Final episode.
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TVTranscript
00:00...mind of a true adventurer.
00:02You want to see Indiana Jones? That is Marion C. Cooper.
00:06A legend is created.
00:09I think the original movie is like the greatest piece of escapist entertainment ever filmed.
00:15It was the most expensive picture that RKO had ever made.
00:20Time diminishes his name.
00:22People don't really know what the story is anymore.
00:25But he is reborn greater than ever.
00:27And action!
00:31I've been trying it all my life. One way or the other, I've been trying to do this.
00:36I finally got it done.
00:37This is the life of King Kong.
01:04A mysterious island.
01:06Dangerous natives.
01:10Dinosaurs.
01:13And a giant ape.
01:17And cut.
01:18Cut!
01:18Cut, cut, cut, cut.
01:19Stay there quick.
01:21It's just another day in New Zealand for Peter Jackson and the cast of Universal's upcoming film, King Kong.
01:29He is going to try and take the audience into another environment, transport them, and allow them to feel that
01:35sense of the unknown.
01:40Keep it kind of, don't be too shy.
02:05Keep it kind of, don't be too shy.
02:06He is one of the most out-sized, phenomenal characters who ever dabbled in pictures.
02:13You want to see Indiana Jones? That is Marion C. Cooper.
02:16There's never been anybody like him, and I doubt there will ever be anybody like him again.
02:20As a young kid growing up in Jacksonville, Florida, he had two dreams in his life, and one was to
02:27become an explorer, and the other was to become a soldier.
02:30So those are two of the things that really drove his early life and what actually led him to get
02:36into World War I.
02:39During the Great War, Cooper takes to the skies as one of the world's first combat airmen.
02:44After cheating death in the skies of Europe during World War I, Cooper volunteers in another conflict.
02:50After World War I, Cooper was in a group called the Koskuszko Squadron, and essentially they were helping the Polish
02:56Air Force with this mercenary group of American airmen.
02:59It's here that he meets filmmaker Ernest Szczak.
03:02They just met by chance on a railway station, and Szczak was like 6'6", and Cooper was like 5
03:10'9", 10.
03:12So they were like these, like, this long and short of it, and they were almost seemingly kind of opposites,
03:17but they just sort of connected.
03:18They just struck up this friendship, and at one point after the war they said, you know, let's get together,
03:23let's do this and that.
03:25He and Ernst Szczak, who was his partner in pictures early on, had this phenomenal history that had nothing to
03:34do with films.
03:35Escaping from this prison camp in Russia, having been caught during World War I, flyers and pilots and everything.
03:42Well, the first thing that Cooper and Szczak did is they spent a lot of time at the American Geographical
03:48Society looking at maps and kind of like, what is the world like?
03:53What are the places of the world? What are tribes like?
03:55He was attracted to the idea of so-called primitive man or even savage man.
04:00What ended up happening is they decided, well, let's hook up with one of these tribes, these nomadic tribes, and
04:06just go with them on one of their migrations.
04:09To obtain funding for this grand venture, Cooper turns to an old friend.
04:13This woman named Margaret Harrison, who was actually a spy for the U.S. government in the First World War.
04:20Basically, she said, I'll help put up half the money for your expedition, but I get to come along.
04:26And it was like, a woman on this trip? Szczak did not like the idea of a woman on the
04:30trip.
04:30It was like, what the, a woman going on with us to Persia?
04:33So, it was the three of them.
04:35Now fully funded, Cooper and company head out to uncharted territory to shoot their first film.
04:41The risks and lengths that they'll go to will surpass anything attempted by filmmakers of their time.
04:53Here we go, please. Shooting. And roll thumbs.
04:56And rolling.
04:57Lay back and action.
05:06There's a lot of Pete in Carl Denham and Cooper, and in many ways, they're both adventurous.
05:11Cooper and Peter Jackson are these adventurous types who take big risks, gamblers in life.
05:17One last big prod.
05:20As Marion Cooper, Ernest Szczak, and Margaret Harrison travel through the Middle East,
05:26they risk life and limb to capture some of the most magnificent footage ever seen.
05:31The end result is a type of film called natural drama.
05:34The first movie he did was called Grass.
05:37It's called Grass because grass was essentially the key to life for these nomadic people.
05:43Marion Cooper was really on the frontiers of a new kind of filmmaking,
05:47showing people who lived more cloistered, landlocked lives in the U.S.
