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Kong: Skull Island – An Interview with Tom Hiddleston

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A strict set of rules must be followed when talking about Kong: Skull Island.


1. Please don’t reveal the fate of any of the characters, including Kong – especially Kong.

2. Please avoid specifics about the other creatures in the film, particularly the Skullcrawlers. However, please feel free to allude to villain creatures that exist on Skull Island, particularly Kong’s nemesis – the terrifying, rapacious beast that killed his ancestors and made him the last of his kind.

3. Please avoid taking on the politics or grim realities of the Vietnam War (napalm, mass human losses). If pressed, please treat the subject with sensitivity but deflect to the film itself, i.e. look and feel, thematic resonance, period military mindset and techniques, etc.

4. Please avoid comparisons to Apocalypse Now. If asked directly, please underscore that Kong: Skull Island is a big, epic monster movie while noting that Coppola and ‘70s cinema are a huge influence on today’s filmmakers.

5. Please avoid discussing the film’s budget or any financial details of the production. If pressed to comment on reported numbers or speculation, please deflect, i.e. “I honestly don’t have any information on that; that would be a question for the studio.”

6. Please avoid specifics on how Kong is being created, e.g. motion capture techniques and Andy Serkis’s involvement/lack of involvement in the film. It’s fine to note that he will be a digital character but please focus on bringing Kong to life at such an epic scale and level of ferocity.

7. Please do not position the film as an “origin story.”  Instead, please emphasize that this film will reveal one of Kong’s most important battles—for his rightful place as the king of Skull Island (“how Kong became King”).

8. In general, please avoid criticizing other films or directors in relation to Kong: Skull Island or referencing previous films, such as the ‘70s King Kong or Peter Jackson’s 2005 film. The legacy we are connecting to is the 1933 original, so please feel free to discuss that film and the cultural phenomenon it birthed. Peter Jackson’s version was a wonderful telling, but Kong: Skull Island is a vastly different take on the character and mythos.

9. Please avoid specifics about the music or specific tracks that will be on the soundtrack. It’s okay to talk about the incredible opportunity for an amazing soundtrack offered by this landmark era in music.

10. Please avoid mentioning specific films as either a prequel or a sequel to Kong: Skull Island and any speculation on where the story goes next. If asked about the wider “MonsterVerse,” please feel free to acknowledge that this film continues to explore a new era of this shared universe.

11. If questioned about how Kong and Godzilla would match up in a fight – given that Kong is 100 ft-tall and Godzilla is closer to 350 ft-tall – okay to tease the exciting possibilities of such a battle.

12. Also please reference that the Kong we meet on Skull Island is an adolescent and “still has some growing to do.”

Set in 1973, Kong: Skull Island follows a team of explorers that is brought together to venture onto an uncharted island in the Pacific. Obviously, the team is completely unaware that they’re entering the domain of the mythic Kong.

Kong: Skull Island’s human star, Tom Hiddleston, plays Captain James Conrad, the leader of the fateful expedition. In November, I had the chance to talk to Hiddleston about the beauty and the horror of Skull Island and the relationship between man and monster.

DG: How difficult was it for you, as an actor, to have to continually imagine the existence of a digitally-created character like Kong throughout the filming process?

TH: It’s like playing tennis on half a court. You hit the ball back, and it doesn’t come back to you, in terms of trying to imagine the visual effects that will appear in the finished film. It requires a lot of emotional and physical stamina. When we made the film, I would stare at different points-at hills, at the tallest trees, up in the sky-and pretend that I was looking at Kong and the other creatures in the film.

DG: How did you first become involved with Kong: Skull Island?

TH: I was filming Crimson Peak in Canada in 2014, when producer Thomas Tull, one of the partners in the production company Legendary Pictures, took me aside and told me that they were going to do another Kong film. Thomas told me that they wanted to make the kind of Kong film we all grew up on, referring to the classic 1933 original. He told me that the Kong in this film would exist in the real world. He said there would be other creatures in the film, and explorers, and villains, and he said he wanted me to be the hero. Then he asked me, ‘Are you interested?’

