Bar none, one of the most influential filmmakers in the world is John Carpenter, who has revolutionized the horror genre on more than one occasion and helmed a multitude of classic films, including Halloween and Escape from New York. Carpenter himself is a lifelong fan of Godzilla, the iconic kaiju franchise that debuted in Japan in 1954 before spreading its atomically powered brand of destruction worldwide in an ever-growing number of films. Now, Carpenter is teaming up with Shout! Factory TV to host a number of kaiju films he has personally handpicked as part of its streaming "Master of Monsters" series. Starting on Nov. 3 at 6 pm PST, Carpenter will introduce a different classic kaiju movie across the four-night event.

In an exclusive interview with CBR, John Carpenter shared his love of the Godzilla movies, observed the changes and evolution the series has undertaken since its beginnings, and touched on his own films and current interests.

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CBR: Do you remember the first time you saw a Godzilla picture?

John Carpenter: Of course I do. It was Godzilla, King of the Monsters, back in 1956, I believe; it might've been 1955. I was a young tyke. I absolutely remember.

What was it that affected you?

Everything about it. The music was amazing, and Godzilla himself was just fantastic.

As someone that's quite the musician yourself, what was it about Akira Ifukube's music that really struck you?

Akira Ifukube's music is one of the great themes. Anywhere I am, I'm never alone because I can start humming it. [laughs] It's so unreal, and he also created the sound of footsteps and the sound of the roar. He did a lot.

It was the version with Perry Mason -- Raymond Burr -- narrating it?

That's what we saw in America. Later, I saw the Japanese version, which is just brilliant. It's just so dark and incredible. It's like being in Japan after an atomic bomb drops, that's what it is.

We've seen so many permutations of the King of the Monsters since. Do you think Godzilla works better as a destroyer or a defender?

I love evil Godzilla, but he's everything. He's an all-purpose monster. He takes care of business, always takes care of business, but he's fought everybody, and he's respected the world around. This character has fought so many different kinds of monsters, it's unreal. I like him as evil, up to no good, but that's changing. He has a son -- it's unbelievable, he got really silly in the '70s, but that's cool.

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All of the movies you've picked for this selection are directed by Ishirō Honda. What is it about Honda's staging of these kaiju movies and the vision that he brings to these projects that you find so inspiring and entertaining?

I will say there is one thing that he does: nobody deals with crowds like he does, a crowd of people in a dialogue scene. All these people are standing around a microphone talking to the army, or they're briefing about monsters. It's unbelievable, and he just does it tremendously. Also, his sense of timing is incredible; I'm a fan, and I've been a fan ever since.

One of the movies that I hadn't seen until it was highlighted by this is The War of the Gargantuas. It had slipped my radar. What was it about that film that made you want to include it in this?

Any movie that has somebody singing "The Words Get Stuck in My Throat" needs to be included.

Things have gotten silly for Godzilla, from Godzooky to plant Godzilla and space Godzilla. What is the secret sauce in making a good Godzilla movie?

The secret sauce is Asian cinema, in general. It has this delightful innocence that sometimes just transforms you. They're not afraid. Here's another monster movie, with the island where the big moth monster lives. [laughs] It's some silly stuff, but it's great stuff. It's just delightful to watch and fun.

I'm Korean, and I love that Japanese and Korean cinemas are unafraid to have particularly bleak endings. You had mentioned the 1954 Godzilla being dark. What is it about that willingness to have a bittersweet or bleak ending that you find fascinating as a storyteller?

Well, some of my movies have had a bleak ending. Sometimes audiences don't like that, but oddly, in the case of Godzilla, King of the Monsters -- Gojira, the very first one -- the audience dug it. We all loved it. It's a risk! Movies are made to entertain, and it's only brave audiences willing to be grimmed out by a movie.

Another one of the films you've picked is Ghidorah, the Three-Headed Monster, and Ghidorah has really risen to become Godzilla's arch-nemesis. It ain't King Kong, Gigan, or Biollante.

Yeah, you're right! King Kong vs. Godzilla was the biggest money-maker in the franchise, but King Kong is so dumb. [sighs] He is such an idiot-looking creature. They had a great ape in that Half Human movie -- there's a great design in that. When you get a chance, they don't show that anymore, but check it out. They've got the Abominable Snowman in there.

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You mentioned the secret sauce in good Godzilla films being Japanese cinema, though we've seen some American takes on Godzilla over the years.

They don't quite work, do they? Now they have computerized monsters, and they're really good. There's a lot of good work, but it just doesn't have the feel. The very first American Godzilla -- awful. God, it was bad; oh my god. [groans] Godzilla is pregnant?! C'mon…

You look at some of your films, with The Shape or The Thing, and they are both an unstoppable, unknowable evil, just like Godzilla. What is it about having that unrelenting evil that you think strikes a chord with audiences around the world?

They're scary! It's real simple! [laughs] They're scary, that's the simple answer.

Something that has become a bit of internet lore is your love of video games. I was wondering what are you playing now, and have you tried out any of the Godzilla games?

No, I haven't tried out Godzilla. I'm playing Fallout right now -- the latest Fallout, Fallout '76 -- but I play everything. Not everything, that's a lie. I like shooters, they're fun, and I also play the latest Crash Bandicoot, which is great fun. Ratchet & Clank, I love them. All sorts of things -- I go in many directions.

Have you kept up with Sonic the Hedgehog at all?

I have not, and I should. That was the first video game that I got involved in, the very first one. I love Sonic, but his adventures get a little repetitive.

You and your son Cody Carpenter are working on the score for Halloween Ends. How is it working with him in putting together this sonic sound for this world you created back in 1978?

It's wonderful! It's me, Cody, and Daniel Davies, my godson, the three of us do it together. It's wonderful. There's nothing like it. They're getting better than I am now -- I just sit and watch and listen.

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Godzilla in the 1950s

What is it about synths you've always found intriguing as a musician and composer?

The sound. As a filmmaker and composer, you can sound big as just one person playing a keyboard and multi-tracking. It's the best, I love it. I obviously love it because it's all I do. [laughs]

You mentioned the secret sauce to Godzilla's success is it being borne from Japanese cinema. What is the secret sauce in your own films, like The Fog and The Thing?

I should say that the real secret sauce of Godzilla is Ifukube, the composer. That music is unreal, and it's just legendary. In my movies? The secret sauce? I don't know. I have no clue. I don't ask.

How is it getting to spread the gospel of Godzilla with this selection of films you've curated for Shout! Factory?

Look, it's a tumultuous world, and a lot of bad stuff is going on, but when you sit down and talk about Godzilla, there's nothing better. It just brightens everybody's day. Everyone loves Godzilla -- how can you not? I'm happy to do it.

Hosted by John Carpenter, the "Masters of Monsters" series kicks off at 6 pm PST on Thursday, Nov. 3, on Shout! Factory TV, with a follow-up screening at 8 pm PST. The event runs through Sunday, Nov. 6.