Editing King Kong (1933 film) (section)

===Development===
{{Further|King Kong#Conception and creation}}
[[File:T. rex old posture.jpg|left|thumb|[[Charles R. Knight]]'s ''[[Tyrannosaurus]]'' in the [[American Museum of Natural History]], on which the large [[Theropoda|theropod]] of the film was based<ref name=Goldner>Orville Goldner, George E Turner (1975). ''Making of ''King Kong'': The Story Behind a Film Classic.'' {{ISBN|0498015106}}. See also ''Spawn of Skull Island'' (2002). {{ISBN|1887664459}}</ref>]]

''King Kong'' co-director [[Ernest B. Schoedsack]] had earlier experience filming monkeys while directing ''[[Chang: A Drama of the Wilderness]]'' (1927), also with [[Merian C. Cooper]], and ''[[Rango (1931 film)|Rango]]'' (1931), both of which prominently featured monkeys in authentic jungle settings. Capitalizing on this trend, Congo Pictures released the [[Mockumentary|hoax documentary]] ''[[Ingagi]]'' (1930), advertising the film as "an authentic incontestable celluloid document showing the sacrifice of a living woman to mammoth gorillas." ''Ingagi'' is now often recognized as a racial [[exploitation film]] as it implicitly depicted black women having sex with gorillas and baby offspring that looked more ape than human.<ref>Gerald Peary, {{usurped|1=[https://archive.today/20130103102653/http://www.geraldpeary.com/essays/jkl/kingkong-1.html 'Missing Links: The Jungle Origins of King Kong' (1976)]}} ''Gerald Peary: Film Reviews, Interviews, Essays, and Sundry Miscellany,'' 2004.</ref> The film was an immediate hit, and by some estimates, it was one of the highest-grossing films of the 1930s at over $4 million. Although Cooper never listed ''Ingagi'' among his influences for ''King Kong,'' it has long been held that RKO greenlighted ''Kong'' because of the bottom-line example of ''Ingagi'' and the formula that "gorillas plus sexy women in peril equals enormous profits."<ref>{{cite news | first=Andrew | last=Erish | title=Illegitimate Dad of King Kong | date=January 8, 2006 | newspaper=Los Angeles Times | url=https://pqasb.pqarchiver.com/latimes/access/959395991.html?dids=959395991:959395991&FMT=ABS&FMTS=ABS:FT&type=current&date=Jan+8%2C+2006&author=Andrew+Erish&pub=Los+Angeles+Times&edition=&startpage=E.6&desc=Movies | access-date=July 6, 2017 | archive-date=March 14, 2013 | archive-url=https://web.archive.org/web/20130314080024/http://pqasb.pqarchiver.com/latimes/access/959395991.html?dids=959395991:959395991&FMT=ABS&FMTS=ABS:FT&type=current&date=Jan+8%2C+2006&author=Andrew+Erish&pub=Los+Angeles+Times&edition=&startpage=E.6&desc=Movies | url-status=dead}}</ref>
[[File:King Kong Booklet Ad pages 8-9.png|thumb|Merian C. Cooper and Ernest B. Schoedsack develop ''King Kong''.]]
