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Controversy: Queen of England Touches Herself
[dormchat-0809] Anyone want some broccoli?
Adam Adler
Hands,
michelle obama,
Queen Elizabeth II,
Touches Self,
BUCKINGHAM PALACE—Last year, First Lady Michelle Obama opened a can of worms when she placed her hand on the back of Queen Elizabeth as they chatted at a reception. She was immediately criticized by the British and American media, which stated simply, "There's just one rule you have to follow when you're visiting Buckingham Palace, 'Whatever you do, don't touch the Queen!'" In light of these events, the British royal family is now in the midst of a scandal, as it has been discovered that the Queen regularly touches herself.
"We were shocked when we made this discovery. If my mother has been clear about anything, it's that you don't let anyone, and I mean anyone, touch the queen. She wouldn't even let me play chess, and I'm her son," said Prince Charles, the eldest son of Queen Elizabeth. Investigators report that the Queen touches herself at least five times a day. Chief investigator William Doyle explained, "Our best estimate is that the Queen touches herself in the shower, while she's sleeping and even while she's eating. Sometimes she even touches herself where everyone can see her—in front of cameras, the media and the royal family. It's amazing no one has picked up on this before now."
Despite the bed of trouble the Queen appears to be in, Diana Kingsly, expert in royal protocol, explained why the Queen might be okay: "The rule is not absolute. There are exceptions and corollaries. For example, if both parties in question are wearing gloves, it should be okay."
Fortunately, the citizens of Great Britain empathize with the Queen. Scott Chumley shared his feelings with us. "I think it's really awful what they're doing to [the Queen]. I mean, I touch myself more than a few times every day. To demand that the Queen live without feeling her own touch is a bit extreme." Others share Mr. Chumley's feelings. Alicia Kensing said, "I understand what the Queen's going through. People thought I was wrong when they saw me touching myself, too, but it's really just unfair. Whatever happens with this investigation, Elizabeth will still be my Queen."
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Grainger & Worrall (G&W), which provides engine casting to Porsche, Aston Martin, Bugatti and McLaren, is to open a state-of-the-art, £5 million machining facility at its site in Bridgnorth, Shropshire.
G&W, which claims to be the UK's leading provider of high precision casting technologies, says the new centre will be operational from early 2017 and will centralise the company's machining operations.
With a high-end, controlled environment, the new facility will further shorten the engine development process, while maintaining the highest output quality. The new machining facility will also help to deliver production-capable parts at prototype level, thus reducing lead times.
The 33,000 square feet temperature-controlled machining facility will include seven vertical, two five-axis and six horizontal machining centres, alongside five CMM measuring machines. The state-of-the-art equipment will further enhance GW's already world-leading production process.
Installed in a purpose-built environment, the all-new facility will allow GW to improve its measuring capacity and capability, while also housing, the existing equipment currently installed at the company's site in Telford.
Mark Davies, plant director of GW Machining, said: "Coming at an investment of more than £5 million, our new machining facility will help to improve product quality and will also provide our staff with the state-of-the-art equipment to develop the projects of tomorrow.
This latest announcement follows the recent news that Aston Martin has confirmed GW as the preferred engine castings partner for the new DB11. GW also provides high precision castings to a number of F1 and NASCAR motorsport teams . JaguarLandRover (JLR) is also another customer. And, as readers will know, G&W is a major supplier of prototype compacted graphite iron (CGI) cylinder blocks and heads for a range of gasoline and diesel engines.


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A legacy of entrepreneurial leadership
Our Founder & Chairman remains actively involved in our strategy and growth
Jay Hennick is the Founder, Chairman and second largest shareholder of FirstService Corporation, a North American leader in the essential property services sector, serving its customers through two industry-leading service platforms: FirstService Residential, North America's largest manager of residential communities; and FirstService Brands, one of North America's largest providers of essential property services to residential and commercial customers delivered through individually branded franchise systems and company-owned operations.
In June 2015, Mr. Hennick became the Chairman and CEO of Colliers International Group Inc. Mr. Hennick was the CEO of FirstService from 1988 to 2015. Jay defines the enterprising spirit. In 1998, he received Canada's coveted Entrepreneur of the Year award; in 2001, he was named Canada's CEO of the Year by Canadian Business magazine; and in 2018 he was appointed as a Member of the Order of Canada. Jay has also received two honorary doctorates from York University and University of Ottawa. In 2019, Jay received the International Horatio Alger Award.
Jay currently serves as Past Chairman of Sinai Health System in Toronto and formerly was the Chairman of The Mount Sinai Hospital Board of Directors. In addition to business, Jay and his wife Barbara established The Jay and Barbara Hennick Family Foundation in 2008 to support education, healthcare, and the arts and have made several benefactions in support of these areas of interest including: The Hennick Family Wellness Gallery at the Mount Sinai Hospital; The Hennick Centre of Business and Law, a joint program of Osgoode Hall Law School and the Schulich School of Business in Toronto; and The Jay Hennick JD - MBA Program at the University of Ottawa.

