ET Online: How do you feel, being a part of the most anticipated film of the summer?
Jean Reno: Before the shooting, you feel that it's going to be big. Now, after the shooting you feel again that it's big. But while you're shooting, you don't feel that because I'm convinced that I can't do a movie alone. I do the movie with the crew, with the director, and the partner. And being in front of the camera it's a loneliness that you have no matter what the budget it, low budget or big budget - it's the same kind of relationship that you have with the partner or with the camera.
ETOL: And how was it acting to a twenty-story monster that wasn't there?
Jean: You have to imagine something. It's not really precise because I'm not able to design a Godzilla, so I think it's more of an essence of a danger, but also a real character. You have to imagine she's big, a mother who protects her eggs. She's fast and smart. She has to feed the baby. And so you play with all this and you make it not really precise, but an image that you have in your mind. I'm sure that if you ask Hank [Azaria] and Maria [Pitillo], they'll have something completely different in their minds. But you could try hard to find exactly the design, and even ask the designer, which I didn't. I prefer to follow the character in the situation and it helps.
ETOL: And Matt [Broderick] said that he looked to you and Hank to kind of gauge what his reaction should be.
Jean: He's really a smart guy. Yeah. I was supposed to know and I was supposed to have information. The beast came from the testing, the defense testing. And that sequence in the back of the car was a wonderful sequence. I like it very much.
ETOL: Was that your favorite scene?
Jean: Yeah, the scene in the car when we were headed into Godzilla's mouth. Wow! I remember shooting it. And I don't see the material for the movie. I wait to see the movie when there's sound and music, when it's fresh again.
ETOL: Have you seen the final cut of the movie?
ETOL: And what was your reaction?
Jean: Wow! She's bigger than I thought. Sometimes she's a big cat, the way she moves with the shoulders. They did fantastic work with the computers. When she's inside the city, inside New York, you wonder how they did it. It's amazing. I hope the American audience will enjoy the movie.
ETOL: What about the international audiences?
Jean: They will see it. I will be in Cannes and will see their reaction to it. But Cannes sometimes is so-so with films. But it's the edit so it's okay. I can't wait for the final version.