Word on the street is that Toho was unhappy either because the DESTROY ALL MONSTERS disc had too many special features or the behind-the-scenes stills gallery had images that were not cleared. If it's the latter of the two possibilities then there might be good reason the current hold-up on re-pressings, as Japanese laws with regards to the use of people's photographic images are different and much stricter than the American ones and could land Toho in some trouble. Of course one wonders why Toho did not catch it before it went in for pressing, since they presumably signed off on the master that Media Blasters created. My overall opinion of Toho as a company is pretty low. Their recent output of films, Godzilla or otherwise, seems to have a very great "meh" factor to it. Their record on film preservation is adequate at best, and if you're unhappy with with image quality on DESTROY ALL MONSTERS, you should also know that this disc is from a restoration of the film that Toho commissioned. Their record on the presentation of their films is also adequate at best, with just one example being their domestic Blu-Ray of SEVEN SAMURAI, which was basically DNR'd to death. And of course their anal retentive nitpicking licensing policies, like making commentators get every word of their track approved in advance, is ridiculous. Toho has a reputation as being extremely hard to work with, and the more I think about it the more amazed I am at what a strong and long-lasting professional relationship Toho has managed to have with the Criterion Collection. Those guys must have the patience of saints. Four years or so back I toyed with the idea of doing a brief video documentary on the el-cheapo EP and LP mode releasing VHS companies like Goodtimes and Star Classics and the like, the ones who released a lot of public domain or thought to be public domain films on cheap editions. The two examples that I wanted to use were NIGHT OF THE LIVING DEAD and GODZILLA VS. MEGALON, since those were two of the most common VHS releases for two bit video labels. The NOTLD clips I wanted to use were no worry since the film was truly public domain, but I knew that GvM was not and therefore I needed clearance on the footage. But no real budget to pay for it. I made a request to Toho explaining the situation and proposing the use of limited clips from GvM for the purposes of explaining that the film was not actually public domain and that dozens of companies had spent years passing it off as such and defrauding Toho of royalties. Toho turned down my request, which didn't surprise me, since I was (and still basically am) a pretty much no-name filmmaker, so I understood why they would not be willing to enter into that kind of arrangement. Actually the person who contacted me back - a fellow named Kenji Sato, who was based at Toho's Los Angeles office on Century Park East - was unbelievably courteous to me in every communication we had, although there was an ominous sentence that he included in one of his messages: "May we remind you that unauthorized use of our films, Godzilla name and character (and any other Toho monsters' name and characters) would constitute trademark/copyright infringement." That is an exact quote from the e-mail that he sent, and it was clarified by him to mean that mentioning the film or the characters at all would constitute an infringement. Which was total bullshit. Not using footage, sound or pictures - or even VHS sleeves for that matter - from GODZILLA VS. MEGALON was an understandable restriction, but not even being able to mention the movie or the characters? That would not stand up in an American court, but that is the sort of legal BS that Toho has tried on others. I think my mental reaction at the time was that Toho deserved to have every two bit video company rip off their movie, since apparently even mentioning it in order to tell people that they OWNED IT was not okay with them. Anyways, Toho owns not just the Godzilla films, but also most of Akira Kurtosawa's greatest works, as well as a number of other classics of world cinema. Basically they are a third rate company with a first rate legacy. Which is not unusual in today's world (think of the big American car companies who are still in business, for example).