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King Kong featured in a promotional image from the 1933 film First appearance (1933) Last appearance (2017) Created by Portrayed by ( 1933) ( ) (1976) Peter Elliot (1986) (2005) (2017) (2017) Information Aliases The Eighth Wonder of the World Species Giant Family Little Kong (1933) Lady Kong (1986) Baby Kong (1986) King Kong is a, resembling a gigantic, that has appeared in various media since 1933. The character first appeared in the 1933 film from, which received universal acclaim upon its initial release and re-releases. A sequel quickly followed that same year with, featuring Little Kong. In the 1960s, produced (1962), pitting a much larger Kong against Toho's own, and (1967), based on (1966–1969) from.
In 1976, produced a directed. A sequel,, followed a decade later featuring a Lady Kong., this time set in 1933, was released in 2005 from filmmaker. The most recent film, (2017), set in 1973, is part of 's, which began with Legendary's reboot of 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 countless sequels, remakes, spin-offs, imitators, parodies, cartoons, books,, video games, theme park rides, and a. His role in the different narratives varies, ranging from a rampaging monster to a tragic. King Kong graphics at Empire State Building The King Kong character was conceived and created by American filmmaker. In the original film, the character's name is Kong, a name given to him by the inhabitants of ' in the, where Kong lives along with other oversized animals such as a, and other. An American film crew, led by, captures Kong and takes him to to be exhibited as the 'Eighth Wonder of the World'. Kong escapes and climbs the, only to fall from the skyscraper after being attacked by airplanes with guns.
Denham comments, 'It was beauty killed the beast,' for he climbs the building in the first place only in an attempt to protect Ann Darrow, an actress originally offered up to Kong on Skull Island as a sacrifice. (In the 1976 remake, her character is named Dwan.) A about Skull Island that appears on the DVD for the 2005 remake (originally seen on the at the time of its theatrical release) gives Kong's scientific name as Megaprimatus kong and states that his species may be related to, though that genus of giant ape is more closely related to than to. Conception and creation [ ]. Cooper glances up at his creation. 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 in Africa and his various encounters with the natives and wildlife there. Cooper became fascinated with the stories involving the gorilla, 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 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, 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, 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, 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'. 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 to sculpt the animation model, Cooper decided to back pedal 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'.
On December 22, 1931, Cooper got the dimensions of a bull gorilla from the 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 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. Origin of the name [ ] Merian C. Cooper was very fond of strong hard sounding words that started with the letter 'K'. Some of his favorite words were, and.
When Cooper was envisioning his giant terror gorilla idea, he wanted to capture a real gorilla from the Congo and have it fight a real on. (This scenario would eventually evolve into Kong's battle with the on Skull Island when the film was produced a few years later at RKO.) Cooper's friend Douglas Burden's trip to the island of Komodo and his encounter with the Komodo dragons there was a big influence on the Kong story.
Cooper was fascinated by Burden's adventures as chronicled in his book Dragon Lizards of Komodo where he referred to the animal as the 'King of Komodo'. It was this phrase along with Komodo and C(K)ongo (and his overall love for hard sounding K words) that gave him the idea to name the giant ape Kong. He loved the name as it had a 'mystery sound' to it.
When Cooper got to RKO and wrote the first draft of the story, it was simply referred to as The Beast. RKO executives were unimpressed with the bland title. 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. RKO sent a memo to Cooper suggesting the titles Kong: King of Beasts, Kong: The Jungle King, and Kong: The Jungle Beast, which combined his and Selznick's proposed titles. As time went on, Cooper would eventually name the story simply Kong while Ruth Rose was writing the final version of the screenplay. 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 and, which were one-word titled films that Cooper had earlier produced, he added the 'King' to Kong's name to differentiate. Filmography [ ] Film U.S. Release date Director(s) Story by Screenwriter(s) Producer(s) Distributor(s) March 2, 1933 ( 1933-03-02) and and Merian C. Cooper and Ernest B.
Schoedsack December 22, 1933 ( 1933-12-22) Ernest B. Schoedsack August 11, 1962 ( 1962-08-11) (Japan) Thomas Montgomery (USA) (Japan) John Beck (USA) (Japan) (USA) July 22, 1967 ( 1967-07-22) Ishirō Honda Tomoyuki Tanaka and Arthur Rankin Jr. December 17, 1976 ( 1976-12-17) December 19, 1986 ( 1986-12-19) and December 14, 2005 ( 2005-12-14), and Peter Jackson Jan Blenkin,, Fran Walsh and Peter Jackson March 10, 2017 ( 2017-03-10),, and, Jon Jashni, Alex Garcia and May 22, 2020 ( 2020-05-22) TBA Theatre [ ]. Cover of the 1932 novelization of written. This novelization was released just over two months before the film premiered in New York City on March 7, 1933. In December 1932, as the film was finishing production, asked his friend to adapt the film's screenplay into a novelization. Published by, the book was released later that month on December 27, 1932, a few months before the film opened in the Spring of 1933.
