Ah, you’ve actually pre-empted me there on a couple of ALIEN-related things I’ll be covering soon Monroville. 😃 PM sent.

Have another one in the meantime…

THE ROCKETEER (released 1991/directed by Joe Johnston)

Teaser Trailer - http://www.youtube.com/watch?v=4Q-0A55aV20

Theatrical Trailer - http://www.youtube.com/watch?v=rSpBOCrjd5s

IDEAS FOR KING KONG (Peter Jackson’s 2005 version) -

The UNIVERSAL logo appears…

…and then we continue on as normal with the atmospheric music of the UNIVERSAL PICTURES PRESENTS and A WINGNUT FILMS PRODUCTION title cards…and CUT after the KING KONG main title which ends with a slight animal sound…

…then we CUT to a wide shot of New York ZOO with animal noises as our new opening…

…then we CUT to these New York depression era scenes with Al jolson singing…

…and then we continue on as normal, until I CUT the song at the moment the train passes by…

…and then I’d CUT to the solemn music change as we see the theatre being closed…

…and then we continue on as normal as Anne runs towards the locked doors, and then CUT on the two guys faces once the fat woman shouts It’s all right for you, we haven’t had a paycheque in two weeks…how are we gonna eat?..

…then we CUT to Anne trying to get a job off a producer in the street…

…and then we continue on as normal, as he refuses (NOTE - he mentions Jack Driscoll in this scene!) but notices her looking hungrily at people eating, and offers her a tip for a sleezy job with someone he knows, and then the scene ends on her close-up…

…and then we continue on as normal with the shot below of CARL in a projector room (OR I’d CUT to slightly later in the scene - not decided yet)…

…and then after lights go up and a grey haired producer complains about is this all that they are getting for their $40 grand, I’d CUT once the moustached guy says You promised us romantic scenes with Bruce Baxter and Maureen Mackenzie…

…then we CUT to Carl as we hear the bald producer say Carl, you’ve been in production for over two months!..

…then we CUT to Carl getting out of his seat as he says Yes I understand that, but fellas…we’re not making a film anymore, and I’ll tell you why…etc…

(Not 100% decided yet if I’d instead CUT to Carl as he lets slip about hiring a ship to get to a location, followed by the bald producer saying he’s just meant to be shooting on a backlot first…BEFORE I continue on with Carl saying that he understands that as he gets up to talk about how things have changed and that he’s found a map etc. (I need this as a MENTION OF THE MAP before it’s shown again later in his assistant’s dream, and before it blows out of Carl’s hands after that)

…but either way, I’d then CUT at this close-up shot of Carl telling the producers …that’s where I’ll shoot my picture…

…and then we CUT to the close-up of this guy turning round quickly…

and the next shot which follows normally now matches as the grey haired producer still has his hands together at this point…

…and we continue on at this point as Carl is asked to leave by the bald guy, and then gets a glass of his assistant Preston so that he can listen in as the bald producer sticks up for him but the other two producers slag him off and one says Carl will bankrupt them and demands that the animal footage is sold and that they salvage something from this debacle (I MIGHT remove guy saying he’s a preening self-promoter, not sure yet), and I MIGHT CUT to Carl and Preston running away with film cannisters at this point, OR just continue on as normal as a young helper is sent to call Carl back in, but he’s gone…

…and then we continue on with Carl and Preston running off with film cannisters…

…and then after getting chased by the producers as they escape in a taxi, we CUT on close-up of Preston’s face once Carl tells him Don’t worry Preston, I’ve had a lot of practise at this…

…and then after missing out him saying that he’s used to crapping the crappers, we CUT to Carl’s expressive face…

…and then we continue on as normal and then CUT on Preston telling him that ‘Fay’ is dong a picture with RKO…

…and then we miss out Carl saying Cooper huh?, and CUT to him just saying …I might have known

(I MIGHT end up missing out Carl saying that altogether, not sure yet)

…and then we continue on as normal as the yellow taxi heads towards us, as we hear Preston saying You’re not listening, we gotta delay the shoot, shut production down, we can’t sail tonight…

…and then we continue on as normal as Carl gets out (I MIGHT miss out him telling Preston For God’s sake Preston, start thinking like a winner, and just have him say to call Jack as he needs that goddam screenplay only) to look for a girl and spots Anne walking away from the burlesque club, and then saves her skin when she then steals an apple, and then takes her for a meal to talk about his project…and as Carl say’s …this fateful meeting that changes everything we CUT on a close-up of a curious Anne…

NOTE - i like to imagine that Carl mentioned to Anne that Jack Driscoll was writing the script during this conversation, which convinced her to take the chance with him!