05:53these scenes of native people and animals and exotic locations that they would never experience.
06:01The one comment that anybody has who ever worked on a Marion Cooper picture
06:06was he would come in whatever picture it was and look around, throw his hat down,
06:12stomp on it, and say, no, I want it bigger!
06:17The other movie they did was Chang, and Chang means elephant.
06:22Cooper's whole concept was, let's have a different type of drama if we're in the jungle.
06:28After Chang, Cooper makes a third film titled The Four Feathers.
06:33And then Cooper goes to New York and he's involved as a pioneering executive in the field of civil aviation.
06:39He started percolating this idea of doing this movie.
06:45His new idea is to shoot a film based on his travels and adventures, as well as another personal interest.
06:52Well, Marion Cooper was fascinated by apes, and to him, the idea of a gorilla embodied all the terrors that
06:57he had also survived.
06:58He started writing this script when he was in New York, bouncing ideas off a guy named W. Douglas Burden.
07:06And Burden had made an expedition to Komodo Island, where he famously brought back the Komodo dragons.
07:13These two explorers concocted the ultimate tall tale.
07:18Going to this lost world, but then also coming to civilization.
07:23And finally he got a call from David Selznick, the famous producer.
07:28And Selznick wanted Cooper to join him in Hollywood at RKO Studios.
07:32And Cooper said, yeah, sure, I'll come if I can make my giant gorilla picture.
07:39Selznick said, okay.
07:40And they got rolling.
07:41As Cooper dreams up his giant gorilla feature, a man named Willis O'Brien releases the first film to feature
07:48stop-motion animation.
07:51The Lost World.
07:53Stop-motion was in its infancy, in the silent era.
07:57The greatest example of that is the lost world.
07:59Willis O'Brien kind of pioneered this stop-motion animation, which is this really incredibly laborious thing where you create
08:07puppets, let's say, and you just move them incrementally.
08:11One frame at a time, film it, move it another frame.
08:15He's a hero to so many people working in visual effects today because he was able to create real character
08:24with these puppets.
08:26Better character than what's often done today with spending millions of dollars.
08:32He was able to achieve with his hands.
08:36O'Brien's next project is an ambitious film titled Creation.
08:41There had been a project at RKO called Creation, which is basically kind of an Atlanta story.
08:47There were dinosaurs on this island and adventures and so on.
08:49And there was going to be this huge, big epic.
08:52RKO had poured so much money into that movie.
08:55It was insane.
08:56I mean, it was going to be one of the most expensive movies ever made.
08:59David O. Selznick, along with Marion Cooper, killed Creation.
09:02Because the budget was so large.
09:04I mean, they couldn't put it on the shelf because there's too much invested.
09:07So basically Selznick asked Cooper, take a look at this and is it worth saving?
09:12Should we stick with it?
09:13They had shot a test reel with a Tyrannosaurus.
09:16That test reel happened to coincide with an idea that Marion Cooper had stemming out of his documentary work.
09:21He thought, wouldn't it be great if we had like a gorilla fighting a Komodo dragon?
09:26He goes, you know what? I could do my gorilla like this.
09:31He saw in this technique of stop motion animation a chance.
09:35In Cooper's eyes, stop motion animation is the perfect way to bring his idea to life.
09:41He plans to title his movie The Beast, but later changes it to King Kong.
09:46Marion Cooper went to Willis O'Brien.
09:49He said, can you make an ape like that?
09:51And O'Brien said, sure.
09:52I think we got something.
09:53So they did a test reel.
09:57And they showed this to the executives at RKO and they said, pshh, do it.
10:02And just like that, Marion Cooper and his old friend Ernest Sjodsak begin work on what will become
10:07one of the most expensive and lavish films of its time.
10:23As King Kong nears completion, a marketing blitz unlike any other is unleashed.
10:30Before the release of King Kong, there was a big buildup, you know, in New York where it premiered.
10:35There was all these Kong is coming and the radio spots, you know, where they had like screaming
10:39females.
10:40It was like this big phenomenon.
10:42It was the most expensive picture that RKO had ever made.
10:45The film ultimately cost RKO more than half a million dollars.
10:49To save on cost, many of the models and sets from creation are reused by Cooper.
10:54Finally, on March 2nd, 1933, RKO releases King Kong.
11:03I think the original movie is like the greatest piece of escapist entertainment ever filmed.
