I don’t actually remember the first time I saw Merian C. Cooper’s classic 1933 monster movie King Kong. It was probably late at night when I was a spotty teenager, and I was probably watching on the little black and white telly in my bedroom – grateful that for once I was missing out on all the colours.
However, I do know that I watched King Kong again on VHS tape not long after I’d developed an unhealthy passion for animation and visual effects –specifically, after viewing a documentary on the making of The Empire Strikes Back. As I recall, this early version of the now-familiar “Special Features” section of your average Blu-ray contained a bunch of clips from old-school sci-fi features, including Them, The Beast from 20,000 Fathoms and – of course – King Kong. Most of those old films were already familiar to me. But as soon as I realised how much those clever fellows at Industrial Light & Magic loved them, I knew I had to watch them all over again.
After rediscovering King Kong, I bought The Making of King Kong by Orville Goldner and George E. Turner, along with issue 7 of an imported American magazine called Cinefex – an issue devoted entirely to a long article by Don Shay on the life of King Kong animator and special effects technician Willis O’Brien. The more I read, the more I began to appreciate the esoteric intricacies of stop-motion animation, glass paintings and traveling mattes. I put my faith in that big old ape, and he’s never let me down since.
Imagine my delight when, nearly forty years later, I got to write a lengthy article for the 152nd issue of Cinefex on Kong: Skull Island, the latest adventure for Cooper’s prodigiously proportioned primate – with animation and visual effects by, you guessed it, Industrial Light & Magic (ably supported by Hybride Technologies and Rodeo FX, I should add). I was especially pleased to score an interview with the new film’s director, Jordan Vogt-Roberts, an enthusiastic fellow with a big personality and an even bigger beard.
Cinefex 152 also contains my story on Logan, the last outing for Hugh Jackman as the grumpy mutant slasher Wolverine. One of the best bits about writing this article was hearing the glee in the voices of my interviewees as they described the various ways they’d embraced the film’s R-rating. From the makeup department’s stash of silicone severed limbs to the visual effects department’s gory research into ballistic dummy weapon testing (Google it, if you’ve got the stomach), the whole assignment was a blood-splattered treat from start to finish.
Cinefex 152 is on newsstands now, and available to order at the Cinefex online store. The enhanced iPad edition features tons more photographs – many of them exclusive to Cinefex – and stunning video content.