This was a part of the film's advance marketing campaign. The novelization was credited as being based on the 'Screenplay by James A. Creelman and Ruth Rose. Novelized from the Radio Picture'.
The byline written under the title was 'Conceived by Edgar Wallace and Merian C Cooper'. However, despite the credit, Wallace had very little to do with the story or the character.
This conclusion about Wallace's contribution was verified in the book The Making of King Kong, by Orville Goldner and George E. Turner (1975). Wallace died of complicated by on February 10, 1932, and Cooper later said, 'Actually, Edgar Wallace didn't write any of Kong, not one bloody word.I'd promised him credit and so I gave it to him' (p. 59).
Cooper issued a reprint of the novelization in 1965 that was published. Some time later the copyright expired and the publishing rights to the book fell into the public domain. Since then a myriad of publishers have reprinted the novelization numerous times. Blackstone Audio produced an audio recording of the book in 2005 narrated by Stefan Rudnicki, while StarWarp Concepts released an Ebook version complete with 6 new illustrations from pulp-comic artist Paul Tuma in 2017. Outside of the novelization, the film was serialized in a pulp magazine. In 1933, Mystery magazine published a King Kong under the byline of Edgar Wallace, and written by Walter F. This serialization was published into two parts in the February and March issues of the magazine.
In the U.K, the film was serialized in 2 different pulps both on October 28, 1933. In the juvenile Boys Magazine (Vol 23. Where the serialization was uncredited, and in that month's issue of Cinema Weekly where it was credited to Edgar Wallace and written by Draycott Montagu Dell (1888–1940). This short story adaptation would later appear in the book called Movie Monsters in 1988, published by Severn House in the UK.
In 1977, a novelization of of King Kong was published. This novelization was called The Dino De Laurentiis Production of King Kong and was simply the 1976 Lorenzo Semple Jr. Script published in book form. The cover was done. In 1994 wrote and illustrated a book called Anthony Browne's King Kong. Credited as 'From the Story Conceived by Edgar Wallace & Merian C. Cooper', the book was published by the.
It was re-released as a paperback in the U.K in 2005. To coincide with the of King Kong, various books were released to tie into the film. A novelization was written by based on the screenplay by Fran Walsh, Philippa Boyens, and. Matt Costello wrote an official prequel to the film called King Kong: The Island of the Skull. These books were published. Various illustrated juvenile books were published, as well, by: Kong's Kingdom was written by Julia Simon-Kerr; Meet Kong and Ann and Journey to Skull Island were written by Jennifer Franz; Escape from Skull Island and Kong: The Eighth Wonder of the World—Junior Novel were written by Laura J.
Burns; The Search for Kong was written by Catherine Hapka; and finally, a Deluxe Sound Storybook of Kong: The Eighth Wonder of the World was written by Don Curry. Released a collection of concept art from the film entitled The World of Kong: A Natural History of Skull Island that was published by Pocket Books.
The book was written and designed to resemble and read like an actual nature guide and historical record. In 2005, Ibooks, Inc., published an unofficial book featuring King Kong called Kong Reborn.
Starting in 2004, artist/writer Joe Devito began working with the Merian C. Cooper estate to write and/or illustrate various books based on the King Kong character.
The first of these was an origin story labeled as an authorized sequel/prequel to the 1932 novelization of King Kong called Kong: King of Skull Island. This illustrated hardcover novel was published in 2004 by and featured a story Devito co-wrote with and John Michlig. It also included an introduction. A large-paperback edition was then released in 2005, with extra pages at the end of the book.
As well, a CD audiobook narrated by Joey D'Auria was released by RadioArchives, and an interactive two-part app was released in 2011 and 2013 respectively by Copyright 1957 LLC. In 2005, DeVito and Strickland co-wrote another book together called Merian C. Cooper's King Kong for the Merian C. Cooper Estate. This book was published. It was a full rewrite of the original 1932 novelization, which updates the language and paleontology and adds five new chapters.
Some additional elements and characters tie into Kong: King of Skull Island enabling the two separate books to form a continuous storyline. In 2013, the first of two books featuring crossovers with pulp heroes was published. To coincide with the 80th anniversary of both King Kong and, published Doc Savage: Skull Island in both softcover and hardcover editions. This officially sanctioned book was written by and based on concepts by DeVito.
In 2016, Altus Press published the other crossover book, this time featuring a meeting between King Kong and. The novel, called King Kong vs. Tarzan, was once again written by Will Murray and featured artwork by Devito.
In 2017, a new book featuring another origin story will be written and illustrated by Devito called King Kong of Skull Island. In March 2017, to coincide with the release of, released a novelization of the film written by Tim Lebbon and a hardcover book The Art and Making of Kong: Skull Island by Simon Ward.
Over the decades, there have been numerous comic books based on King Kong by various comic-book publishers. For details on this aspect of the character's print media appearances see.