11:08One thing that I was struck by immediately upon seeing the original King Kong was how modern it is,
11:12how it's a movie that really is about the modern age and skyscrapers and airplanes
11:17and sort of the transformation of the New York skyline.
11:20The end of an era of exploration in which there are actually unchartered places in the globe
11:25that people didn't know about that still had an aura of mystery about them.
11:28It was a fascinating movie.
11:30It engaged me on an emotional level and I felt so sad for Kong.
11:33I felt so sorry for him.
11:35I wept.
11:36And that's stayed with me ever since.
11:38King Kong comes along and blows the lid off of everything.
11:42It shows people things that they never even dreamed of.
11:46It takes them to a world that was beyond their imagination.
11:49When Kong was originally created, it must have been an extraordinary, extraordinary thing to watch.
11:54Very, very powerful.
11:55The fact that technically you could make an 18-inch stop-motion puppet, be a 25, 30-foot gorilla convincingly
12:01and have heart and soul,
12:02it was such an achievement and obviously it was a massive draw.
12:06I mean, it was a massive hit and has had and lasted the test of time.
12:10Filmgoers are wowed by the spectacular visuals of King Kong.
12:17I remember it quite clearly.
12:19I remember certain iconic scenes, obviously, at the top of the Empire State Building,
12:23the scene where the hand comes through the window and pulls Anne out from the hotel room.
12:27King Kong just had about everything in it.
12:29They made up their own rules as they went along, essentially.
12:32The only reason it's not in color is because the visual effects and the composites they did
12:37were just too challenging for color film to match different film stocks and different composite elements.
12:43It had traveling mats.
12:44It had a rear screen projection.
12:46It had these great miniature sets.
12:49It had screens built in them.
12:51It's got lost islands, hidden in fog, dinosaurs.
12:54It's got natives who sacrifice the girl to the monster and the monster turns out to be a giant ape.
12:59And the giant ape has to battle dinosaurs.
13:01Tyrannosaurus rex fights and all this great stuff culminating to New York and the Empire State Building.
13:06I think the special effects in Kong had a great impact on future effects.
13:11Everyone certainly looked back on Kong as an influence,
13:14whether it was the use of miniatures or the use of stop motion or the creation of personalities.
13:19It has tremendous atmosphere, tremendous visual effects, not just the stop motion animation,
13:24but the paintings, the photography.
13:26It sets up this wonderful alternate reality.
13:31It's one of the greatest films anybody's ever done.
13:34And the script by Shodzak's wife, Ruth Rose, along with other contributors,
13:38makes Kong more than just a special effects showcase.
13:42Ruth Rose understood him kind of the balance of the emotional side of it
13:46and the excitement of the world that they were creating.
13:50King Kong was a Beauty and the Beast story
13:52in that it had this incredible ferocious beast, Kong,
13:58and the most gorgeous young woman, Fay Wray.
14:03It was something that attracts audiences to take that dichotomy of beauty and beast.
14:11And yet, it's not just beast.
14:14It's a creature that has caring and consideration and emotion and pain and hurt.
14:22And you get to experience all of that.
14:26Two characters in there, Robert Armstrong, who was the movie producer,
14:30and Bruce Cabot, who's the taciturn first mate on the USS Venture.
14:45A lot of people think King Kong saved RKO from bankruptcy.
14:52Well, it didn't.
14:53RKO did go into bankruptcy.
14:55But King Kong helped reverse their failing fortunes,
14:59and it helped lift the entire film industry.
15:01There's all sorts of people saying that it was like a metaphor for the Depression.
15:06In the coming years, various follow-ups and sequels are made,
15:10including a remake of Kong from Paramount in 1976,
15:13starring Jeff Bridges and Jessica Lange.
15:16It's a fascinating specimen of 70s Hollywood hokum.
15:21People who really worship the original King Kong
15:24see it as this grotesque bastardization of the original movie.
15:28By 2000, the name King Kong is diminished.
15:33People know about King Kong.
15:35Whatever generation, even the younger generation,
15:37they know that King Kong is a gorilla,
15:40and they have images of King Kong on top of the Empire State Building.
15:43But people don't really know what the story is anymore.
15:46But that's all about to change.
16:02By 2004, King Kong is alive.
16:06Only to his most dedicated fans.
16:08I guess I'm called a film historian.
16:12What you're looking at right here is the last remaining King Kong puppet.
16:16They built two for the movie in 1933.
16:19He's the prize of the place.
