"...him and the island and all the creatures..."
DI
NO
SAAAAAAURS!
Better be.
http://www.ew.com/article/2016/11/10/kong-skull-island-first-look-movie-monster
With this Kong being one of the biggest, how did you play with scale and the reveal of his impressive size?
Well, the reveal you can wait for in the film itself, but you’ll see, I shot this on anamorphic lenses, which a lot of people said, ‘You’re crazy, you’re taking away more space to show how big he is!’…It seemed like a bigger challenge to communicate scale in that way. We’re also fundamentally not playing the same game that Gareth Edwards’ Godzilla did and most monster movies do, which I’m sort of sick of the notion that a monster movie needs to wait an hour or 40 minutes until the creature shows up. Kong traditionally does not show up in these movies until very, very late, and the monster traditionally does not show up until very, very late in a monster movie, so a lot of these movies tend to have this structure that’s a bit of a slow burn. Something about this movie made me want to reject that and play a very, very different game.
It was honestly a great and interesting challenge, trying to find scale cues for something that big. How do you frame him in the sun? How do you frame him in mountains? How do you find low enough angles that communicate the scale next to these people without just shooting into a blank sky? It was important that you understood the dichotomy between the scale of him and the majesty of him, and yet the horror and fear associated with something that big. That fine line between looking up and saying, ‘This is the most beautiful thing I’ve ever seen, and I might be looking at a God’ and also ‘I’m absolutely terrified right now, I may have pissed my pants, and I think that thing’s going to kill me.’ What is that threshold and that fine line? So finding ways to shoot him and the island and all the creatures in a way where it’s slightly more reflective and the scale makes you hopefully think everything in between those two ideas.