Appearances and abilities [ ]. King Kong in Kong: Skull Island. This design features a bipedal stance which reflects back to the original 1933 design In his first appearance in (1933), Kong was a gigantic prehistoric ape, or as RKO's publicity materials described him, ' A prehistoric type of ape.' While gorilla-like in appearance, he had a vaguely humanoid look and at times walked upright in an anthropomorphic manner. 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 envisioned Kong as being ' 40 to 50 feet (12.2 to 15.2 m) tall', animator and his crew built the models and sets scaling Kong to be only 18 feet (5.5 m) tall on Skull Island, and rescaled to be 24 feet (7.3 m) tall in New York. 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 (18.3 m) in some scenes. As Cooper stated in an interview: 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 40-foot (12.2 m) ape, while the full sized hand of Kong was built in scale with a 70-foot (21.3 m) ape. Meanwhile, RKO's promotional materials listed Kong's official height as 50 feet (15.2 m). In the 1960s, from licensed the character for the films and.
For more details on these versions of the character. In 1975, Italian producer paid RKO for the remake rights to King Kong. This resulted in (1976). 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 1976 film, Kong was scaled to be 42 feet (12.8 m) tall on Skull island and rescaled to be 55 feet (16.8 m) tall in New York. Ten years later, Dino De Laurentiis got the approval from Universal to do a sequel called.
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 (18.3 m). Had planned to do a King Kong remake as far back as 1976. They finally followed through almost 30 years later, with a directed. 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 crew gave a name to his fictitious species Megaprimatus kong and suggested it to have evolved from the.
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 (7.6 m) tall on both Skull Island and in New York.
Jackson describes his central character: We assumed that Kong is the last surviving member of his species. He had a mother and a father and maybe brothers and sisters, but they're dead. He's the last of the huge gorillas that live on Skull Island. When he goes. There will be no more.
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. I'm imagining he's probably 100 to 120 years old by the time our story begins. 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 2017 film, Kong is scaled to be 104 feet (31.7 m) tall, making it the biggest incarnation in the series.
Director stated in regards to Kong's immense stature: The thing that most interested me was, how big do you need to make [Kong], so that when someone lands on this island and doesn't believe in the idea of myth, the idea of wonder – when we live in a world of social and civil unrest, and everything is crumbling around us, and technology and facts are taking over – how big does this creature need to be, so that when you stand on the ground and you look up at it, the only thing that can go through your mind is: 'That's a god!' He also stated that the original 1933 look was the inspiration for the design, saying: We sort of went back to the 1933 version in the sense that he's a bipedal creature that walks in an upright position, as opposed to the anthropomorphic, anatomically correct silverback gorilla that walks on all fours. Our Kong was intended to say, like, this isn't just a big gorilla or a big monkey.
This is something that is its own species. It has its own set of rules, so we can do what we want and we really wanted to pay homage to what came beforeand yet do something completely different, and If anything, our Kong is meant to be a throwback to the '33 version.
I don't think there's much similarity at all between our version and Peter [Jackson]'s Kong. 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'. Legal rights [ ] While one of the most famous movie icons in history, King Kong's 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 material and therefore ineligible for copyright status. When created King Kong, he assumed that he owned the character, which he had conceived in 1929, outright. Cooper maintained that he had only licensed the character to for the initial film and sequel but had otherwise owned his own creation. In 1935, Cooper began to feel something was amiss when he was trying to get a vs.
King Kong project off the ground for (where he had assumed management of the company). After David O. Download Excel Services Gadget. 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. Years later in 1962, Cooper found out that RKO was licensing the character through John Beck to studios in Japan for a film project called.
Cooper had assumed his rights were unassailable and was bitterly opposed to the project. In 1963 he filed a lawsuit to enjoin distribution of the movie against John Beck as well as Toho and Universal (the film's U.S. Copyright holder). Cooper discovered that RKO had also profited from licensed products featuring the King Kong character such as model kits produced. 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.
I sold to RKO the right to make the one original picture King Kong and also, later, Son of Kong, but that was all. 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. Loewenthal of the Famous Artists Syndicate in Chicago in 1932 stating (in regard to Kong), 'The rights of this are owned by Mr. But Cooper had lost key documents through the years (he discovered these papers were missing after he returned from his World War II military service) such as a key informal yet binding letter from Mr.
Ayelsworth (then president of the RKO Studio Corp.) and a formal binding letter from Mr. Kahane (the current president of RKO Studio Corp.) confirming that Cooper had only licensed the rights to the character for the two RKO pictures and nothing more. Unfortunately 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 paperback reprint and a comic adaptation of the novel, but that was all 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. In a letter addressed to Douglas Burden, Cooper lamented: 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: 'Bloody instructions which being taught return to plague the inventor.' The rights over the character did not flare up again until 1975, when and were fighting over who would be able to do a King Kong remake for release the following year.
De Laurentiis came up with $200,000 to buy the remake rights from RKO. When Universal got wind of this, they filed a lawsuit against RKO claiming that they had a verbal agreement from them regarding the remake. 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. Richard Cooper then filed a cross-claim against RKO claiming while the publishing rights to the novel had not been renewed, his estate still had control over the plot/story of King Kong.