16:23But in 2005, Kong is born again.
16:27Thanks to a director named Peter Jackson.
16:34I've always thought what a great idea it would be to do a remake
16:38that tried to capture that feeling of the original film.
16:42I already knew that Peter was a big fan of the original movie.
16:46King Kong obviously influenced Peter Jackson to become a filmmaker.
16:50After the amazing success of the Lord of the Rings trilogy,
16:53Jackson starts to make the movie of his dreams.
16:57The lessons learned from those films
16:59are applied to a brand new production of King Kong.
17:02He said to me, Andy, I'd like you to be involved in Kong,
17:05and I'd like to take what we've learned from how we created Gollum
17:09and put it into practice on this 24-foot gorilla.
17:14My thoughts were, wow, that's some challenge.
17:16I expect Peter Jackson's version of King Kong to be excellent.
17:21I can't imagine why Jackson would do anything
17:23that would dishonor the old film.
17:25In fact, I think quite the opposite is true.
17:27He will try to embellish his film with scenes
17:30that may not have been available to shoot
17:32or just something he's created on his own.
17:34Jackson adds his own unique touch to this new version of Kong.
17:39I knew that if Pete was going to make it,
17:40he would make Kong very much a character,
17:42not just some kind of generic gorilla.
17:45And I knew that it would be an exciting
17:47and very challenging acting proposition.
17:50An all-star cast brings the classic Kong characters back to life.
17:54Jack Black's performance of Carl Benham in our version of the film,
17:58I think, really mirrors a lot of Pete's drive as a director.
18:02I think if Pete and Fran Walsh and Philippa Boynes wrote a lot of Peter into that, I'm sure.
18:07I think Pete wanted to go younger
18:10because he wanted him to be like a Orson Welles type of character,
18:15somebody who was really cocky and really full of beans
18:18and sort of a frustrated filmmaker.
18:20I want the cast and crew on the ship within the hour.
18:22No, Carl, you can't do this.
18:23Tell them the studio pressured us into an early departure.
18:25It's not ethical.
18:26What are they going to do? Sue me? Huh?
18:28They can get in line.
18:28I'm not going to let them kill my film.
18:30My character, Jack Driscoll, is a playwright, a screenwriter,
18:34and he's pulled from his element
18:36and forced to go rescue the girl of his dream.
18:40That changes everything.
18:43Take it out!
18:45Behind the wall!
18:47Wall!
18:48Where's the wall ahead?
18:55We met Faye Ray very briefly, yes, just before she passed away.
18:58It was incredible.
18:59I mean, I'd never met her before and she was 96
19:01and I shook her hand and started crying.
19:03I mean, I started crying.
19:05I couldn't help it.
19:05I thought, oh, this is terrible.
19:07I'm meeting Faye Ray and I'm blubbing.
19:08It was great watching Peter and her together
19:10because this was his schoolboy crush.
19:14He fell in love with her at nine years old.
19:17He then introduced me, said, this is the new Randara.
19:20She gave me her blessing
19:21and her parting words were actually,
19:24Randara's in safe hands.
19:26And so that was great.
19:28It really touched me.
19:30Universal Studios releases King Kong
19:32on December 14, 2005.
19:34For Peter Jackson, this isn't just another movie.
19:37It's the fulfillment of a lifelong dream.
19:43I've been trying it all my life.
19:45One way or the other, I've been trying to do this.
19:48Finally, I finally got it done.
19:49Someone once asked me,
19:51would Cooper mind, you know, Peter Jackson making Kong?
19:55And I think if Cooper came back to our planet
19:57from wherever he's at,
19:58I think he would totally approve.
20:07His love for Rand and the way that the story plays itself out
20:11right up to the summit of the Empire State Building
20:13is what makes Kong so special,
20:15so mythic and iconic.
20:17There are enormous expectations riding on this movie.
20:20The anticipation for Peter Jackson's King Kong
20:22is enormous.
20:24Kong is such a beloved character
20:27because of the strength of that character,
20:30because of the emotion.
20:34I think the whole world wants to see
20:36Peter Jackson's version of that.
20:37I hope they take away something
20:39of what excited me when I was nine years old.
20:42We've done nothing but try to make
20:43a piece of escapist entertainment
20:45that will sweep you away.
20:47This is where it goes way beyond being Godzilla
20:49or just a monster bashing up a city.
20:51I mean, this is King Kong.
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