Draft:Godzilla (1977 film)

In 1977, Italian filmmaker Luigi Cozzi released to Italian theaters a further modified and colorized version of Godzilla, King of the Monsters, with a soundtrack that used a magnetic tape process similar to Sensurround. Though the Italian colorized version was released as Godzilla, it is referred to by fans, and by Cozzi himself, as Cozzilla. Cozzi coined that title as a pen name when he was writing for magazines, later adopting it as the production company name for re-releasing the film. According to Cozzi, Toho had licensed the colorized version to Turkey. Cozzi noted that his colorization was the first attempt ever done at colorizing a black-and-white feature.

Due to the success of the 1976 remake of King Kong, Cozzi attempted to cash in on the film's success by re-releasing Gorgo. Cozzi, however, was unable to acquire the film because "the King Brothers asked for too much money". Cozzi then selected Godzilla as his second option. He originally intended to acquire the original 1954 film, but Toho was only able to provide negatives for the 1956 American version. Cozzi's regional distributors refused to release it after discovering that the film was in black and white, so he chose to colorize it to secure its release. Cozzi renegotiated with Toho, gaining their approval. Included in the new deal was that Toho retained sole ownership of the colorized negative. Cozzi had final approval over the stock footage, music, and colorization. At the time, theatrical films were required to run for 90 minutes. Therefore, Cozzi was forced to add stock footage to extend the film's runtime:

"The decision to insert extra footage was because the original film was 1 hour and 20 minutes. While this was the normal length in the fifties, a film to be shown theatrically had to run 1 hour and 30 minutes in the mid-seventies. So we were forced to add material to it to reach that length. Its final length was 1 hour and 45 minutes".

The decision by Cozzi to specifically add real footage of death and destruction from war-time film reels was intentional. He wanted to give such an old feature an "up-to-date and more violent look". While editing the film, Cozzi was aware that certain stock footage did not match the Godzilla footage, but he chose to proceed anyway, feeling that the "effect would have been stronger than the defects". Additional footage was recycled from The Train and The Day the Earth Caught Fire. As tributes, Cozzi added brief clips from The Beast from 20,000 Fathoms and Godzilla Raids Again, taken from his personal 16 mm prints. He coined the term "Spectrorama 70" for advertising purposes, referring to the film's colorization and for a feeling of 70 mm. Cozzi stated that it "helped to give a 'bigger' look to my Godzilla theatrical re-release advertising materials".

For the soundtrack, Cozzi reprocessed the original 1956 soundtrack, turning it into a magnetic band eight-track stereophonic variation by adding new music and sound effects. Cozzi later added Sensurround effects and special giant loudspeakers to the theaters playing the film. Using the pseudonym "Magnetic System", Vince Tempera composed the film's additional score alongside Fabio Frizzi and Franco Bixio using his personal electric piano. Cozzi hired Tempera after he expressed interest in collaborating on a project. Tempera, a fan of Godzilla, immediately accepted. Cozzi selected synth music because he wanted the score to give his version of the film a "modern look" and have audiences see the difference between the new scenes and the originals. During the film's opening weekend, Tempera's additional score was released as a 45 rpm record (it was later released as a 33 rpm LP).

Cozzi hired Enzo Nistri to paint a new poster for Cozzi's colorized release (Nistri's poster was later used on the first issue cover of Fangoria magazine). Cozzi hired Armando Valcauda to do the colorization of the film, while Alberto Moro, Cozzi's mentor, was hired to edit the film. It was colorized frame by frame using stop motion gel photography. The process took only three months, as they were in a rush to release the film. Valcauda did all the colorization himself, while Cozzi edited the film with Moro. Cozzi noted that Yamato Video in Milan owns one new 35 mm print of the colorized version and an original colorized 35 mm film negative, acquired from Toho.