What I love about films is that you can see "King Kong" and you can be affected by it and then you realize that he was just this little guy when he made that fall.
I think there's still a little bit of that 9 year-old in me and I'm pretty happy.
What is the truth is that every one of my films is a film that I'd love to go see, and I think that's very important because I always think it's a mistake to make movies for other people, or to make them for a demographic, or try to second guess an audience.
I wanted people to believe that there could still be this little undiscovered piece of the world that survives still on Skull Island.
People call Kong "a monster." He's not. There's nothing evil about Kong. He's just another creature who has opened up a little bit of his heart to Ann and it proves to be his undoing.
There's a generation of children who don't like black and white movies. There's a level of impatience or intolerance.
The music in a film like this is as critical as anything because Kong is mute. He doesn't talk.
I want to make movies just like "King Kong." You know, dinosaurs, big gorillas - it's everything that a nine year-old boy would fall in love with.
There's something incredibly tragic about Kong. You feel almost feel ashamed to be a human being when you see what happens to him. I mean he is ultimately a pure-heart.
There's no real rules about what you do [while directing]; it's just you just use your instincts as to the pacing of a film and what is repetitive and what is the minimum amount you can get away with to tell the story, that scene didn't make it in.
As a filmmaker, you are going to manipulate the character as you need to make the scenes work.
I think that's the job of a director really, to sort of funnel all the creativity into one centralized point of being.
I regard myself as being the final filter so everything that ends up in the movie is there because it's something that I think was cool.
To people in my industry I'm usually a guy that tries to generate his own projects and I remain very elusive when people try and attach me to big projects.
Writing a screen play with a group of collaborators is like the Lennon McCartney collaboration .... sometimes one or two people do more than others on certain parts of the process and vice versa.
I adore physical miniatures and try to use them as much as I can and have a bit of a fetish about that.
When you're directing, you're right at the coal face, always exhausted, often emotional - and I'll enjoy being a couple of steps back from that and simply helping where I can.
Structure is important in film, but there's often structure to be found in the most unlikely of places! It's quite possible to build a structured story and retain idiosyncrasy.
Every film is a challenge. I always say that making a movie is like film school - you're always learning. But unlike most schools, you never get done with it. You never learn everything.
I think that you can treat a classic like a museum piece -stuffed and mounted- or you can make it a living, breathing narrative that is unfolding right then and there.
I am a big Dragon fan. I've said it before- And I was fortunate enough to be born a Dragon in the Chinese Horocope.
Most directors prefer to direct everything themselves. I thought I could on Lord Of The Rings, but very quickly found out that the sheer scale prevented it.
Everything is in a script for a reason, and only by being part of a writing team (or writing it yourself), do you really understand the intention of every beat.
The director has to win, because you should never force a director to shoot something they don't believe in.
In an ideal world the script is written lean and tight and therefore there are no scenes left on the cuttring room floor and therefore no extended edition.
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