King Kong Besetzung Inhaltsverzeichnis
Eine abenteuerlustige Filmcrew macht sich auf den Weg zu der mysteriösen Insel Skull Island. Dort soll einer Legende nach der Riesengorilla Kong leben. Schon bald entdeckt die Crew, dass Kong nicht nur Legende ist und neben ihm auch Dinosaurier. Rolle: Ann Darrow. Jack Black. Rolle: Carl Denham. Adrien Brody. Rolle: Jack Driscoll. Andy Serkis. Rolle: King Kong/Lumpy the Cook. Thomas Kretschmann. Im Laufe der Fahrt kommen sich Jack Driscoll und Ann Darrow langsam näher und verlieben sich schließlich ineinander. Als Kapitän Engelhorn kurz vor der Insel. King Kong ist ein US-amerikanischer Abenteuer, Horror- und Fantasyfilm von John Guillermin aus dem Jahr Der Film ist eine Neuverfilmung von King. Jack Driscoll | Fans. Bekannt für. Der Pianist. Fan werden. Andy Serkis. King Kong | Fans. Bekannt für. Planet der Affen: Revolution. Fan werden.
- Die Planungen zum Film mit Godzilla und Kong laufen auf Hochtouren. In unserem Beitrag erfahrt ihr alles zu den Akteuren bei Godzilla vs. Kong. King Kong Schauspieler, Cast & Crew. Liste der Besetung: Jeff Bridges, Charles Grodin, Jessica Lange u.v.m. King Kong ist ein US-amerikanischer Abenteuer, Horror- und Fantasyfilm von John Guillermin aus dem Jahr Der Film ist eine Neuverfilmung von King.
Selznick suggested Jungle Beast as the film's new title,  but Cooper was unimpressed and wanted to name the film after the main character.
He stated he liked the "mystery word" aspect of Kong's name and that the film should carry "the name of the leading mysterious, romantic, savage creature of the story" such as with Dracula and Frankenstein.
Because David O. Selznick thought that audiences would think that the film, with the one word title of Kong , would be mistaken as a docudrama like Grass and Chang , which were one-word titled films that Cooper had earlier produced, he added the "King" to Kong's name in order to differentiate it.
In his first appearance in King Kong , Kong was a gigantic prehistoric ape, or as RKO's publicity materials described him, "A prehistoric type of ape".
Indeed, Carl Denham describes him as being " neither beast nor man ". Like most simians, Kong possesses semi-human intelligence and great physical strength.
Kong's size changes drastically throughout the course of the film. While creator Merian C. Cooper envisioned Kong as being " 40 to 50 feet tall ",  animator Willis O'Brien and his crew built the models and sets scaling Kong to be only 18 feet 5.
This did not stop Cooper from playing around with Kong's size as he directed the special effect sequences; by manipulating the sizes of the miniatures and the camera angles, he made Kong appear a lot larger than O'Brien wanted, even as large as 60 feet I was a great believer in constantly changing Kong's height to fit the settings and the illusions.
He's different in almost every shot; sometimes he's only 18 feet tall and sometimes 60 feet or larger. This broke every rule that O'Bie and his animators had ever worked with, but I felt confident that if the scenes moved with excitement and beauty, the audience would accept any height that fitted into the scene.
For example, if Kong had only been 18 feet high on the top of the Empire State Building, he would have been lost, like a little bug; I constantly juggled the heights of trees and dozens of other things.
The one essential thing was to make the audience enthralled with the character of Kong so that they wouldn't notice or care that he was 18 feet high or 40 feet, just as long as he fitted the mystery and excitement of the scenes and action.
Concurrently, the Kong bust made for the film was built in scale with a foot Godzilla and King Kong Escapes.
For more details on these versions of the character, see below. This resulted in King Kong This Kong was an upright walking anthropomorphic ape, appearing even more human-like than the original.
Also like the original, this Kong had semi-human intelligence and vast strength. In the film, Kong was scaled to be 42 feet This Kong had more or less the same appearance and abilities, but tended to walk on his knuckles more often and was enlarged, scaled to 60 feet Universal Studios had planned to do a King Kong remake as far back as They finally followed through almost 30 years later, with a three-hour film directed by Peter Jackson.
Jackson opted to make Kong a gigantic silverback gorilla without any anthropomorphic features. This Kong looked and behaved more like a real gorilla: he had a large herbivore's belly, walked on his knuckles without any upright posture, and even beat his chest with his palms as opposed to clenched fists.
In order to ground his Kong in realism, Jackson and the Weta Digital crew gave a name to his fictitious species Megaprimatus kong and suggested it to have evolved from the Gigantopithecus.
Kong was the last of his kind. He was portrayed in the film as being quite old, with graying fur and battle-worn with scars, wounds, and a crooked jaw from his many fights against rival creatures.
He is the dominant being on the island, the king of his world. But, like his film predecessors, he possesses considerable intelligence and great physical strength; he also appears far more nimble and agile.
