1974 WONDERLAND RECORDS RKO MOTION PICTURE KING KONG CHERNEY BERG AUSTIN LIBRARY 1974 WONDERLAND RECORDS RKO MOTION PICTURE KING KONG CHERNEY BERG AUSTIN LIBRARY 1974 WONDERLAND RECORDS RKO MOTION PICTURE KING KONG CHERNEY BERG AUSTIN LIBRARY

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King Kong (The Original Motion Picture Classic) Label: Wonderland Records ‎– LP 151 Format: Vinyl, LP  Country: US Released: 1974 Genre: Children's, Stage & Screen Style: Story   Tracklist A (Part I) Journey To The Island B (Part II) The Capture, Triumph And Death Of King Kong   Companies, etc. Copyright (c) – R.K.O. General, Inc. Record Company – A.A. Records, Inc. Copyright (c) – A.A. Records, Inc. Phonographic Copyright (p) – A.A. Records, Inc. Lacquer Cut At – Audio Matrix, Inc.   Credits Adapted By – Cherney Berg Effects [Sound] – Ralph Curtis Voice [Anne] – Elaine Rost Voice [Capt. Englehorn], Directed By – Daniel Ocko Voice [Denham] – Ralph Bell Voice [Driscoll] – Nat Polen   Barcode and Other Identifiers Matrix / Runout (A-Side Runout Etching): Pc AudioMatrix GLP-151A 9-1-65 Matrix / Runout (B-Side Runout Etching): Pc AudioMatrix GLP-151B 9-1-65

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PREVIOUSLY OWNED FROM THE AUSTIN PUBLIC LIBRARY

   
------------------------------ FYI    

King Kong is a giant movie monster, resembling an enormous ape, that has appeared in various media since 1933. The character first appeared in the 1933 film King Kong from RKO Pictures, which received universal acclaim upon its initial release and re-releases. A sequel quickly followed that same year with The Son of Kong, featuring Little Kong. In the 1960s, Toho produced King Kong vs. Godzilla (1962), pitting a larger Kong against Toho's own Godzilla, and King Kong Escapes (1967), based on The King Kong Show (1966–1969) from Rankin/Bass Productions. In 1976, Dino De Laurentiis produced a modern remake of the original film directed by John Guillermin. A sequel, King Kong Lives, followed a decade later featuring a Lady Kong. Another remake of the original, this time set in 1933, was released in 2005 from filmmaker Peter Jackson.
The most recent film, Kong: Skull Island (2017), set in 1973, is part of Legendary Entertainment's MonsterVerse, which began with Legendary's reboot of Godzilla in 2014. A crossover sequel, Godzilla vs. Kong, once again pitting the characters against one another, is currently planned for 2020.
The character King Kong has become one of the world's most famous movie icons, having inspired a number of sequels, remakes, spin-offs, imitators, parodies, cartoons, books, comics, video games, theme park rides, and a stage play. His role in the different narratives varies, ranging from a rampaging monster to a tragic antihero.
Merian C. Cooper became fascinated by gorillas at the age of 6. In 1899, he was given a book from his uncle called Explorations and Adventures in Equatorial Africa. The book (written in 1861), chronicled the adventures of Paul Du Chaillu in Africa and his various encounters with the natives and wildlife there. Cooper became fascinated with the stories involving the gorillas, in particular, Du Chaillu's depiction of a particular gorilla known for its "extraordinary size", that the natives described as "invincible" and the "King of the African Forest". When Du Chaillu and some natives encountered a gorilla later in the book he described it as a "hellish dream creature" that was "half man, half beast". These stories planted the seed of adventure in young Merian's mind.
Decades later in his adult years, Cooper became involved in the motion picture industry. While filming The Four Feathers in Africa, he came into contact with a family of baboons. This gave him the idea to make a picture about primates. A year later when he got to RKO, Cooper wanted to film a "terror gorilla picture". As the story was being fleshed out, Cooper decided to make his gorilla giant sized. Cooper stated that the idea of Kong fighting warplanes on top of a building came from him seeing a plane flying over the New York Insurance Building, then the tallest building in the world. He came up with the ending before the rest of the story as he stated, "Without any conscious effort of thought I immediately saw in my mind's eye a giant gorilla on top of the building". Cooper also was influenced by Douglas Burden's accounts of the Komodo Dragon, and wanted to pit his terror gorilla against dinosaur-sized versions of these reptiles, stating to Burden, "I also had firmly in mind to giantize both the gorilla and your dragons to make them really huge. However I always believed in personalizing and focusing attention on one main character and from the very beginning I intended to make it the gigantic gorilla, no matter what else I surrounded him with". Around this time, Cooper began to refer to his project as a "giant terror gorilla picture" featuring "a gigantic semi-humanoid gorilla pitted against modern civilization.
Once the film got green-lit and it came time to design King Kong, Cooper wanted him to be a nightmarish gorilla monster. As he described him in a 1930 memo, "His hands and feet have the size and strength of steam shovels; his girth is that of a steam boiler. This is a monster with the strength of a hundred men. But more terrifying is the head—a nightmare head with bloodshot eyes and jagged teeth set under a thick mat of hair, a face half-beast half-human". Willis O'Brien created an oil painting depicting the giant gorilla menacing a jungle heroine and hunter for Cooper. However, when it came time for O'Brien and Marcel Delgado to sculpt the animation model, Cooper decided to backpedal on the half-human look for the creature and became adamant that Kong be a gorilla. O'Brien on the other hand, wanted him to be almost human-like to gain audience empathy, and told Delgado to "make that ape almost human". Cooper laughed at the end result saying that it looked like a cross between a monkey and a man with very long hair. For the second model, O'Brien again asked Delgado to add human features but to tone it down somewhat. The end result (which was rejected) was described as looking like a missing link. Disappointed, Cooper stated, "I want Kong to be the fiercest, most brutal, monstrous damned thing that has ever been seen!" On December 22, 1931, Cooper got the dimensions of a bull gorilla from the American Museum of Natural History telling O'Brien, "Now that's what I want!" When the final model was created (one that Cooper ultimately approved of), it had the basic overall look of a gorilla but managed to retain some humanesque qualities, such as a streamlined body and a removed paunch and rump, distinctive aspects of the gorilla's anatomy that Delgado purposefully removed. O'Brien would incorporate some characteristics and nuances of an earlier creature he had created in 1915 for the silent short The Dinosaur and the Missing Link into the general look and personality of Kong, even going as far as to refer to the creature as "Kong's ancestor". When it came time to film, Cooper agreed that Kong should walk upright at times (mostly in the New York sequences) in order to appear more intimidating.

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