…and then we CUT to a foghorn sounding as the the yellow taxi pulls arrives at the docks at night…

…and then we continue on as normal, and then CUT on Carl’s close-up once he’s said I keep tellin’ ya Jack, there’s no money in theatre…you’re much better off sticking with film…

…so I’d miss out Jack saying he loves the theatre and Carl saying he doesn’t or he would have jumped, and INSTEAD we then CUT to one of the producers swiping his hat in frustration at dock with police -

…and then we continue with this CGI’d shot of the ship against the city, but I MIGHT remove it, not sure yet…

…and then we continue on as normal, as Jack is given a place to sleep by Choy and the Captain…

…and then we continue on as normal until we get to this close-up of the chloroform bottles -

…and then we continue on as normal with this ship shot out at sea, and we CUT at the end of it -

…then we CUT to Jack typing in his cage, and continue on as normal as Jimmy the cabin boy says Compliments of the chef… as he drops food off, and we CUT after he puts the tray down -

…then we CUT to Jimmy taking something as he exits the cage and the typing continues…

…and then we continue on as normal as the black crewman Hayne’s takes Jack’s stolen pen off Jimmy, and tells Driscoll he didn’t mean no harm, and that he’ll keep him out of the way, it’s just that he likes it down here, and that he found him there four years ago, and CUT on his side profile once he ends up saying …stowed away in one of them bat cages…

…then we CUT to Hayne’s saying …he was wilder than half the animals in here…

…and then we continue on as normal, and CUT on the close-up of Hayne’s once he says …he still won’t tell me where he came from, but it wasn’t any place good…

(NOTE - I MIGHT miss out Hayne’s close-up and final line, and just end on the shot where he says …he was wilder than half the animals in here… - NOT SURE YET)

…then we CUT to a zoom-in on the ship again, as we hear it’s engines chug and Carl’s voice saying She’s standing at the railing, she doesn’t know it yet…but they are sailing toward disaster…ya got that?, and then we CUT once we hear Jack’s voice saying okay, so she turns… as we hear typing…

…and then we CUT to Carl saying …she has to look away…and that’s when she sees it…

…and then we continue on as normal as Jimmy comes down the ladder slowly…

…and then we continue on as normal, as Jack says Sees what?, what?…and Carl turns to say …the island…, and continues discuss it with Jack, as Carl then spots Jimmy as Jack types out SKULL ISLAND…

…and then we continue on as normal, as we see the front of the ship chasing dolphins, and hear Carl’s voice saying Alright everyone from the top, aaaand ACTION!..

…and we continue on as normal as we see Carl filming a scene with Anne and Bruce the actor…

…and then we continue on as normal as Anne says I think this is awfully exciting, I’ve never been on a ship before…, as Jack smiles watching, and we CUT once Bruce says I’ve never been on one with a woman before!..

…then we CUT to the close-up of Carl scowling as we just make out Bruce saying muffledly …just being around is trouble!, as Carl sees Jimmy whispering to Haynes…

NOTE: I MIGHT CUT BEFORE CARL SAYS “CUT!”…OR I MIGHT CUT ONCE CARL SAYS “CUT!”…OR I MIGHT CUT ONCE CARL SAYS “GREAT!”…OR I MIGHT EVEN EXCLUDE THIS WHOLE ‘FILMING’ SCENE ALTOGETHER, AND CUT DIRECTLY FROM JACK TYPING ‘SKULL ISLAND’ TO THE CAPTAIN TAPPING HIS COMPASSES - NOT DECIDED YET.

