Toho CEO: 'Godzilla Minus One' U.S. Hit Was Accident, Not Plan

Toho CEO Matsuoka Hiro stated that the studio's recent North American success with 'Godzilla Minus One' was not the result of a deliberate strategic pivot. Speaking Thursday at the Tokyo International Film Festival, Matsuoka described the milestone as a coincidence that arose from chance encounters in the United States.

The financial impact of the release was substantial, with the film grossing $57.1 million in North America. Matsuoka recounted traveling to the U.S. and speaking with exhibitors who indicated that Hollywood studios were failing to produce enough content to satisfy audience demand. Those industry partners suggested Toho consider anime, a recommendation that helped Matsuoka recognize the strength of Japanese animation in the American market.

The decision to release a live-action feature under the Godzilla brand was not met with universal enthusiasm within Toho. Matsuoka noted that colleagues expressed concern because the company had historically struggled to distribute its films effectively outside Japan. However, the eventual box office performance proved the skeptics wrong, and the revenue generated by the release flowed back to the studio.

Matsuoka summarized the situation with a blunt assessment of the company's approach. 'It was all a coincidence,' he said. 'It wasn't a strategy; we just tried.' He emphasized that the experience has highlighted the value of testing new methods as Toho continues to expand its international operations.

The studio is already applying this lesson to its next project. Director Takashi Yamazaki's 'Godzilla Minus Zero' is scheduled to open in Japan on Nov. 3. The North American release will follow on Nov. 6, distributed by Gkids, the U.S. company Toho acquired in 2024. This follow-up marks the first major theatrical rollout under the newly integrated distribution structure.

During the session, which also featured Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences, the executives discussed the relationship between streaming and cinema. Matsuoka described the two platforms as coexisting rather than competing. He pointed to the recovery of Japanese cinemas since the pandemic, noting that repertory screenings of Hayao Miyazaki's films have helped draw audiences back to theaters.

Kramer added that the Academy views theatrical exhibition as a tool for educating younger generations about film history. He noted that 25% of the Academy's voting members are based outside the U.S., underscoring the importance of the Asian market. Both executives addressed artificial intelligence, with Matsuoka calling it a workflow tool and Kramer stating that the Academy continues to prioritize human authorship.