In a four-day bench trial in Los Angeles, Judge made the final decision and gave his verdict on November 24, 1976, 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 1933 RKO film, which had not passed into 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, 1976, 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. Shortly thereafter, Richard Cooper sold all his rights (excluding worldwide book and periodical publishing rights) to Universal in December 1976.
In 1980 Judge Real dismissed the claims that were brought forth by RKO and Universal four years earlier and reinstated the Cooper judgement. In 1982 Universal against, which had created an impish ape character called in 1981 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. During the court battle and subsequent appeal, the courts ruled that Universal did not have exclusive trademark rights to the King Kong character.
The court of appeals would also note: 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 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 ). 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 1986 they opened a King Kong ride called at their Universal Studios Tour theme park in Hollywood (which was destroyed in 2008 by a backlot fire), and followed it up with the ride at their Orlando park in 1990 (which was closed down in 2002 due to maintenance issues). They also finally made a King Kong film of their own, (2005). In the summer of 2010, Universal opened a new King Kong ride called at their Hollywood park replacing the destroyed King Kong Encounter.
On July 13, 2016, Universal opened a new King Kong attraction called at in Orlando. In July 2013, reached an agreement with Universal in which it will market, co-finance, and distribute Legendary's films for five years starting in 2014, the year that Legendary's similar agreement with was set to expire. Later, in July 2014 at the, Legendary announced (product of its partnership with Universal), a King Kong origin story, initially titled Skull Island, with Universal distributing. On December 12, 2014, the studio announced they had re-titled the film. On September 10, 2015, it was announced that Universal would let Legendary Pictures move Kong: Skull Island to Warner Bros., so they could do a King Kong and Godzilla crossover film (in the continuity of the ), since Legendary Pictures still had the rights to do the two Godzilla sequels with Warner Bros.
The Cooper estate (Richard M. Cooper LLC) retains publishing rights for the content they claim. In 1990 they licensed a six-issue comic book adaptation of the story to Monster Comics, and commissioned an illustrated novel in 1994 called Anthony Browne's King Kong. In 2013 they became involved with a musical stage play based on the story, called which premiered on June 2013 in Australia and will come to Broadway on November 2018. The production is involved with Global Creatures, the company behind the arena show. Starting in 2004, artist/writer Joe Devito began working with the Merian C.
Cooper estate to write and/or illustrate various books and comics based on the King Kong character with his company Devito Artworks. These included a pair of origin novels, an origin themed comic series with, a rewrite of the original Lovelace novelization (the original novelization's publishing rights are still in the public domain), as well as various crossovers with other franchises such as, and. Also the company licensed a soft drink with RocketFizz called King Kong Cola and have plans for a live action TV show to be co-produced between MarVista Entertainment and IM Global. In April 2016, Joe DeVito sued Legendary Pictures and Warner Bros, producers of the film, for using elements of his Skull Island universe, which he claimed that he created and the producers used without his permission. RKO (whose rights consisted of only the original film and its sequel) had its film library acquired by in 1986 via his company. Turner merged his company into in 1996, which is how they own the rights to those two films today, although the copyright over the entire RKO films library (including King Kong and The Son Of Kong) is still held by RKO Pictures LLC.
In 2017, co-produced the film and in 2020 will co-produce the film, after Legendary Pictures brought the projects from Universal to their company to build a. DDL (whose rights were limited to only their 1976 remake) did a sequel in 1986 called (but they still needed Universal's permission to do so). Today most of DDL's film library is owned by, which includes the rights to those two films. The domestic (North American) rights to the 1976 film still remain with the film's original distributor, with handling television rights to the film via their license with Paramount. [ ] King Kong (Toho) [ ] character King Kong Relations (robot replica) First appearance (1962) Last appearance (1967) Created by Portrayed by (1962) (1967) Overview [ ] In the 1960s, Japanese studio licensed the character from RKO and produced two films that featured the character, (1962) and (1967). Toho's interpretation differed greatly from the original in size and abilities. Among, King Kong was suggested to be among the most powerful in terms of raw physical force, possessing strength and durability that rivaled that of.
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. Godzilla, Kong was scaled to be 45 m (148 ft) tall. This version of Kong was given the ability to harvest electricity as a weapon. Aoe 2 Gold Edition Free Download Full Version more.
In King Kong Escapes, Kong was scaled to be 20 m (66 ft) tall. This version was more similar to the original, where he relied on strength and intelligence to fight and survive. Rather than residing on, Toho's version resided on Faro Island in King Kong vs. Godzilla and on Mondo Island in King Kong Escapes. In 1966, Toho planned to produce ' Operation Robinson Crusoe: King Kong vs.
Ebirah' as a co-production with however, was unavailable at the time to direct the film and Rankin/Bass backed out of the project, along with the King Kong license. Toho still proceeded with the production, replacing King Kong with Godzilla at the last minute and shot the film as. Elements of King Kong's character remained in the film, reflected in Godzilla's uncharacteristic behavior and attraction to the female character Dayo.