Since 1929 Cooper had wanted to create a film about gorillas.{{sfn|Cotta Vaz|2005|p=186}} Inspired by the travels of his friend [[William Douglas Burden|W. Douglas Burden]], Cooper considered filming in the jungles of [[Komodo (island)|Komodo]].{{Sfn|Cotta Vaz|2005|pp=189–190, 193}} He had read Burden's ''The Dragon Lizards of Komodo'' and as a result conceived the idea to film a gorilla fighting giant lizards.<ref>{{harvnb|Andriano|1999|p=48}}; {{harvnb|Cotta Vaz|2005|p=194}}; {{harvnb|Harryhausen|Dalton|2008|p=69}}; {{harvnb|Von Gunden|1989|p=108}}</ref> Cooper later remarked that this was "the most important influence" on the final film.{{Sfn|Andriano|1999|p=48}} By the time he joined RKO in 1931, Cooper decided to incorporate a "beauty and the beast" theme into the plot.<ref>{{harvnb|Cotta Vaz|2005|p=202}}; {{harvnb|Rovin|1977|p=33}}</ref> The "Arabian proverb" at the beginning of the film was created by Cooper: "And lo! The Beast looked upon the face of Beauty, and it stayed its hand from killing. And from that day, it was as one dead."<ref>{{harvnb|Cotta Vaz|2005|p=202}}; {{harvnb|Von Gunden|1989|p=111}}</ref> Initially Cooper planned to film in Africa and Komodo Island, but the idea was abandoned when RKO executives decided it would be too expensive.{{Sfn|Rovin|1977|p=27}} RKO was at risk for bankruptcy because of the Great Depression.{{Sfn|Smith|2020|p=99}} Stop-motion animator [[Willis O'Brien]], hearing that Cooper wanted to make a gorilla film, painted a picture depicting a large gorilla carrying a woman and gave it to Cooper. Afterward Cooper requested a test reel, which was approved by Selznick.<ref>{{harvnb|Cotta Vaz|2005|p=207}}; {{harvnb|Dyson|1997|p=30}}; {{harvnb|Von Gunden|1989|p=109}}</ref> O'Brien experimented with different scenes in the test reel.{{Sfn|Rovin|1977|p=31}} These two scenes, which were incorporated into the final film,{{Sfn|Erb|2009|p=29}} portray a fight between King Kong and a Tyrannosaurus Rex as well as Kong shaking men off a log.{{Sfn|Cotta Vaz|2005|p=217}} The test reel was created concurrently with the production of ''The Most Dangerous Game.''{{sfn|Cotta Vaz|2005|p=214}} Meanwhile, Cooper hired actors and had sets built for ''King Kong''.{{sfn|Cotta Vaz|2005|p=208}} For live-action sequences in the jungle, Cooper utilized the set of ''The Most Dangerous Game''.{{sfn|Cotta Vaz|2005|p=214}} Cooper directed the live-action sequences until Schoedsack completed work on ''The Most Dangerous Game.''{{Sfn|Erb|2009|p=31}} Afterward Shoedsack directed the live action scenes while Cooper focused on the live action scenes that were to be combined with the already-filmed animated sequences.{{Sfn|Erb|2009|p=30}} Marcel Delgado developed sample models of King Kong, the dinosaurs, and the people; the models did not have [[Armature (sculpture)|armatures]].{{sfn|Harryhausen|Dalton|2008|p=71}} After about three months the test reel was complete.<ref>{{harvnb|Rovin|1977|p=33}}; {{harvnb|Harryhausen|Dalton|2008|p=73}}</ref> After studio executives approved the film for production, Cooper developed the story further.<ref>{{harvnb|Harryhausen|Dalton|2008|p=71}}; {{harvnb|Dyson|1997|p=30}}; {{harvnb|Von Gunden|1989|p=109}}</ref> O'Brien's ideas also helped with story development. He suggested that King Kong be seen by the characters as a sort of deity.{{sfn|Andriano|1999|p=48}} 

Filming commenced without a complete screenplay.<ref>{{harvnb|Dyson|1997|p=31}}; {{harvnb|Erb|2009|p=24}}</ref> Cooper hired [[Edgar Wallace]] to write the screenplay,<ref>{{harvnb|Archer|1993|p=14}}; {{harvnb|Cotta Vaz|2005|p=217}}</ref> which he started in December 1931.{{sfn|Erb|2009|p=28}}  Cooper told Wallace what he wanted included in the script.{{sfn|Erb|2009|p=28}} Wallace's draft included several instances of attempted sexual assault,{{sfn|Erb|2009|pp=35–36}} which were later removed by Ruth Rose.{{sfn|Erb|2009|p=40}} His draft also included racial tensions between characters.