This Kong was scaled to a consistent height of 25 feet 7. We assumed that Kong is the last surviving member of his species.
He's the last of the huge gorillas that live on Skull Island He's a very lonely creature, absolutely solitary. It must be one of the loneliest existences you could ever possibly imagine.
Every day, he has to battle for his survival against very formidable dinosaurs on the island, and it's not easy for him. He's carrying the scars of many former encounters with dinosaurs.
And he has never felt a single bit of empathy for another living creature in his long life; it has been a brutal life that he's lived.
In the film Kong: Skull Island , Kong is scaled to be feet He also stated that the original look was the inspiration for the design, saying:.
This is something that is its own species. 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? Co-producer Mary Parent also stated that Kong is still young and not fully grown as she explains, "Kong is an adolescent when we meet him in the film; he's still growing into his role as alpha".
While one of the most famous movie icons in history, King Kong's intellectual property status has been questioned since his creation, featuring in numerous allegations and court battles.
The rights to the character have always been split up with no single exclusive rights holder.
Different parties have also contested that various aspects are public domain material and therefore ineligible for copyright status.
When Merian C. Cooper created King Kong, he assumed that he owned the character, which he had conceived in , outright.
Cooper maintained that he had only licensed the character to RKO for the initial film and sequel, but had otherwise owned his own creation.
In , Cooper began to feel something was amiss when he was trying to get a Tarzan vs. King Kong project off the ground for Pioneer Pictures where he had assumed management of the company.
After David O. Selznick suggested the project to Cooper, the flurry of legal activity over using the Kong character that followed—Pioneer had become a completely independent company by this time and access to properties that RKO felt were theirs was no longer automatic—gave Cooper pause as he came to realize that he might not have full control over this product of his own imagination after all.
Cooper had assumed his rights were unassailable and was bitterly opposed to the project. In he filed a lawsuit to enjoin distribution of the movie against John Beck, as well as Toho and Universal the film's U.
Cooper's executive assistant, Charles B. FitzSimons, stated that these companies should be negotiating through him and Cooper for such licensed products and not RKO.
In a letter to Robert Bendick, Cooper stated:. My hassle is about King Kong. I created the character long before I came to RKO and have always believed I retained subsequent picture rights and other rights.
Cooper and his legal team offered up various documents to bolster the case that Cooper owned King Kong and had only licensed the character to RKO for two films, rather than selling him outright.
Many people vouched for Cooper's claims, including David O. Selznick, who had written a letter to Mr. Without these letters, it seemed Cooper's rights were relegated to the Lovelace novelization that he had copyrighted he was able to make a deal for a Bantam Books paperback reprint and a Gold Key comic adaptation of the novel, but that was all that he could do.
Cooper's lawyer had received a letter from John Beck's lawyer, Gordon E. Youngman, that stated:. For the sake of the record, I wish to state that I am not in negotiation with you or Mr.
Cooper or anyone else to define Mr. Cooper's rights in respect of King Kong. His rights are well defined, and they are non-existent, except for certain limited publication rights.
It seems my hassle over King Kong is destined to be a protracted one. They'd make me sorry I ever invented the beast, if I weren't so fond of him!
Makes me feel like Macbeth : "Bloody instructions which being taught return to plague the inventor. The rights over the character did not flare up again until , when Universal Studios and Dino De Laurentiis were fighting over who would be able to do a King Kong remake for release the following year.
During the legal battles that followed, which eventually included RKO countersuing Universal, as well as De Laurentiis filing a lawsuit claiming interference, Colonel Richard Cooper Merian's son and now head of the Cooper estate jumped into the fray.
During the battles, Universal discovered that the copyright of the Lovelace novelization had expired without renewal, thus making the King Kong story a public domain one.
Universal argued that they should be able to make a movie based on the novel without infringing on anyone's copyright because the characters in the story were in the public domain within the context of the public domain story.
In a four-day bench trial in Los Angeles, Judge Manuel Real made the final decision and gave his verdict on November 24, , affirming that the King Kong novelization and serialization were indeed in the public domain, and Universal could make its movie as long as it did not infringe on original elements in the RKO film,  which had not passed into the public domain  Universal postponed their plans to film a King Kong movie, called The Legend of King Kong , for at least 18 months, after cutting a deal with Dino De Laurentiis that included a percentage of box office profits from his remake.
However, on December 6, , Judge Real made a subsequent ruling, which held that all the rights in the name, character, and story of King Kong outside of the original film and its sequel belonged to Merian C.
Cooper's estate. This ruling, which became known as the "Cooper judgment", expressly stated that it would not change the previous ruling that publishing rights of the novel and serialization were in the public domain.
It was a huge victory that affirmed the position Merian C. Cooper had maintained for years. In Judge Real dismissed the claims that were brought forth by RKO and Universal four years earlier and reinstated the Cooper judgement.
In Universal filed a lawsuit against Nintendo , which had created an impish ape character called Donkey Kong in and was reaping huge profits over the video game machines.
