As a film enthusiast with a deep appreciation for the art of cinema, I can confidently say that Peter Jackson’s 2005 remake of King Kong stands as one of the most memorable and impressive cinematic achievements of my lifetime. Having grown up watching films from the golden age of Hollywood, I was initially skeptical about a modern take on such a timeless classic. However, Jackson’s masterful blending of practical effects, groundbreaking visual effects, and a compelling storyline left me utterly spellbound.
In October of 2005, James Newton Howard was enjoying dinner when his agent made an unexpected call. “He inquired if I was interested in working on a movie. I responded, ‘Sure, what’s it about?’ He disclosed that the film would be three hours long and I had only four weeks to complete it. Naturally, I asked, ‘What is this project?’ If it were an extraordinary opportunity, I might consider it,” Howard recounted during a conversation with SYFY WIRE in November 2022.
It transpired that Peter Jackson’s expansive, $200 million adaptation of King Kong for Universal (available on Peacock) required unexpected changes to the soundtrack at the eleventh hour. Initially, Howard Shore, who had collaborated with Jackson on The Lord of the Rings trilogy, composed the music. However, it became apparent that the original score wasn’t quite fitting. Despite the tight deadline, Howard was determined not to miss this opportunity. “If a film composer isn’t enthusiastic about King Kong,” Howard asserted, “they ought to consider another profession. That movie represents the pinnacle of our craft. There has never been a greater musical chance.
In about seven weeks, the film was set to premiere, leaving the composer with roughly a month to complete the task. He retreated to his Santa Monica studio, crafting demos during the day and sending them to Jackson, who was overseeing the entire production in his native New Zealand.
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Initially, they exchanged comments, and it was at the premiere where we first encountered each other. Despite this being our initial encounter, we quickly developed a strong connection. This was true not only for him but also with Fran [Walsh, Jackson’s wife, co-screenwriter, and producing partner]. Howard mentioned this as an aside. They were quite clear about their feedback. We ran into difficulty with one section of the movie, which necessitated numerous revisions. However, he appreciated most of the parts from the beginning, and fortunately, there weren’t many rewrites needed. Otherwise, I wouldn’t have been able to complete the job on time.
When we inquired about whether this project was the most challenging of his approximately 40-year career, the amiable Howard responded promptly. “Goodness gracious, yes,” he replied. “There’s nothing that will compare because I wouldn’t do it again. It took a toll on me; those years can’t be regained. Even though Peter is delightful to collaborate with, it was simply an enormous undertaking.
In a similar vein, composing such an intricate film score within a short span seems improbable, even for a secluded island inhabited by carnivorous insects. Yet, the composer’s swiftly penned motifs brilliantly captured the exhilarating danger, tender romance, swashbuckling action, breathtaking amazement, and heart-wrenching sorrow of the cinematic odyssey. The composer shared that writing the score was effortless due to the story’s crystal-clear narrative. His ambition was to produce “an impressive orchestral score filled with fresh themes,” and he undeniably achieved this objective.
This kind of composer change is extremely unusual, especially for such a large film, but Joss Whedon’s choice to revamp one of America’s most iconic monster movies wasn’t a last-minute decision made at the very end.
The origin of Peter Jackson’s King Kong
According to Grant Major, who has worked on all of Jackson’s movies since 1994’s Heavenly Creatures, he mentioned earlier that he had dreams of directing King Kong before Lord of the Rings was released. He often expressed interest in this project because it aligned perfectly with his filmmaking style, particularly the animation and miniature photography involved – aspects that truly captivated him at the time.
Since my childhood, I’ve been a devoted admirer of the 1933 original. In the late ’90s, I almost embarked on a journey to Skull Island, even writing several screenplay drafts with Walsh. However, the studio froze the project. Instead, I delved into Middle-earth, achieving enough box office success and Oscar wins to persuade Universal to reconsider their decision about Kong in 2003.
Jackson, Walsh, and collaborator Philippa Boyens adopted a simplified narrative structure, centering the story once more around the cunning filmmaker Carl Denham (played by Jack Black) and the ape-enamored Ann Darrow (Naomie Watts). As Major mentioned, “We were on a streak,” implying that it was a satisfying continuation following their work on The Lord of the Rings, to tackle a production as grandiose as King Kong.
Apart from being advantageous for both personal and professional growth (the prosperity and extensive scope of the films based on J.R.R. Tolkien’s works granted Peter Jackson a substantial budget and greater artistic freedom), the trilogy also offered an opportunity to advance technology to meet Jackson’s ambitious vision for the towering gorilla, eventually portrayed by motion-capture pioneer Andy Serkis. The stop-motion techniques of Willis H. O’Brien from the 1930s would no longer suffice in a world post-Jurassic Park.