Toho and Rankin/Bass later negotiated their differences and co-produced King Kong Escapes in 1967, loosely based on. Toho Studios wanted to remake King Kong vs. Godzilla, which was the most successful of the entire Godzilla series of films, in 1991 to celebrate the thirtieth anniversary of the film as well as to celebrate Godzilla's upcoming fortieth anniversary. However they were unable to obtain the rights to use Kong, and inititially intended to use Mechani-Kong as Godzilla's next adversary.
However 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, with no further attempts to use Kong in any way. Appearances [ ] Films • (1962) • (1967) Other appearances [ ] Television [ ] • (1966) - In this cartoon series, the giant gorilla befriends the Bond family, with whom he goes on various adventures, fighting monsters, robots, mad scientists and other threats. Produced by, the animation was provided in Japan by, making this the very first series to be commissioned right out of Japan by an American company. The show debuted with an hour-long episode and then was followed by 24 half-hour episodes that aired on. This was also the cartoon that resulted in the production of 's (originally planned as a Kong film) and King Kong Escapes. • (2000) - An animated production from set many decades after the events of the original film.
'Kong' is cloned by a scientist named Dr. Lorna Jenkins who also used the DNA of her grandson Jason to bring it to life. Jason uses the Cyber-Link to combine with Kong in order to fight evil, allowing Kong to draw on Jason's knowledge of hand-to-hand combat. This show, coming a few years after the release of Centropolis' repeated at least two of the monsters (although with vastly different backgrounds) seen in the Godzilla series. The show ran 40 episodes and aired on.
After the series ended, two movies were produced. Kong: King of Atlantis, released in 2005 and Kong: Return to the Jungle, released in 2007. The first movie was produced to try and cash in on the 2005 and that same year, 's ' would air not only this movie but the original series as well to also take advantage of the 2005 movie's release. • (2016) - An animated series by aired.
The first episode aired as a two-hour movie followed by 12 half-hour episodes. Is executive producer of the series. The series synopsis reads 'Set in 2050, Kong becomes a wanted fugitive after wrecking havoc at Alcatraz Island's Natural History and Marine Preserve. What most humans on the hunt for the formidable animal don't realize, though, is that Kong was framed by an evil genius who plans to terrorize the world with an army of enormous robotic dinosaurs. As the only beast strong enough to save humanity from the mechanical dinos, Kong must rely on the help of three kids who know the truth about him.' • King Kong of Skull Island (TBA) - An upcoming live action series based on Joe Devito's book of the same name, which was produced with the Merian C.
Cooper estate. Related films [ ] • The premise of a giant gorilla brought to the United States for entertainment purposes, and subsequently wreaking havoc, was recycled in (1949), through the same studio and with much of the same principal talent as the 1933 original. It was in 1998. • King Kong bears some similarities with an earlier effort by special effects head, (1925), in which are found living on an isolated.
Scenes from a failed O'Brien project,, were re-used for the 1933 Kong. Creation was also about a group of people stumbling into an environment where prehistoric creatures have survived extinction. •, a 1998 animated remake of the 1933 film. It featured the voices of as Ann Darrow and as Carl Denham.
This film also featured a song score by the. At the end of the film, King Kong falls from the Empire State Building after getting out of the net that the blimps were using on him. Due to this being a family film, King Kong survives the fall. • – An unofficial musical based on the King Kong story and directed by Iftekar Jahan. The film uses large amounts of stock footage from and premiered in June 2010 in the Purnima Cinema Hall in. • Other similar giant ape films include: • The 1961 British film where a chimpanzee is turned into a giant ape after being fed growth serum by a deranged scientist and attacks.
• The 1969 American film which features a circus owners's quest to capture a giant ape in an African jungle. • The 1976 film, where a giant ape runs amok in,. • The 1976, another British film that parodies King Kong with a gender reversal between the giant ape and the object of the ape's affection • The 1977 made film that featured a huge ape-like that attacked Hong Kong after it was brought to Hong Kong from its territory somewhere in India near the Himalayas. King Kong in the name [ ]. Box art for the game King Kong 2: Yomigaeru Densetsu Various electronic games featuring King Kong have been released through the years by numerous companies. These range from handheld LCD games, to video games, to pinball machines.
Released various King Kong games in the early 1980s. These include • A Tabletop LCD game in 1981 • A game for the Atari 2600 home video game system in 1982 • A handheld game in 1982 in both a regular edition and a large screen edition. The regular edition was later reissued by in 1984. • An 'Orlitronic' game (for the international markets) in 1983 • A color 'Flip-Up' game in 1984. Released two LCD games in 1982. One was King Kong: New York, and the other was King Kong: Jungle released 2 games based on the film in 1986. The first game was for the Famicom, and the second was, for the MSX computer.
