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Harryhausen with a model of Kong in chains KURT KRIEGER/CORBIS I was into big monsters long before I'd seen "King Kong" or even heard of Willis O'Brien. My brother and I shared a passion for the work of Ray Harryhausen, the second great Hollywood master of stop-frame...

Author: /time Magazine | Title: Monkey On My Back | 3/9/2001 | See Source »

It's hard to believe, but his first thought was to transport a film crew and a great ape to Komodo Island and somehow get the ape to fight a lizard on film. There were some logistical problems (I wonder what they could have been?) and the plan never got...

Author: /time Magazine | Title: Monkey On My Back | 3/9/2001 | See Source »

Cooper (L) and Schoedsack (R) Thus "Kong" was born from Cooper-Schoedsack's own experience as documentary filmmakers, Willis O'Brien's test reels, a fairy tale plot line conceived by Hollywood veteran James Creelman and Schoedsack spouse Ruth Rose, and a naïve '30s view of the great...

Author: /time Magazine | Title: Monkey On My Back | 3/9/2001 | See Source »

Willis O'Brien

Author: /time Magazine | Title: Monkey On My Back | 3/9/2001 | See Source »

Willis O'Brien near the end of his career The last major contributor to "Kong" was the first man mentioned in this article: the first great artist of stop-frame animation, Willis O'Brien. In some ways Kong is just a remake of his earlier silent film "The Lost World...

Author: /time Magazine | Title: Monkey On My Back | 3/9/2001 | See Source »

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