Universal claimed that Nintendo was infringing on its copyright because Donkey Kong was a blatant rip-off of King Kong. The courts ruled that trademark was not among the rights Cooper had sold to Universal, indicating that "Cooper plainly did not obtain any trademark rights in his judgment against RKO, since the California district court specifically found that King Kong had no secondary meaning.
First, Universal knew that it did not have trademark rights to King Kong, yet it proceeded to broadly assert such rights anyway.
This amounted to a wanton and reckless disregard of Nintendo's rights. Second, Universal did not stop after it asserted its rights to Nintendo.
It embarked on a deliberate, systematic campaign to coerce all of Nintendo's third party licensees to either stop marketing Donkey Kong products or pay Universal royalties.
Finally, Universal's conduct amounted to an abuse of judicial process, and in that sense caused a longer harm to the public as a whole.
Depending on the commercial results, Universal alternatively argued to the courts, first, that King Kong was a part of the public domain, and then second, that King Kong was not part of the public domain, and that Universal possessed exclusive trademark rights in it.
Universal's assertions in court were based not on any good faith belief in their truth, but on the mistaken belief that it could use the courts to turn a profit.
Because Universal misrepresented their degree of ownership of King Kong claiming they had exclusive trademark rights when they knew that they did not and tried to have it both ways in court regarding the "public domain" claims, the courts ruled that Universal acted in bad faith see Universal City Studios, Inc.
Nintendo Co. They were ordered to pay fines and all of Nintendo's legal costs from the lawsuit. That, along with the fact that the courts ruled that there was simply no likelihood of people confusing Donkey Kong with King Kong,  caused Universal to lose the case and the subsequent appeal.
Since the court case, Universal still retains the majority of the character rights. In they opened a King Kong ride called King Kong Encounter at their Universal Studios Tour theme park in Hollywood which was destroyed in by a backlot fire , and followed it up with the Kongfrontation ride at their Orlando park in which was closed down in due to maintenance issues.
They also finally made a King Kong film of their own, King Kong As noted above, Richard Cooper, through the Merian C. Cooper Estate, retained publishing rights for the content that Judge Real had ruled on December 6, , belonged to Richard Cooper.
In , they licensed a six-issue comic book adaptation of the novelization of the film to Monster Comics , and commissioned an illustrated novel in called Anthony Browne's King Kong.
In , they became involved with a musical stage play based on the story, called King Kong: The Eighth Wonder of the World which premiered in June in Australia   and then on Broadway in November Studios ,  an expanded rewrite of the original Lovelace novelization, Merian C.
Cooper's King Kong, the original novelization's publishing rights are still in the public domain , and various crossovers with other franchises such as Doc Savage , Tarzan  and Planet of the Apes.
RKO whose rights consisted of only the original film and its sequel had its film library acquired by Ted Turner in via his company Turner Entertainment.
In , Warner Bros. Family Entertainment released the direct-to-video animated musical film The Mighty Kong , which re-tells the plot of the original film.
Kong , after Legendary Pictures brought the projects from Universal to their company to build up the MonsterVerse.
DDL whose rights were limited to only their remake did a sequel in called King Kong Lives but they still needed Universal's permission to do so.
Toho's interpretation differed greatly from the original in size and abilities. Among kaiju , King Kong was suggested to be among the most powerful in terms of raw physical force, possessing strength and durability that rivaled that of Godzilla.
As one of the few mammal-based kaiju, Kong's most distinctive feature was his intelligence. He demonstrated the ability to learn and adapt to an opponent's fighting style, identify and exploit weaknesses in an enemy, and utilize his environment to stage ambushes and traps.
In King Kong vs. This version of Kong was given the ability to harvest electricity as a weapon and draw strength from electrical voltage.
This version was more similar to the original, where he relied on strength and intelligence to fight and survive. Elements of King Kong's character remained in the film, reflected in Godzilla's uncharacteristic behavior and attraction to the female character Daiyo.
Toho Studios wanted to remake King Kong vs. Godzilla , which was the most successful of the entire Godzilla series of films, in to celebrate the 30th anniversary of the film, as well as to celebrate Godzilla's upcoming 40th anniversary.
However, they were unable to obtain the rights to use Kong, and initially intended to use Mechani-Kong as Godzilla's next adversary.
But it was soon learned that even using a mechanical creature who resembled Kong would be just as problematic legally and financially for them.
As a result, the film became Godzilla vs. King Ghidorah , with no further attempts to use Kong in any way. King Kong, as well as the series of films featuring him, have been featured many times in popular culture outside of the films themselves, in forms ranging from straight copies to parodies and joke references, and in media from comic books to video games.
The Beatles ' animated film Yellow Submarine includes a scene of the characters opening a door to reveal King Kong abducting a woman from her bed.
It ends with King Homer marrying Marge and eating her father [ citation needed ]. Trailers and Videos.
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Edit Cast Credited cast: Vinicius Riam Ken Eveglot Geovane Silva Kweitrwos Oliveira Thiago J. Willian Murdoch Erick Texeira Learn more More Like This.
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