In 1988, Konami featured the character in the crossover game. All these games were only released in Japan. Released a pinball game called King Kong-The Eighth Wonder of the World in 1990. In 1992, produced an educational game called that features a treasure hunt level involving King Kong in. The character is represented by images of his arm grabbing the in the version and a full body statue in the version. Released a Game Boy Advance game based on in 2002.
Released an electronic handheld King Kong game (packaged with a small figurine) in 2003. Released a Game Boy Advance game based on the straight to video animated film Kong: King of Atlantis in 2005. In 2005, released 2 video games based on the film. Was released on all video game platforms, while was released for the Game Boy Advance.
Also to tie into the film, released King Kong: The Official Mobile Game of the Movie for mobile phones, while released a miniature pinball game. Taiyo Elec Co released a King Kong game in 2007. NYX gaming developed a King Kong online video slot casino game in 2016. As well in 2017, Ainsworth Game Technology developed 2 licensed King Kong casino games.
King Kong and Kong of Skull Island. King Kong appears in the game. He appears as a boss in pack. Besides starring in his own games, King Kong was the obvious influence behind other gigantic city destroying apes, such as George from the series, Woo, from (who was modeled after the Toho version of the character) and Congar, from.
As well as giant apes worshiped as deities like Chaos and Blizzard from. In popular culture [ ]. The character is clearly modeled on King Kong (here seen climbing the building and confronting ). From Superman #138.
Art by Curt Swan and Stan Kaye. ' 1968 animated film includes a scene of the characters opening a door to reveal King Kong abducting a woman from her bed. Episode ' features a segment called 'King Homer' which parodies the plot of the original film, with as Kong and in the Ann Darrow role. It ends with King Homer marrying Marge and eating her father. The British comedy TV series made an episode called ', in which a giant cat called Twinkle roams the streets of, knocking over the. The controversial fighter — eventually arrested on suspicion of having betrayed secrets to the Nazis — was nicknamed 'King Kong' due to his being exceptionally tall. And recorded an instrumental about 'King Kong' in 1967 and featured it on the album.
Zappa went on to make many other versions of the song on albums such as,,, and. Recorded a song called 'King Kong' as the B-side to their 1969 ' single. In 1972, a 550 cm (18 ft) fiberglass was erected in Birmingham, England. The second track of album Supersound from 1975 is titled 'King Kong'. Artists 's 'Song of Kong', which explores the reasons why King Kong and Godzilla shouldn't be roommates, appears on their 2001 album Smell No Evil. Wrote and recorded a song called 'King Kong' on his fifth self-released, in 1983, rereleased on and double by in 1988.
The song is an narrative of the original movie's story line. Recorded a cover version of the song with various sound effects on the 2004 release,. Recorded ' for their 1974 album. Although later singled out by ABBA songwriters and as one of their weakest tracks., it was released as a single in 1977 to coincide with the playing in theatres. Theme park rides [ ].
Reign of Kong (July 2015) Universal Studios has had popular King Kong attractions at in and Resort in. The first King Kong attraction was called and was a part of the at Universal Studios Hollywood. Based upon the 1976 film, the tour took the guests in the world of 1976, where Kong was seen wrecking havoc on the city. It was opened on June 14, 1986 and was destroyed on June 1, 2008 in a major fire.
Universal opened a replacement 3D King Kong ride called that opened on July 1, 2010, based upon 's. A second more elaborate ride was constructed at on June 7, 1990, called. The ride featured a stand-alone extended version of King Kong Encounter and pinned guests escaping on the from Kong who was rampaging across New York City.
The ride was closed down on September 8, 2002, and was replaced with on May 21, 2004. On May 6, 2015, Universal Orlando announced that a new King Kong attraction titled will open at in the summer of 2016, making it the first King Kong themed ride in Orlando since Kongfrontation closed down 14 years earlier at Universal Studios Florida.
It officially opened on July 13, 2016. Predecessor [ ] A man-eating giant gorilla is featured in 's, a 1915 novel. See also [ ] • • • • • • and • • • • • • • • • References [ ]. • Lambie, Ryan (March 10, 2017).. Retrieved March 28, 2017. • Sullivan, Kevin (May 11, 2016).. Entertainment Weekly.
Retrieved May 11, 2016. Legendary Pictures. Retrieved April 9, 2017. • Boland, Michaela (February 9, 2009).. Retrieved March 4, 2010.
•, pp. 14–15. •, pp. 14–16. •, pp. 16–17. • • Willis O'Brien-Creator of the Impossible by Don Shay. Cinefex #7 R.B Graphics. Pg.33 • ^, p. 56.
King Kong Cometh! Plexus Publishing Limited, 2005 Pg.27 •, p. 44.
•, pp. 54-55. • ^, pp. 193–194.
March 17, 2014. Retrieved January 28, 2015. • Lefkowitz, Andy.
Broadway.com, May18, 2017 •. Retrieved June 19, 2016. Archived from on March 2, 2011. Retrieved March 4, 2010. Retrieved February 23, 2017. Tebeosfera.com (in Spanish).
Retrieved August 11, 2016. • (jpg image).tinypic.us • Moring, Matthew (January 29, 2012). (Press release).. Archived from on February 18, 2013.