{{Sfn|Erb|2009|p=40}} While drafting he wrote, "I am hoping still to get a good horror picture without corpses, and I am certain that ''Kong'' is going to be a wow."{{sfn|Erb|2009|p=47}} Wallace had a rough draft ready in January 1932{{Sfn|Cotta Vaz|2005|p=218}} and died a month later''.''<ref>{{harvnb|Cotta Vaz|2005|p=220}}; {{harvnb|Archer|1993|p=14}}</ref> Some of his ideas ended up in the final film, such as Kong removing Ann's clothes from her body.{{Sfn|Erb|2009|p=29}} He also roughly outlined the New York scenes, which were similar to how they appeared in the completed film, as well as a jungle chase scene.{{sfn|Erb|2009|pp=35–36}} [[James Ashmore Creelman|James A. Creelman]] picked up work on the screenplay.{{sfn|Archer|1993|p=14}} In his draft he changed character roles, making Denham Ann's cruel uncle. Cooper disliked it, remarking that "The heavy is far too heavy."{{Sfn|Erb|2009|p=40}} Creelman adapted Wallace's jungle chase scene to appear as it does in the finished film.{{sfn|Erb|2009|p=35}} Creelman found it difficult to meet Cooper's plot requests,{{sfn|Cotta Vaz|2005|p=222}} feeling that there were too many fantastical elements for the film to be believable.{{sfn|Erb|2009|p=42}} He objected, "[T]here is certainly such a thing as reaching a limit to the number of elements a story can contain and make sense."{{sfn|Erb|2009|p=43}} Though he incorporated Cooper's requests, the dialogue proved to be too extensive.<ref>{{harvnb|Cotta Vaz|2005|p=222}}; {{harvnb|Rovin|1977|p=33}}</ref> Cooper was unsatisfied with Creelman's work, and in June Creelman decided to quit.{{sfn|Erb|2009|pp=29, 31}} After some difficulty finding a replacement for Creelman, in July Cooper hired [[Ruth Rose]],{{sfn|Erb|2009|p=31}} who had never written a screenplay before.<ref>{{harvnb|Cotta Vaz|2005|p=222}}; {{harvnb|Andriano|1999|p=52}}</ref> She rewrote the majority of Creelman's dialogue.{{sfn|Cotta Vaz|2005|p=223}} Though Creelman initially wrote the film's New York prologue, Rose polished it while writing most of the city scenes.{{sfn|Erb|2009|pp=31, 36}} Rose was able to incorporate the love story between Ann and Jack, something the other screenwriters had struggled with.{{Sfn|Erb|2009|p=32}} Rose also added more "fairy tale-like" aspects.{{Sfn|Erb|2009|p=40}} Upon the film's release Wallace was credited with the screenplay, as Cooper had promised to give him the credit. The studio also saw it as an opportunity to gain positive publicity because Wallace was a well-established writer.<ref>{{harvnb|Cotta Vaz|2005|p=220}}; {{harvnb|Erb|2009|pp=38–39}}</ref>

==== Copyright concerns ====
The creators of ''King Kong'' took inspiration from other films such as ''[[Dracula (1931 English-language film)|Dracula]]'' and ''[[Frankenstein (1931 film)|Frankenstein]]''. The influence was heavy enough that RKO executives were worried about copyright violation.{{sfn|Erb|2009|p=34}} Executives discussed the potential issue with RKO's lawyers.{{sfn|Erb|2009|pp=36–37}} Also among their concerns were the film's connections to ''Ingagi'', ''[[Murders in the Rue Morgue (1932 film)|Murders in the Rue Morgue]]'', ''[[Journey to the Center of the Earth]]'', and ''[[The Lost World (Doyle novel)|The Lost World]]''. The other works being ruled out, [[Arthur Conan Doyle]]'s ''The Lost World'' posed the most concern.{{sfn|Erb|2009|p=37}} Both ''The Lost World'' and ''King Kong'' concerned primitive creatures being taken to modern society.<ref name=":6">{{Cite web |date=2005-09-14 |title=Vaz, Mark Cotta |url=https://www.freshair.com/guests/mark-cotta-vaz |access-date=2025-02-28 |website=Fresh Air Archive: Interviews with Terry Gross |language=en}}</ref> Even though Cooper argued against the similarities,<ref name=":6" /> the studio purchased the novel's copyright.{{sfn|Erb|2009|p=38}} Afterward Cooper feared that if the studio were to connect Doyle's name to the film for promotional purposes, consumers might not think the film was fresh. Eventually the Doyle estate granted the studio permission to not associate the film with Doyle's name.{{sfn|Erb|2009|p=39}}