to the Kindle version, and including current literay agent consideration stages. I have contacted the Redstones at their office in Norwood, MA, known as National Amusements, and informed them of every current stage this content is in.
Here is a chart of how KKXG, under mathematical induction, will at least yield the cost of production if it costs $100,000,000 to make, so long as it's released in The United States, and done in a semi-non correct manner. It also shows the result if released in a correct manner. The chart will be difficult to understand if you don't understand mathematical induction, as I do not explain (on purpose) other given facts. However, if you do understand, you can easily deduce some of these additional facts. And if everything is fact, then the result is fact, so long as one does not divert from the proof. The chart accurately predicts the market crash.
King Kong and Godzilla are two (2) legacy characters. Each maintain a shared 50% total that equals 1. For the script to go forward, I have to show that each 50% of 1 can take place. First, Godzilla. Toho owns the rights and trademarks of Godzilla and characters associated. Under US Copyright Law, titles are not under copyright. Period. Gigantosaurus and the character I created is not owned and trademarked by Toho. The Gigantosaurus character is not Godzilla, doesn't look like Godzilla, and does not come from any origin associated with that of Godzilla. Godzilla CAN be used if Toho wants it to be used (the original script exists solely for that purpose). Other than that, it is not Godzilla. That's the first 50%.
The other 50%: King Kong - I refer to these specific cases:
- "Universal City Studios, Inc. v. RKO General Inc., et al. 1975"
- "Universal City Studios, Inc. v. Nintendo Co., Ltd. June 29, 1982,".
- United States Court of Appeals, Second Circuit (4 October 1984). Universal City Studios, Inc. v. Nintendo Co., Ltd.
- United States Court of Appeals, Second Circuit (15 July 1986). Universal City Studios, Inc. v. Nintendo Co., Ltd.
I do not refer to or recognize any commercially released, for profit, book where the purpose is to manipulate an opinion of ownership rights of past characters of King Kong, for a buck, and then contradicts that manipulation in their own words. When reality states a contradiction to that opinion, it is not recognized. There exists a countless amount of versions of King Kong, where each entity own their own version of a giant gorilla named King Kong, Kong, Kongu or other similarities, based on court rulings claiming public domain for the right to make their version of a character called King Kong. Additionally, I, and academia, do not recognize the on-line encyclopedia known as Wikipedia and any opinion expressed by similar on-line claims to be a publication that can be edited, changed, fixed, or debased by any entity (whether by a living person or a cat walking across the keyboard), anywhere in the world, anonymously. Only opinions of actual court documents, and there are tons of them, that I read, assess and deem as fact, are recognized.
Based on this assessment, I own all ownership rights and all merchandising rights associated with all new characters including Gigantosaurus, my story associated with the characters and my version of King Kong, a large primate under the name "King Kong". Therefore this "KKXG: KING KONG VS GIGANTOSAURUS" script is legal to be bid on for sale. Since, there are numerous versions of King Kongs (plural) where mutually exclusive entities have ownership rights to their specific versions, the reason this phenomenon exists, King Kong, in general, is a public domain character. The original novelization and the characters in the story are in the public domain and additionally no one owns the rights to a primate, its size and its name (in this case "King Kong" as a general application of a recognition) designated under US Public Domain Law, so that it doesn't infringe on the mutual exclusivity of other versions. I am opened to all forms of negotiation, both from the public domain side and from the numerous multiple ownership sides.
The Grace of God comes. I start communicating to a very important executive in the Japanese film industry. Now, just like Bob Woodward did in "All the President's Men", I have a contact on deep background. Let's call this person, Deep Background (I will not call this person Deep Throat). On Christmas Eve 2007, Deep Background finds out about my script "KKXG: King Kong vs Godzilla" and as time progresses, provides all the information I need for Shaku Yumiko's manager, management team, company information, and all about Tommy's Artist Company's talent roster. But that's not all of it.