Major explained, “It’s no accident that he selects projects such as ‘Lord of the Rings’ and ‘King Kong.’ These fit perfectly with his filmmaking style… He isn’t shy about constructing large miniature sets and photographing them in miniature. Nor does he shy away from big, theoretical, conceptual elements – starting with Gollum and progressing to King Kong. This was a natural evolution [of his work]. Essentially, it was a challenge to rival Spielberg and create dinosaurs and similar projects. ‘We can do them just as well or even better!’
How Peter Jackson’s King Kong recreated Depression-era Manhattan in New Zealand
To keep things convenient and familiar, Jackson decided to film the entire project in New Zealand. This necessitated creating a convincing representation of Depression-era Manhattan. As Major pointed out, “The straight avenues and streets here offer such a vast view; we won’t find anything similar in our countryside – it would require starting anew. Thus, it was clear from the start that we’d need to construct backlot sets for this part.
Major and his team thoroughly studied countless photos from the economically challenging era, aiming for maximum authenticity regarding the shops in Times Square and other locations. We meticulously examined these images to determine the number of people in them, allowing Peter to estimate the population size needed to fill the set’s replicas accurately.
Instead of creating an exact replica of post-World War I Manhattan as Philip Seymour Hoffman did in Synecdoche, New York, they constructed streets and buildings up to certain limits, covering each extension with green screens. Weta Digital, Jackson’s visual effects company, then expanded these sets digitally during post-production. As Major explained, “Weta Digital skillfully blended the physical set with the digital extensions, making the transition from one to the other nearly imperceptible.
After Carl Denham manages to avoid his angry studio investors and convinces Ann to star in his movie, we embark on a rundown ship called the Venture. As it turns out, they constructed this boat multiple times under various forms, as revealed by Major, for the scenes that take place on the ship, which make up approximately 30 minutes of the film.
In the mix were an antique yet seaworthy icebreaker dating back to the 1930s, a full-scale, tiltable replica of approximately two-thirds of a boat for the studio’s backlot, a functional miniature crafted by Weta Workshop, and a digital iteration from Weta Digital. Peter, in his words, felt that the hands-on approach of his films perfectly complemented these projects. His production company, WingNut Films, embodies a DIY spirit, a ‘can-do’ attitude, and nimbleness – qualities that, in his view, truly define his body of work, especially during that time period.
The land that time forgot
Furthermore, we find ourselves confronting Skull Island, a wild territory belonging to Kong, teeming with monstrous lizards and bugs, always ready for a human meal. Our protagonists swap one jungle for another, discovering the harsh reality that the film world and the Great Depression hold no significance for the indifferent beings inhabiting this secluded archipelago.
Major explained that the atmosphere on Skull Island was both chaotic and perilous. To portray it as an extremely challenging location, he emphasized the presence of sharp rocks and other hazards. Moreover, the immense size of the island’s ecosystem was crucial to bring to life a vibrant world.
In the grand adventure of King Kong, one of the real-life spots Jackson chose was the Auckland Civic Theatre, serving as our starting point in New York City where the titanic gorilla began his destructive rampage. As I watched, the lumbering beast crashed through the city, frantically searching for the woman who would ultimately be his downfall.
The legacy of Peter Jackson’s King Kong remake
In a stunning debut on December 14, 2005, the remake of King Kong quickly took the lead at the domestic box office, earning approximately $66 million. With a massive budget of around $207 million (one of the highest studio investments back then) and a length comparable to King Kong himself, the movie astonishingly surpassed expectations, raking in over $550 million globally from ticket sales. Just as Carl Denham predicted: “There’s still some enigma left in this world, and we can all share a piece of it…for the cost of a cinema ticket.
As a cinema enthusiast, I can’t help but express my elation over this film. Both critics and audiences have praised it as an early Christmas gift, a pure cinematic joy that beautifully honors the 1933 original while simultaneously etching its own memorable place in blockbuster history. It stands out as a groundbreaking moment, particularly due to the motion-capture technology masterfully employed to transform Andy Serkis into a remarkably expressive ape.
The movie not only turned out to be a strong contender during the awards season, but it ultimately claimed three Oscars in categories like Best Sound Editing, Best Sound Mixing, and Best Visual Effects. However, given the level of dedication and delicacy poured into its creation, one might expect it to receive recognition beyond just the technical categories that often favor visually intense films featuring computer-generated imagery (CGI).
Howard confessed, “Typically, I don’t care much about the Academy, but I genuinely thought our score had a good chance of being nominated, and surprisingly, it wasn’t. I suspect they doubted whether I truly wrote it in such a short span, but I assure you, I did.
Despite not receiving gold statues from Hollywood, Peter Jackson’s King Kong has undoubtedly left an indelible mark on cinematic history. Its epic storytelling, the audaciousness of its special effects, and the heartrending emotional core it possesses work in perfect harmony to create a cinematic experience that embodies magic itself. The film serves as a monument to our enduring love for the silver screen.
Major summarized that it was an exceptionally thrilling phase, as we combined various talents seldom seen in movie production at the same time… It was truly an exceptional era for filmmaking during the early 2000s, and we had the privilege of being part of it.
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2024-11-14 19:32