sure we knew what to do with it." Woods eventually convinced them to discuss the project with TriStar. Elliott and Rossio wrote a three and half-page story outline that secured their employment. Rossio believes that they were offered the project due to their experience in writing "franchise-type titles." Robert Fried expressed support for Elliott and Rossio, praising them as "talented sci-fi buffs" and stating, "We’ve put a lot of time, thought and finance into the screenplay." Toho's character restrictions helped inspire Elliott and Rossio in finding the tone of the script, Elliott stated, "Toho insisted we not make light of the monster. That helped us find the right tone as well as the social and political implications." The duo wanted to avoid a comic-like approach and instead take the material seriously with a "legitimate science fiction story" that would evoke feelings of "mystified or scared or awe-inspired" for audiences. Rossio wanted to create a balance in anthropomorphizing Godzilla, not wanting to stray from Godzilla's humanistic personality but not humanize him entirely. The duo approached Godzilla as something that audiences would fear yet root for. Elliott found the "key" to the story after a friend, who was also a Godzilla fan, expressed that he found Godzilla not to be a "good guy", but a territorial beast, Elliott stated, "And that, to me, meant that you could actually present Godzilla on the side of the angels but he could still be a monster." The duo chose to add small details to make Godzilla seem "more realistic", such as the nictitating eyelid. The duo took inspiration from Moby-Dick for the story concept. As the story developed, they found that the Ahab archetype would be more interesting if it were a woman who lost her husband to Godzilla. Elliott described the story to be about obsession, redemption and "inappropriate grief response." The duo also wanted to deliver a story that satisfied fans by adapting Godzilla's characterization from the first few Toho films, Elliott stated, "In one movie it does what the first three Toho films did – it takes him from being a horrendous threat to being defender of the Earth." Elliott and Rossio submitted their first draft on November 10, 1993. Woods and Fried were satisfied with the script, with Fried praising it for being "respectful of the organic origins of Godzilla, in some ways a homage to US-Japanese relations." After De Bont