In case no one has noticed, the Akane Yashiro character is "resurrected" in the release of "Battlestar Galactica: Razor" under the character name Kendra Shaw (portrayed by Stephanie Jacobson), in my opinion. And when I'm giving my opinion, take my word for it, it's true. The story, written by Michael Taylor and Ronald D.Moore, is great, but there are some coincidences that I don't believe to be coincidences at all. Evidence? First, the character looks and acts exactly like Akane Yashiro (Shaku Yumiko). It's written as a POV character as if it was what took place after Yashiro went to "The United States" for training in GMMG 2004. We see Lt. Kendra Shaw now taking a shuttle to The Battlestar Pegasus. Oops, Her name tag is shown. Look at this:
SHAW.K -> SHAKU
Later on, the Kendra Shaw character was ordered (by Commander Caine) to kill many people in order to get supplies for the Battlestar Pegasus. The ship where the incident occured is "called Scylla". Hmm. That's interesting from actor Jamie Bamber portraying Commander Lee Adama. "...a ship called Scylla" which was said with a close shot of Kendra Shaw, deduced now as "Shaku".
"Called Scylla" -> GODZILLA
Coincidence, luck, respect, admonishment, wish, rip-off, liable, schizophrenic? You choose. And, "Knock it off, Hudson" (ALIENS).
Yashiro (Shaku) Shaw (Jacobson)
It's an imprint of the contination of my written character Akane Yashiro. My script is registered at The Writers Guild of America West *******a year before******** Michael Taylor and Ron Moore "wrote theirs". I am not accusing anyone of anything. I am only showing what I see, and what I wrote. My script speaks for itself. Additionally, this is a perfect example on the value of Akane Yashiro. In other words. it has been made one way, now make it my way. Ron Moore is a representative at The Writer's Guild of America West and under their doctrine to protect writers, no one is supposed to read anything that is submitted. Did anyone think the person who wrote "KKXG: King Kong vs Godzilla" was not going to watch "Battlestar Galactica's Razor" on the day of its release? In the second to last scene, Admiral Adama (Edward James Olmos) said it best: "And since history's first draft (will be) written in our logs..."
With this information, I informed Deep Background on every step in the development and finalization of the script. Finally, in late February 2008, "KKXG: King Kong vs Godzilla" is finished as a 2nd draft with camera shots, page numbers, and correctly written in US screenplay format. I simply did what Matt Damon and Ben Affleck would do if faced with this and if they were writing "Good Will Hunting". The screenplay has no green screen shots. I saved that, because green screen shots are big $$ and a screenplay is designed against cost of production. It's 168 pages, scenes in English and Japanese (with English translations for the Japanese) which reduces the script size to a level of 157 pages. Once in a while a new important scene would pop in my head and I'll add it. At 168 pages, I had to remove an additional 12 pages of other scenes. So the original extended version was 180 pages. Now I push Mr. Tomiyama with a letter everyday. I decide that since the character is Akane Yashiro, I also have to push Shaku Yumiko and her management equally. Someone has to do it, because no one else would. Those who were to represent me in this became too scared and sabotaged it based on a lack of financial and contractual knowledge. And I don't care, I have to learn Japanese to the teeth in this situation, I am all alone in this, having separated myself from the otoku fans and joined the business elite. And while I push, I am getting a crash course re-learning Japanese like a member of The Borg collective. Shaku doesn't know anything about the Kendra Shaw character in "BG: Razor". But what's so strange is with all the cell phones out there and everyone talking to each other on them, no one wants to talk to me. No one calls me? What are they thinking? It doesn't make sense because I'm always giving and just doing my best. While I continue this writing every day (from one end of the planet to the other)---and because it's in upper level polite Japanese (like sonkeigo)---I have to write by hand using a pencil with Boston University "Thank You" cards and Gold Stamp emblems. I write using Matsuzaka Daisuke Red Sox postcards where I have to use a pen and white out! Other letters require a computer with financial information on the industry, especially Toho's stock, which was collapsing. I start writing about my own daily activities in Japan and in Boston. Numerous emails too. I start mailing letters and postcards from the closest post office located at their physical office (remember, I am still traveling to Japan monthly running SHADO CONTROL). For Toho, I'm mailing right from Seijyou, up the street from Mr. Tomiyama's physical office, and as my Japanese became so good, I found Toho myself, using Japanese maps (chizu). In fact, I walked down and would wait in front of Toho's entrance, right next to the sign, over and over and over again. I literally became a mini-celebrity at the Seijyou Post Office. And I'm learning Japanese, better and better. Should I stop being educated? All this time, the person on Deep Background knows everything I do. Everything. Times, flight numbers, dates of arrival, dates of departure, places where I stay, dates in certain cities, times in front of Toho's gate, the works. But there is nothing that person can do. Someone has to call me, solicit me. But, I have no solicitation and yet I hold a $1 Billion idea and a massive college degree in computer science with honors from a very respected university! Still nothing and now it's July 2008. Still nothing. Now oil is $147.11 a barrel thanks to Bush Jr. and the criminal banks and they get the bail out. It's not sustainable. I get nothing. But I will continue the fight all the way until I am recognized and compensated for my work. It's work! It represents jobs. It stops infringment. It represents telling a good story. It has to be heard. Anyone who doesn't recognize it or doesn't help is a coward. In the business, this is called "being in limbo".
There's another angel, Kikkawa Junko (吉川淳子), the anchor of "Bloomberg on The Markets" on Bloomberg Television Japan. She is so bright, smart, and cheerful every morning. She gives everyone that watches financial news information about America and Japan in the Japanese language, but has an inflection of speech and interviews guests in a way where I can understand what she's saying, and incorporate it in my own speech patterns. Just her broadcasts, increase my knowledge of Japanese---10 fold. I don't require these kindergarden "Ultraman" shows to learn Japanese now, I've graduated from kindergarden already and into the higher level....learning about ***money***, competition, and entrepreneurship. And giving. Now when I am in Japan, the people I meet in everyday life (store clerks, hotel representatives, managers, cleaners, people on the train, etc.), really talk to me more. I express more polite ways of saying the language. My writing is better, thanks to the person on Deep Background (whom is NOT Kikkawa Junko). Now I have two (2) teachers. Kikkawa Junko on Bloomberg, and the person called Deep Background. By another Grace of God, I get a direct contact to Kikkawa and tell her thanks for what she is doing. I communicate with her once every two weeks, and in a rare occasion, once a week. Today, she knows I am pushing "KKXG: King Kong vs Godzilla", whom I am pushing, and why.
Finally, the Deep Background contact comes through. I end up meeting Shaku Yumiko's entire management team and all the artists under the Tommy's Artist Company management name. I want them to manage this content. As anyone can easily figure out, given 4 - 5 years later since "GXMG: Godzilla vs MechaGodzilla 2003", it is impossible for them to manage this content in America. And in Japan, Mr. Tomiyama isn't talking. GOD BLESS AMERICA!
There are three (3) versions of "KKXG: King Kong vs Godzilla". The first is the Akane Yashiro original version with King Kong, Godzilla, other Toho characters, and original characters I created. The asking price to Toho is *,***,***.** USD for a script of this nature written as if the writers were from Star Trek: Voyager and they were "giving it to them". The more valuable US version is "KKXG: King Kong vs Gigantosaurus", where all the creatures are original, but all the Toho characters including Akane Yashiro are different. There are new scenes that separate the story as a sequel from the Japanese films. It is 100% original. Gigantosaurus is an original creature and not Godzilla. The Gigantosaurus script is 10 times more valuable than the Godzilla script. And finally, after all of this, on June 12, 2009, the maunscript for "KKXG: King Kong vs Gigantosaurus" (the novel) was finished. An actual, complete 218 page, 57,072 word manuscript. June 12, 2009 was Shaku Yumiko's birthday. And she knows it, she was informed throughout the entire process. Currently, the manuscript is now a book, available on Amazon and on Amazon's Kindle. A powerful literary agent in Japan has everything. There is no closer than this. We are in. The love is real. The KKXG BLOG is located at http://kkxg.blogspot.com for up to date information. If you want to read it, buy it on Amazon or on The Amazon Kindle, or send an offer to my agent in Japan.
