00:00The last film was all about the ultimate battle.
00:14It was the versus movie.
00:16Who would win in a fight, Godzilla or Kong?
00:20And that was something that we had to answer right out the gate.
00:23But it's funny because whenever that film premiered,
00:26I remember there's the brief sequence at the end of that
00:29where Godzilla and Kong both team up against Mechagodzilla.
00:34And I'll never forget watching that in the theater at the time of its release
00:40and just seeing how excited people were about Godzilla and Kong even briefly teaming up.
00:45And so from that point on, I knew going forward, that's the direction.
00:51We've seen the versus and now it's going to be about the team up.
00:55And so that's what we started with and we developed the movie around that.
00:59Yeah, and, you know, the last film we kind of set up Hollow Earth,
01:09we had like a brief overview, a fly-through of it.
01:14But I, you know, I knew right out the gate, you know, when developing this movie
01:19that we wanted to dig in deeper and explore that more and fully realize that world.
01:24When the last film came out, Elon Musk tweeted about the movie,
01:30and I think he called the movie Amazeballs or something like that.
01:33And he tweeted about it a couple times.
01:38And one of them, he was actually asking the question about Hollow Earth,
01:43like where does the sunlight come from?
01:45And so that was in the back of my head reverberating through the time of production on that movie to this one.
01:54And I knew right out the gate I wanted to answer that question.
01:57So the very first shot of this movie answers Elon Musk's question about where the light comes from in Hollow Earth.
02:05And so people will get a chance to see that.
02:10But yeah, like, you know, when you're creating an environment like Hollow Earth,
02:13it's really exciting as a filmmaker because you can really just unleash your imagination.
02:17There's so many varieties of environments.
02:20There's so many trippy things with the gravity, so many, you know, fun creatures.
02:25And being able to explore that was really a huge draw for me in terms of, you know, coming on board to do another one.
02:35I have a perverse pleasure, I think, in delivering extremely serious lines in a very self-serious way to a tennis ball on a stick.
02:45I think that's quite enjoyable for a day's work and quite funny.
02:49And I laugh very heartily about it.
02:51And we laugh at her.
02:52And I'm fine with that.
02:54I'm fine with being laughed at.
02:56I consider it absolutely part of my job.
02:59But it's not that bad on these ones.
03:02I mean, a lot of, like, Adam really, Adam Wingard goes out of his way to give us the world, you know?
03:08Like, we feel the world.
03:10We feel the sets are built.
03:12And we're not standing in green or blue boxes.
03:14It's the creatures and the things that we can't actually see, which, you know, we have to do a lot of imagining.
03:21And we look at the storyboards and we see the stuff.
03:23And sometimes it's just, it's nothing apart from, you know, like a cat laser on the wall or the voice of your director behind the camera just suddenly going, boom!
03:34She's confident and intuitive.
03:45But at the same time, she's always unsure.
03:47She's confident and she knows what she wants.
03:49She knows what she would do when necessary.
03:52But at times, she's indecisive.
03:55So I always think that she's going to go with her gut.
03:57And that's what she always does.
04:04I noticed that her mother always makes sure to give her everything she wants and everything she needs.
04:15So when they couldn't understand Gia, she was very frustrated because she says, well, why would I want my daughter to go through that?
04:21How can we support her?
04:23Can't give her anything she needs.
04:25But Gia at the same time said, no, we can, he can do it himself.
04:28It's, that's my, and she knows that's her daughter.
04:30And they trust each other and they learn how to do that even stronger.
04:36So even if she doesn't know how to do something, she can always figure it out and she will always protect her daughter as well.
04:41So they both are wanting to help each other along the way.
04:51Yeah, I think Trapper fits in pretty well with this world.
04:54You know, he's, he's unfazed by most things.
04:56He's the kind of guy that you want to have on a mission like this.
04:58He's not going to freak out.
05:00He's, he's unfazed by Titan creatures.
05:03He kind of, you know, he can come up with a slightly unconventional plan to, to solve things.
05:09And also, you know, if your Titan's got a toothache, he's the guy who's going to help sort it out.
05:14So, you know, it's good to have a good dentist along.
05:16What is this new quest?
05:17Well, you know, I guess Andrews, my character, her adopted daughter is, is experiencing some commotion as a lot of kids do when they enter their adolescent years.
05:30But her commotion is, I guess, on track with someone who saved the world when she was younger and may or may not have to do it again.
05:40And in, in Andrews' new and promoted position as head of monarch something, she, she, she asks, you know, this sort of maverick, misfit group of professionals, vets and bunny and amazing theorists and font of knowledge to help.
06:03And adventures ensue.
06:05It's truly a story about, like, it takes a village, right?
06:08Because what honestly is happening is that her daughter is still connected to Kong, but it also is realizing she's connected to something else beyond.
06:17And what we think is just a teenager going through these different things, we're realizing that, oh, my God, like, she is absolutely connected to another civilization.
06:25And so we, and then, and what I love about what Andrews does is she's like, I cannot do this by myself.
06:31Help me save my child.
06:32So, and, and, you know, and sometimes as a parent, you make decisions to rear your child with people around them that may or may not be the best.
06:40But you have to take a swing in the dark.
06:42And she does.
06:44And it ends up, we end up creating this, like, familial unit.
06:47What's interesting about developing the human story in a film like this is the human story has to reflect and kind of mirror what's going on thematically with the monster story.
07:05So the driving thrust of the human story is about Gia, the deaf Iwi girl who is kind of displaced and searching for her place in the world and trying to understand what family means to her.
07:21And similarly, Kong is going through a very similar journey in Hollow Earth.
07:25He's, he's found his true home, but he's displaced still.
07:30He's lonely and he, and he doesn't have a family.
07:33And, you know, of course he encounters, you know, some apes down there that probably not up to the expectation that he would have hoped for.
07:43But what's interesting is that thematically, you know, you're, you're interweaving these stories without them actually connecting sometimes.
07:52And for me, simplicity was key when it came to developing the human storyline.
07:57Like, I wanted a smaller group of people so that we could be more intimate with them.
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