DG: How would you describe Skull Island?

TH: The most dangerous places are the most beautiful. Skull Island is a beautiful but mysterious place that’s full of terror and wonder. Man has never been there before, and there’s a sense that man doesn’t belong there. The film is about awe and wonder and unknown terror.

DG: How would you describe Conrad, and is there a relationship between the character’s name and Joseph Conrad’s novel Heart of Darkness?

TH: Conrad’s Heart of Darkness explored the mind of man, and the themes in the book-man’s hubris and the extremes that exist in nature-are present in the film. Conrad is a former SAS officer who brings a tremendous amount of cynicism to this mission. Conrad specializes in jungle survival, and he’s experienced the most extreme forms of nature. He thinks they’re all going to die, and he actually starts listing the ways in which they’re all going to die on this mission. What happens in the film is that Kong reawakens his sense of awe and wonder.

DG: Kong: Skull Island takes place in 1973. Why is that specific point in time relevant to the story?

TH: It’s a perfect time because it’s a time period in which it would be possible to discover an uncharted island in the Pacific. It’s believable that Skull Island could have gone undiscovered until 1973, when NASA’s satellite program, Landsat, began to map the world from space, which is how the island is discovered in the film. This is a time that was defined by corruption and cynicism and the misuse of power. Richard Nixon ended the Vietnam War. The Watergate scandal was still unfolding. It’s a relatable point in time.

DG: What did director Jordan Vogt-Roberts bring to this film that was unique from other directors who might’ve attempted this?

TH: Jordan brought an unshakable belief to the film, which meant a return to an old school type of filmmaking. Jordan wanted to go to the ends of the earth, like David Attenborough did on the television series Planet Earth. We filmed in real environments, real jungles. There were no air conditioned, bug-free tents on this film. When we were in Australia, on the Gold Coast, a health safety officer warned us that the black snakes, the spiders, and even some of the plants could kill us. We filmed in the rainforest in Queensland, and we filmed around the lakes and swamps in Vietnam, where the mountains rise up out of the ground like skyscrapers. In Oahu, we were in the valleys, surrounded by breathtaking mountain vistas and Huey helicopters. The look of the film is very colorful and projects a sense of beauty and majesty. There are lots of fluorescent colors on the island-lots of blues and bright greens and oranges. Kong is the god of this natural world.

DG: How would you describe the relationship between Conrad and Mason Weaver, the character played by Brie Larson?

TH: Conrad and Weaver are outsiders who are united by their skepticism. They’re both very skeptical of the stated reasons for them being there. They don’t trust the character played by John Goodman, who says he only wants to map the planet but clearly has ulterior motives. The human characters are all, to varying degrees, broken, lonely people. Some of them see Kong as just a threat, while others, like Conrad, come around to the idea that Kong is more of a savior.

DG: How would you describe the dynamic that exists between Conrad and Preston Packard, the character played by Samuel L. Jackson, the leader of the Sky Devils helicopter squadron?

TH: Packard is the commander in the sky, and Conrad is the commander on the ground. This is a disparate group of explorers and soldiers that have arrived on this island. Packard’s first priority is to protect the lives of his men, and when his men are threatened, he becomes vengeful. The different priorities that develop in our characters throughout the film put us in conflict with each other.

DG: When you were pretending to be looking at Kong for all of those months, what did you feel and imagine?

TH: What I imagined, based on the script and the conceptual artwork, was that Kong was an emblem of the power of nature. This is definitely what I’ve seen in the film. Kong’s the defender of the island and nature. You can see the native intelligence when you look into his eyes, and you can also see how lonely he is. He’s lonely at the top of the food chain. His ancestors have all been killed, and he’s the last of his kind. His eyes reflect tragedy. When I looked up at him, when I was staring up toward a hill or a tree during the filming, I was terrified at first, and then I felt an overwhelming sense of humility and awe. Then I thought, ‘I’m looking at a god.’

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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