The "giant" monster movie film industry in Japan is on a spiral decline and the factors are numerous. Today, movies compete with everything from DVD Sales, downloads (both legal and mostly illegal), games, home theaters, etc. "GMMG 2004" only matched the money it cost to make, and therefore the film---industry wise---was a failure. In fact worse than a failure given the potential. A film has to make three (3) times the cost to be considered a success and "GXMG: Godzilla vs MechaGodzilla 2003" was the last "Godzilla" film to achieve that. Ted Turner, owner of Turner Enterprises said about the AOL Time Warner merger "Look, in order to get this thing going, we've got to start making smart deals and stop making dumb deals." And dumb deals seem to continue, in Japan, so far anyway. After "GMMG 2004", let's take a look at the others:
Time to pay the piper.
So you can see, the intent to make monster movies existed, but the cost of production with a serious lack of interest---and worse, an ignorance to implement the content correctly---exists. Maybe it's the Japanese culture of "honne" (the act of saying what's on your mind) vs "tatemae" (the act of saying what's socially acceptable, as in having manners at all times). And additionally there is "nemawashi" (the massive, time consuming consultations that take place prior to any meeting). I can understand all of that and the work to acheive a result correctly. However, it's not supposed to take the length of a lifetime, or worse the length of time until there is a global financial crisis. My innocence would expect someone like Shougo Tomiyama to "help" solicit this KKXG script, under contract, to Hollywood with the inclusion of a partnership to buy the rights to Godzilla, but no---my experience informs me otherwise. And with all these people I have mentioned in this huge file, notice something? No one is talking to each other. I am doing the talking to keep this goal alive.
On the other hand, look at The United States
- GODZILLA 1998 (Almost made lots of money)
- TREMORS (made lots of money)
- JURASSIC PARK (one of the highest grossing of all time)
- KING KONG (2005) (made $800,000,000 USD)
- CLOVERFIELD (made $41,000,000 in one week)
- TRANSFORMERS 2: (made over $1,000,000,000 as of this writing)
- AVATAR: (As of April 15, 2010 EDT: $2,708,853,911.00 USD)
- KKXG: KING KONG VS GIGANTOSAURUS (********THE FUTURE********)
It's obvious KKXG: KING KONG VS GIGANTOSAURUS will make money. I have finished the KKXG book, based on the finished screenplay, and it is now for sale. A double push. We need agents, lawyers, advertisers, and the major Hollywood studios to give it a shot. The story speaks for itself, it's written correctly. But most importantly, I **own** the content under law. I have closed a loophole and I own that closure. The content is open to amendments. The story behind the story speaks volumes! Sumner Redstone said to Michael Eisner on CNBC: "Stars don't make a picture, the script does." There's more. It will make $1 BILLION USD in revenue minimum, proven by mathematical induction if created and distributed correctly. Yes, it brings ***women*** to the theater. Yes, there's more than just movies now. Yes, I wrote it and have been doing this for almost a decade. The story is good.
Written by ALAN COLOSI
FOUNDER AND OWNER
Email direct comments and proposals here: email@example.com
****CONFIRMED**** SHOUGO TOMIYAMA (President of Toho Eiga, the movie wing of Toho Co. Ltd.) has resigned. The announcement came
three (3) days after my MARCH 28, 2010 JST submission of this material to my Japanese (female) agent. Confirmation of his departure
came on APRIL 20, 2010 JST, EXACTLY one (1) day after my final Japan submission of this content, including its official United
States published date of APRIL 19, 2010 JST (APRIL 18, 2010 EDT)!! KING KONG and SHAKU YUMIKO have won (this round).