Cut Scenes
Godzilla vs. Biollante (1989)

Biollante Kills at the Lake
While setting up a perimeter and investigating the appearance of Biollante in Lake Ashinoko, the military dispatches a boat with soldiers in it. Venturing too close, Biollante retaliates by having one of her fanged vines leap from the water and crash down on the small vessel, killing the soldiers and sinking the craft.
Although lensed and edited, the sequence, which had Biollante directly attacking and killing humans, was removed from the final cut of the film. Consequently, Biollante comes off as far less menacing to humanity in the final edit of the movie than she does in the original screenplay.

Godzilla Advances on Lake Ashinoko
Having defeated the Super-X2, Godzilla advances inland on Japan. As night falls, the nuclear menace makes his way through the foliage to face Biollante at Lake Ashinoko.
This scene featured Godzilla marching through the woods toward Biollante in her rose form. The sequence loses some credibility as real plants were used for the foliage, which is hard for the viewer to ignore: the real plants destroy the sense of scale that the giant Godzilla is supposed to convey. In the end, a more direct cut to Godzilla already in the water ready to battle Biollante was opted for along with one impressive shot of Godzilla advancing far above the forest treeline.

Roses Bloom
Godzilla, unleashing a final gout of his atomic ray, set Biollante's rose form aflame. The swarming fires rose up, engulfing and transforming the toothed flower into a towering inferno. Screams of death and agony wailed through the lake, as Godzilla stood unfazed. Those who were fortunate enough to witness such a titanic battle, watched as Biollante disintegrated into a billowing cloud of ember pollen. Lifting into the skies and settling on the lands around, the rolling green hills and shores began to blossom. Hundreds of tufted flowers blanketed the ground, giving a sight of pure and utter bliss. All but the giant behemoth seemed spellbound by the trance. Giving one last grunt of manifesting rage, the leviathan turned and walked away.
Although visually impressive, the sequence was ultimately removed. Seeing Godzilla juxtaposed amongst hills of roses was in the end an odd mesh of visuals, and gave the film an almost whimsical moment that the final edit would ultimately avoid.

Damaged Super-X2
Following its bout with Godzilla, the Super-X2, codenamed DAG-MBS-SXX, returned to base. Having lost its fire mirror, a reflector for returning Godzilla's ray back at him, the craft ended up recieving a direct hit from the nuclear menace's atomic ray. The beam scorched the front of the flying warship, peeling back the protective layer. The crew behind its creation examines the damage and the state of the fire mirror inside.
Although a new prop was created, to show the battle damage the flying craft had recieved, this scene was axed. In the end, a shot of the pit crew showing a wire frame model of the damage was used which conveys the same information in a quicker way.

From Osaka to Wakasa
Having destroyed much of Osaka, along with the Super-X2, Godzilla travels further into the mountains. With the Anti-Nuclear Energy Bacteria (ANEB) coursing through the King of the Monsters' veins, the military is keeping a close eye on the behemoth. Helicopters circle the beast relaying information as the monster advances toward the Wakasa plains.
More than any other Godzilla film, Koichi Kawakita created a wealth of ultimately unused special effects shots for this 1989 outing. Being his first time on the franchise, its safe to say that he took a lot of pride in his work and felt the pressure in landing this once in a lifetime opportunity. While some scenes were cut because the effect was unsatisfactory or it was deemed it altered the mood of the film, others were just shaved for pacing reasons. This simple sequence, which features Godzilla walking as helicopters circle him, was ultimately removed and the film simply transitions to Major Sho Kuroki seeing the helicopter footage as he talks about Godzilla being unfazed by the ANEB so far.

Staring Down Godzilla

At 120 meters tall, forty meters taller than Godzilla, Biollante stares at the King of the Monsters eye-to-eye: the two combatants ready to lock themselves in fierce combat.


Special effects director Koichi Kawakita was a big fan of point of view (POV) shots. Most of the Heisei Godzilla films that he worked on featured them early in development, such as a POV of the Star Falcon from Godzilla vs. SpaceGodzilla (1994) as one of many examples. Oddly enough, these scenes, which tended to feature the edge of the craft in the shot, were almost always cut from the final reel of the film. One major exception is a sequence with the AH-1S Helicopter firing on a ANEB infected Godzilla that was actually used in this film. However, this wasn't the only POV shot that was planned, as Kawakita tried to convey the massive size of Biollante by having her stare down at the smaller Godzilla from a fish-eye perspective.

Claymation Fight
With the power of Godzilla being unquestioned from humanity, the nuclear saurian trampled his way to his prize, ready to feast on the radiating energy within the nuclear plant. Unfortunately, fate would prove otherwise. Dropping from the heavens, the particles of Biollante seeded the ground and soon gave birth to the monster of science. The plant-like animal set out to stop the reign of the king with a combination of tendrils, its own gigantic mouth, and its deadly acid spray.

While in production, many ideas were thrown out about on how to animate the bulbous Biollante. One such idea, a vast departure from effects seen in the Godzilla series to date, was to construct a claymation Godzilla that was to be attacked by Biollante's twisting vines. The claymation allowed for more convincing motion from the the snake-like tendrils, but in the end, the effect was removed from the final cut.

Biollante's Sacrifice

With Godzilla's strength waning on the account of the Anti-Nuclear Energy Bacteria, Biollante readied her final strike. Working now, hand in hand with the spirit of Erika, the plant monster transformed its physical form into a wash of energy. Swamping the nearly dead Godzilla, Biollante took the sins of the nuclear saurian with it to the grave.


A combination of live action suitmation and animation, the scene was completed with all of the post production elements finished. However, the scene was axed from the final print, and instead a different ending with Godzilla collapsing into the nearby water and Biollante returning to the sky was drafted. The scene was an impressive combination of the two film making mediums, but in context the means of creating the scene would have been far to distracting to the overall theme of Biollante's final on screen moments.

Godzilla Awakes
After collapsing in the water earlier from the affect of the Anti Nuclear Energy Bacteria, Godzilla finally recovers and slowly opens his eyes before getting up.
This scene is a slight extension to what appears in the film, and is a brief sequence of Godzilla laying in the water before slowly waking up. Ultimately, the final edit of the film removed this sequence and opted for a more surprise reveal, wherein the characters and audience are abruptly shown that Godzilla is awake.