…and then we CUT to the Captain tapping his compasses…

…then we CUT to a crewman getting a message on the ship’s radio…

…and then we CUT to this shot of the paper message being ripped off…

NOTE - ALTERNATIVELY, I COULD HAVE THE UNIVERSAL PICTURES PRESENTS AND A WINGNUT FILMS PRODUCTION AND KING KONG TITLES IN-BETWEEN ANNE’S CURIOUS CLOSE-UP AND THE FOGHORN AS THE TAXI ARRIVES AT THE DOCKS…

ALSO NOTE - I MIGHT DISCARD SCENE OF CARL FILMING ON THE SHIP AS THE BOY TELLS THE CREW WHAT HE HEARD…AS WE SEE THEM ALL CONFRONT CARL ABOUT HIS INTENTIONS TO FIND SKULL ISLAND LATER ANYWAY - SO I COULD JUST CUT FROM THE CLOSE-UP OF JACK TYPING THE WORDS ‘SKULL ISLAND’ DIRECTLY TO THE CAPTAIN TAPPING HIS COMPASSES ON THE TABLE INSTEAD! - THIS WOULD JOIN 2 VERY ATMOSPHERIC SCENES TOGETHER WITHOUT THE FLUFF OF THE ‘CARL FILMING THE ACTOR/ACTRESS’ SCENE INBETWEEN, AND HELP TO SHORTEN THE RUNTIME EVEN MORE - NOT SURE 100% YET, BUT I QUITE LIKE THIS IDEA.

ALSO NOTE - JACK AND ANNE ARE NOT A LOVE ITEM IN THIS, AND ONLY INITIALLY GET THROWN TOGETHER WHEN THE SHIP IS GETTING ROCKED ABOUT WHEN IT REACHES THE ISLAND!

I’d DEFINITELY NOT include the additional horned dinosaur scene as it’s bloated CGI nonsense that’s over-colorgraded and has ridiculous physics, and merely repeats music heard in brontosaurus chase - keep the more mysterious theatrical footage of big trees/jungle as the men follow after Kong.

I’d DEFINITELY NOT include the additional shooting of the giant bird scene, as it just looks stupid.

I’d DEFINITELY NOT include some of the additional soldiers in truck scenes, but WILL INCLUDE the additional Kong jumping on the truck that shoots at him on pond scene.

I WILL INCLUDE the additional raft/giant fish scene.

ADD MORE PICS OF KONG FALLING AND ANNE AND JACK MEETING UP HERE

…then we CUT to close-up of dead Kong’s hand (which is a great music match here), as reporters take photos, and a guy in the crowd yells “KONG!” -

ADD FURTHER PICS HERE WHERE GUY SHOUTS “KONG!” AND OTHER SHOTS OF CROWDS AND REPORTERS, ENDING WITH DENHAM’S CLOSE-UP AS HE SAYS IT WAS BEAUTY THAT KILLED THE BEAST BEFORE HE TURNS AND WE FADE TO BLACK -

My ENDING involves normal footage of Kong falling and Anne getting up and then embracing Jack on top of the Empire State Building…then CUT to close-up of Kong’s hand with photographers on top of him as we hear a guy shout “Kong” (music blends in well with previous shot of Anne and Jack embracing)…then CUT to something involving New York cop as 2 reporters move forward and one says to the other that Kong must have known what was coming…then CUT OUT other reporter saying what does it matter, he was just a dumb animal…and instead CUT to Carl pushing forward as the other reporter then just says that the aeroplanes got him, as close-up of Carl then says that it wasn’t the planes, it was beauty killed the beast, as he turns slightly…then FADE OUT to black (discarding final wide shot of crowds around Kong’s body, as it makes him look small!)…then CUT to end titles and music.

NOTE - DO A NEW ‘GIANT CENTIPEDE’ SEQUENCE, WHICH JUST HAS THE PAN UP TO THE CENTIPEDE STARTING TO CRAWL ALONG THE CEILING (WITH DINOSAUR GETTING CHOMPED IN THE BACKGROUND)…AND THEN CUT TO THE SHOT OF ANNE SCAMPERING OUT.