Tohl Narita: “I was impressed with the helmet of Kuroda Nagamasa (1568-1623), a samurai lord from Japan’s Warring States Period. I thought of incorporating the impression into this kaiju. Needless to say, it ended up having horns that were wider and thicker than those of his helmet.”
Gomora should be one of the most popular kaijus featured in “Ultraman” with its powerful and massive appearance so that it represents the kaiju characters that appeared in the show.
Along with the excellent design drawn by Tohl Narita, the subtly curved horns sculpted by Ryosaku Takayama are fabulous while the head used in the show still exists and has often been displayed at tokusatsu exhibitions with the sense of being alive still remaining unchanged as I actually saw it at an exhibition held in a museum even with the single horn on its snout missing and the mark where the left horn broken by Ultraman was fixed by being put back where it used to be.
Shigeo Kurakata says in an interview that the opening and closing movements of the mouth were operated by radio control with the receiver installed where its tail and body met.
He says, as, along with the kaiju rampaging a lot, many scenes featuring Gomora were filmed with the camera zooming out on the kaiju, they decided on the use of radio control instead of wire operation while the wire operation was predominantly used for the other kaijus. Takayama is said to have called the wire operation method “himokon” (himo=wire/string; derived from “rimokon” that is the Japanese abbreviation of “remote control”), which I find so witty.