Critics praised Godzilla's return, Koroku's score, themes, special effects and darker tone.

At Hayashida's laboratory, Maki meets Okumura's sister, Naoko, and informs her that her brother is alive and at the police hospital.

The Soviets believe the attack was perpetrated by the Americans, and a diplomatic crisis ensues, which threatens to escalate into nuclear war.

The destruction of the nuclear missile produces an electrical storm and an EMP, which revives Godzilla once more and temporarily disables the Super X.

After the box office failure of Terror of Mechagodzilla, Toho attempted to reinvigorate the franchise several times during the late 1970s and early 1980s.

The first attempt was the announcement of a color remake of the original 1954 film entitled The Rebirth of Godzilla in 1977, but the project was shelved.

In 1983, Murao and Hideichi Nagahara collaborated on a revised script for Resurrection of Godzilla, however, the project was cancelled due to budgetary concerns.

Toho approved of the project, and Miner hired Fred Dekker to write the screenplay and paleosculptor Steve Czerkas to redesign the monster.

The project was however hampered by Miner's insistence on using prohibitively costly stop-motion animation and shooting the film in 3D, and was thus rejected by major American movie studios.

[12] In an effort to disavow Godzilla's increasingly heroic and anthropomorphic depiction in previous films, Tanaka insisted on making a direct sequel to the original 1954 movie.

[14] Koji Hashimoto was hired as director after Ishirō Honda declined the offer, as he was assisting Akira Kurosawa with Kagemusha and Ran, and felt that the franchise should have been discontinued after the death of Eiji Tsuburaya.

At the time, it was rumored that Ifukube refused to participate in the film due to the changes made to Godzilla, stating, "I do not write music for 80-meter monsters".

However, this quote was later clarified, by Ifukube's biographer Erik Homenick and Japanese Giants editor Ed Godziszewski, as a joke spread by fans which was later misinterpreted as fact.

Ifukube declined to score the film due to his priorities, at the time, teaching composition at the Tokyo College of Music.

[11] Suit construction took two months, and consisted of separately casting body-part molds with urethane on a pre-built, life-size statue of the final design.

Yasumaru personally took charge of all phases of suit-building, unlike in previous productions wherein the different stages of suit-production were handled by different craftsmen.

Because the 110 kg (240 lb) suit wasn't built to his measurements, Satsuma had difficulty performing, being able to last only ten minutes within it, and losing 12 pounds during filming.

[13] Hoping to avoid having Godzilla move in an overly human fashion, Nakano instructed Satsuma to base his actions on Noh, a traditional Japanese dance.

[11] Taking inspiration from the publicity surrounding the 40-foot tall King Kong model from Dino De Laurentiis's 1976 film of the same name, Toho spent a reported ¥52,146 (approximately $475.00) on a 16-foot high robotic Godzilla (dubbed "Cybot") for use in close-up shots of the creature's head.

The Cybot consisted of a hydraulically powered mechanical endoskeleton covered in urethane skin containing 3,000 computer operated parts which permitted it to tilt its head, and move its lips and arms.

The international English dub features the voice of news anchor and radio announcer John Culkin in the role of Goro Maki, and actor Barry Haigh as Prime Minister Mitamura.

[24] Originally, New World reportedly planned to re-write the dialogue in order to turn the film into a tongue-in-cheek comedy starring Leslie Nielsen (à la What's Up, Tiger Lily?

[24] The newly edited film also contained numerous product placements for Dr Pepper, which had twice used Godzilla in its commercials.