In 1988, Gainax was appointed by Toho to produce a series for NHK Educational TV.

and Toho Film Distribution to form the Toho Film Company.

Wanting to become an actor, he auditioned at Toho, Daiei Film and Nikkatsu, but did not pass any of his auditions.

It approached Toho Company Ltd. about co-producing Godzilla vs. Gamera, but the offer was rejected, so it turned its attention to reviving some of the combined studio ’ s best known properties since Daiei Film Co. era.

Other countries where some level of vertical integration occurred were Germany during the 1920s ( Universum Film Aktiengesellschaft, or Ufa ), France during the 1930s ( Gaumont-Franco-Film-Aubert and Pathé-Natan ) and Japan ( Nikkatsu, Shochiku and Toho ).

This began an intra-company style crossover where kaiju from other Toho kaiju films would be brought into the Godzilla series.

The 8th film in the Godzilla series, it was also the second of two island themed Godzilla adventures that Toho produced with slightly smaller budgets than most of the Godzilla films from this time period.

New World's budget breakdown for Godzilla 1985 is as follows: $ 500, 000 to lease the film from Toho, $ 200, 000 for filming the new scenes and other revisions, and $ 2, 500, 000 for prints and advertising, adding up to a grand total of approximately $ 3, 200, 000.

It was known as the Toho Theatre from the late 1960s until the 1970s.

The Shintoho Company, which existed until 1964, was named New Toho because it broke off from the original Toho Company.

UPA also produced two features, 1001 Arabian Nights and Gay Purr-ee, and distributed Japanese films from Toho Studios in the 1970s and 1980s.

The movies broadcast were taken from the classic Universal Horror movies of the 1930s to 1950s, the Hammer Studios and American International Pictures films of the 1950s, Roger Corman's horror films of the 1960s, and Toho Studio's " giant monster " ( known in Japanese as either kaiju or tokusatsu ) movies of the 1950s, 1960s, and 1970s.

" ( The prop for the Jet VTOL was originally from the 1962 Toho SF epic, Gorath, but repainted and probably modified for this series.

At Tokyo Disneyland, whose mansion is a replication of the one in Florida, both inside and out, the narration is provided by Teichiro Hori, a movie producer from Toho Studios ( Hori also provides the voice of the talking skull in Tokyo's version of Pirates of the Caribbean ).

* The Godzilla segments from The Godzilla Power Hour, produced by Hanna-Barbera, are now owned by Toho Company Ltd. with Classic Media handling U. S. distribution rights ( the Godzilla segments were originally included when Turner bought Hanna-Barbera and when Time-Warner bought Turner until 2003 when WB / Turner sold the Godzilla segments to Toho, while WB / Turner still owns the Jana of the Jungle segments ).

He landed major roles in two science fiction epics from Toho Studios in Chiyoda, Tokyo.

Having graduated from the Toho Gakuen School of Music, Kawakami was affiliated with Production Baobab at the time of her death.

In addition, two giant movie monsters from Toho were added to the line:

Although this particular film idea was scrapped, elements from it would be used in later Toho films, as Gigan and the Godzilla Tower would appear in this finished product as well as it's sequel, and Megalon would go on to star in that sequel entitled Godzilla vs. Megalon ( 1973 ).

The majority of the film's soundtrack consists of recycled cues from previous Toho films such as Frankenstein Conquers the World, Atragon, King Kong Escapes and several other Godzilla films.

Unlike later Toho international versions, Invasion of the Astro-Monsters is slightly edited from the Japanese version and the dubbing was not commissioned by Toho or produced in Tokyo or Hong Kong.

The fourth film in the Godzilla series, it was the first film where Toho began bringing in monsters from other productions into the Godzilla films as Godzilla crossed paths with Mothra.

The series was created by Toho, from a concept of Hayao Miyazaki, and directed by Hideaki Anno of Gainax.

It was never produced, but Toho retained the rights for the story outline, while the animator reused elements from his original concept in later projects like Future Boy Conan and Castle in the Sky.

Toho, the creators of Godzilla, also had their hands in creating the Chouseishin Series of programs from 2003 to 2006.

Toho Kingdom said, " With an elegant style, a powerful plot, brilliant effects, and believable acting, this entry is definitely a notch above favorites from all three timelines, and its impact on the series is challenged by only a handful of competitors.

* King Kong vs. Godzilla ( 1962 )-A film produced by Toho Studios in Japan, it brought the titular characters to life via detailed rubber and fur costumes, and presented both characters for the first time in color.

( which later became the major studio, Toho ), advertised for assistant directors.

In 1980, Toho released the first of a series of annual feature length animated films based on the lengthly special volumes published annually.

The period after the American Occupation led to a rise in diversity in movie distribution thanks to the increased output and popularity of the film studios of Toho, Daiei, Shochiku, Nikkatsu, and Toei.

The 1980s saw the decline of the major Japanese film studios and their associated chains of cinemas, with major studios Toho and Toei barely staying in business, Shochiku supported almost solely by the Otoko wa tsurai films, and Nikkatsu declining even further.

is a 1962 Japanese science fiction kaiju film produced by Toho Studios.

It was also the first of two Japanese made films featuring the King Kong character ( or rather, its Toho Studios counterpart ) and also the first time both King Kong and Godzilla appeared on film in color and widescreen.

After shopping the script around overseas, Beck eventually attracted the interest of the Japanese studio Toho.

Toho had long wanted to make a King Kong film and decided to replace the Frankenstein creature with their own monster Godzilla.

Special effects director Eiji Tsuburaya was planning on working on other projects at this point in time such as a new version of a fairy tale film script called Kaguyahime ( Princess Kaguya ), but he postponed those to work on this project with Toho instead since he was such a huge fan of King Kong.

This approach was favoured by Toho and to this end, King Kong vs. Godzilla has a much lighter tone than the previous two Godzilla films and contains a great deal of humor within the action sequences.

Toho had planned to shoot this film on location in Sri Lanka, but had to forgo that ( and scale back on production costs ) because they ended up paying RKO roughly $ 200, 000 ( US ) for the rights to the King Kong character.

While the ending of the film does look somewhat ambiguous, Toho confirmed that King Kong was indeed the winner in their 1962 / 63 English-language film brochure Toho Films Vol.

When John Beck sold the King Kong vs. Prometheus script to Toho ( which became King Kong vs. Godzilla ), he was given exclusive rights to produce a version of the film for release in non-Asian territories.

Beck, accompanied by two Warner Bros. representatives, attended at least two private screenings of the film on the Toho Studios lot before it was released in Japan.

The Japanese version of this film was released numerous times through the years by Toho on different home video formats.

It was released on Laserdisc in 1986 and 1991, and then again in 1992 as part of a laserdisc box set called the Godzilla Toho Champion Matsuri.

Toho then released the film on DVD in 2001.

They released it again in 2005 as part of the Godzilla Final Box DVD set, and again in 2010 as part of the Toho Tokusatsu DVD Collection.

Unfortunately, this has become the only Japanese language version for which 35mm materials are available to Toho, and it is unclear what happened to the uncut original version's 35mm elements.

For the film's 1991 laserdisc release, Toho completed a crude reconstruction of the original 1962 version.