Entertainment Weekly recently sat down with Kong: Skull Island director Jordan Vogt-Roberts:
On designing this film’s version of Kong: “With Kong, there’s been obviously so many different versions of him in the past and ours needed to feel unique to our film. I had a mandate that I wanted a kid to be able to doodle him on the back of a piece of homework and for his shapes to be simple and hopefully iconic enough that, like, a third grader could draw that shape and you would know what it is. A big part of our Kong was I wanted to make something that gave the impression that he was a lonely God, he was a morose figure, lumbering around this island.”
On taking a different approach from other monster movies: “We’re also fundamentally not playing the same game that Gareth Edwards’ Godzilla did and most monster movies do, which I’m sort of sick of the notion that a monster movie needs to wait an hour or 40 minutes until the creature shows up. Kong traditionally does not show up in these movies until very, very late, and the monster traditionally does not show up until very, very late in a monster movie, so a lot of these movies tend to have this structure that’s a bit of a slow burn. Something about this movie made me want to reject that and play a very, very different game.”
On Kong’s loneliness: “Kong’s always been a little bit tragic. You can’t tell exactly from the still, but the way that he walks on the island, the way that he goes from place to place, I wanted to communicate something about his headspace and about the way that, in certain ways, he’s the protector of this island and then in other ways he’s killing time. The way he lumbers, the way that he drags himself from place to place, there’s an exhaustion to him. There’s obviously a huge power to him, but there’s a sadness contained within his animation. The way that he walks and his facial capture fused with this very energetic, young Kong at the same time.”