Retrieved February 24, 2013. Forces of Geek. March 9, 2016. Retrieved March 9, 2016. Forces of Geek.
March 3, 2017. Retrieved March 16, 2017. September 1, 2016.
Retrieved December 2, 2016. • Karen Haber, Kong Unbound. Pocket Books, 2005. 106 •, p. 205. • Weta Workshop, The World of Kong: A Natural History of Skull Island.
Pocket Books. • • Franich, Darren (July 30, 2016).. Entertainment Weekly. Molly (November 11, 2016).. Entertainment Weekly. February 19, 2017. • ^, pp. 362,455.
• ^, pp. 363,456. • ^, (, July 15, 1986). March 22, 2009, at the. • According to 's book on p.
389, and citation 9 on p. 458, this quote is taken from a court summary from the document Universal City Studios, Inc. Nintendo Co., Ltd., 578 F. • Second Court of Appeals, 1986, 77–8. • ^ Mart, Hugo (January 27, 2010)..
Retrieved March 4, 2010. Retrieved May 6, 2015.
• Sciretta, Peter (July 27, 2014).. Retrieved July 27, 2014. • Mendelson, Scott (September 11, 2015).. Retrieved November 18, 2016. • Graser, Marc (July 9, 2013).. Retrieved November 18, 2015.
• Kit, Borys (September 10, 2015).. The Hollywood Reporter.com. Retrieved September 21, 2015. • Gill, Raymond (September 18, 2009)..
Retrieved March 4, 2010. Retrieved March 4, 2010. • Hetrick, Adam., Playbill.com, November 8, 2017 •.
September 16, 2010. Comic Book Resources. April 8, 2016. Retrieved April 8, 2016. Retrieved November 8, 2017. Retrieved November 8, 2017.
April 18, 2017. Retrieved April 21, 2017. • Cullins, Ashley (April 28, 2016).. The Hollywood Reporter.
Retrieved May 9, 2016. •, pp. 239, 241. Toho Kingdom. Retrieved October 16, 2014. Entertainment Weekly. October 1, 2014.
Retrieved October 1, 2014. April 19, 2017. Roberthood.net (June 11, 2010). Retrieved on December 21, 2012. Imdb.com • 高槻真樹 (Maki Takatsuki) (2014). 戦前日本SF映画創世記 ゴジラは何でできているか (Senzen Nihon SF Eiga Souseiki) (in Japanese). 河出書房新社 (Kawadeshobo Shinsha publishing).
• Sprague, Mike (December 12, 2017).... Retrieved December 13, 2017. Retrieved March 4, 2010.
June 2, 2009. Retrieved March 4, 2010. Retrieved March 4, 2010. Retrieved March 4, 2010. Retrieved February 11, 2011.
Retrieved March 4, 2010. Retrieved March 4, 2010. Retrieved March 4, 2010. Retrieved March 4, 2010. June 2, 2009. Retrieved March 4, 2010.
November 20, 1931. Retrieved March 4, 2010. June 2, 2009. Retrieved March 4, 2010. • (jpg image).
Tinypic.com •. June 2, 2009.
Retrieved March 4, 2010. December 15, 2005. Archived from the original on June 3, 2010.
Retrieved 2010-03-05. CS1 maint: BOT: original-url status unknown (). Taiyoelec.co.jp (November 2007) •.
November 12, 2016. Retrieved November 12, 2016. November 12, 2016. Retrieved November 12, 2016.
Retrieved August 18, 2017. Retrieved August 18, 2017.
• Hinsley, F. H.; Simkins, C. British Intelligence in the Second World War: Volume 4, Security and Counter-Intelligence. Cambridge University Press. Retrieved August 20, 2013.
• Sleeve notes, Waterloo re-issue, Carl Magnus Palm, 2014 •. Retrieved March 4, 2010. Retrieved May 6, 2015. • West, Mike (13 July 2016).. Universal Orlando Close Up. Universal Orlando Resort. Retrieved 14 September 2016.
Bibliography • Affeldt, Stefanie (2015). Hund, Charles W. Mills, Silvia Sebastiani, eds. 'Exterminating the Brute. Racism and Sexism in ›King Kong‹'. Apes, Class, Gender, and Race. Berlin (Racism Analysis Yearbook 6)..
CS1 maint: Uses editors parameter () • Goldner, Orville; Turner, George E. The Making of King Kong: The Story Behind a Film Classic.
A.S Barnes and Co. • Morton, Ray (2005). King Kong: The History of a Movie Icon. Applause Theater and Cinema Books.. • Ryfle, Steve (1998). Japan's Favorite Mon-Star: The Unauthorized Biography of the Big G. • Van Hise, James (1993).
Hot Blooded Dinosaur Movies. Pioneer Books Inc. Living Dangerously: The Adventures of Merian C. Cooper, Creator of King Kong. External links [ ] Wikimedia Commons has media related to. • The 1933 film on • • The 2005 remake on.
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