Kong: Skull Island is a 2017 American action adventure 3D monster movie directed Jordan Vogt-Roberts from a screenplay by Max Borenstein, Derek Connolly, John Gatins and Dan Gilroy, loosely based on King Kong (1933) by Merian C. Cooper and Edgar Wallace.
The film is a reboot of the King Kong franchise and will serve as the second instalment in Legendary’s Godzilla–Kong film series.
The film was produced for Legendary Pictures by Debbi Bossi, Jennifer Conroy, Alex Garcia, Jon Jashni, Eric McLeod, Mary Parent, Nicholas Simon and Thomas Tull. It was initially known as Skull Island.
Principal photography began on October 19, 2015 in Hawaii. Kong: Skull Island is scheduled to be released by Warner Bros. in the United States on March 10, 2017.
Tom Hiddleston (Only Lovers Left Alive; High-Rise), Brie Larson, Samuel L. Jackson, John Goodman (10 Cloverfield Lane; Arachnophobia; C.H.U.D.), Terry Notary, J.K. Simmons, Michael Keaton, John C. Reilly, Jason Speer, Tom Wilkinson, Toby Kebbell, Shea Whigham, Russell Crowe, Raj K. Bose, Jerald M.S. Pang, David James Sikkink, Paul S.W. Lee, John Huser, John Ortiz, Thomas Mann, Marc Evan Jackson, James Edward Flynn, John A Weaver, Corey Hawkins, Michael C Hollandsworth, Eugene Cordero, John West Jr., Jason Mitchell, Tian Jing, Will Brittain.
In the 1970s, a diverse team of explorers is brought together to venture deep into an uncharted island in the Pacific—as beautiful as it is treacherous—unaware that they’re crossing into the domain of the mythic Kong…
Director Vogt-Roberts’ told Entertainment Weekly:
…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.
We sort of went back to the 1933 version in the sense that he’s a bipedal creature that walks in an upright position, as opposed to the anthropomorphic, anatomically correct silverback gorilla that walks on all fours. Our Kong was intended to say, like, this isn’t just a big gorilla or a big monkey. This is something that is its own species. It has its own set of rules, so we can do what we want and we really wanted to pay homage to what came before…and yet do something completely different.
There’s subtle nods. [The ’33 film] was black and white, so it’s really easy to assume that the fur on the monkey is black, but there’s actually a lot of forums and things that you read and there’s some real poster artwork where Kong’s fur skews more brownish, so we actually pushed his fur in more of a brown as opposed to the traditional black. It really was trying to create this feeling so that when these humans look up at him, they hopefully have a visceral response, saying to themselves, ‘That’s a God, I’m looking at a God.’
If anything, our Kong is meant to be a throwback to the ’33 version. I don’t think there’s much similarity at all between our version and Peter [Jackson]’s Kong. That version is very much a scaled-up silverback gorilla, and ours is something that is slightly more exaggerated. A big mandate for us was, How do we make this feel like a classic movie monster?
[Kong] was a movie monster, so we worked really hard to take some of the elements of the ’33 version, some of those exaggerated features, some of those cartoonish and iconic qualities, and then make them their own…We created something that to some degree served as a throwback to the inspiration for what started all of this, but then also [had] it be a fully unique and different creature that — I would like to think — is fully contained and identifiable as the 2017 version of King Kong. I think there are very modern elements to him, yet hopefully he feels very timeless at the same time.