The Long Fall of King Kong

by David Kubicek

WARNING: If you are at all squeamish about blood and gore, you might not want to read further. If, however, you are a regular reader/writer of horror stories or a watcher of horror movies, it’s probably all right for you to continue.

King Kong

My brother John and I have had many strange conversations over the years and gotten involved in many off-beat projects. Two that come to mind are when we played rock music backwards to look for satanic messages and when we took a fake UFO photo.

One time, many years ago, we got onto the subject of King Kong’s epic fall from the Empire State Building. How we got onto the subject, I don’t remember.

To recap the climactic scene, the giant ape–clutching Fay Wray–climbs to the top of the Empire State Building. He sets Fay down so he can swat more effectively at the military planes that are buzzing around his head, and he falls to his death.

John said that a mass the size of that ape falling that distance would hit the pavement so hard that it would burst like a rotten tomato and create a far-reaching splatter pattern. It would be similar to the blood splatter detectives examine when someone has been brutally and bloodily murdered.

Most of the gore would be around the body with splashes on the walls and ceiling growing smaller and less dense with their distance from the unfortunate corpse. John maintained that a similar splatter pattern would result when the sorrowful simian smashed into the pavement. In fact, John calculated the radius of the splatter pattern.

Although John was highly proficient in math, this equation would have been fairly simple as equations go. The only unknown was how much the ape weighed. I don’t remember if the figure was available in any of the King Kong literature or if John made an estimate for the sake of filling in the blanks. The other factors-like-how high the building was and the velocity at which the ape plummeted to the pavement–could be looked up or determined by other calculations.

According to John’s calculations, the splatter pattern was sizeable. He found that simian debris would be flung as far away as Albany, which was approximately 150 miles distant. These, of course, would be smaller bits, like in the splatter pattern of our murder victim. Albany might see some molecules of ape innards or blood mist settle down from the sky but not big pieces like chunks of intestines or pieces of liver.

This, of course, would be the best-case scenario if the land were flat with no obstructions. Unfortunately, with city skyscrapers surrounding the impact zone most of the splatter would be blocked by the buildings–there would be ape innards many stories up on those buildings, in fact.

But maybe a little blood mist would clear the tops of those buildings and make its way to Albany.

For more information about David Kubicek’s books click here.

That’s Show Biz: Adventures of a Movie Extra

by David Kubicek

The term “that’s show biz” is often used to suggest that along with the glamor of show business, one must accept a less glamourous downside. I’ve always loved movies. If I hadn’t become passionate about writing, I might have tried acting. So when a film crew came to Nebraska to shoot part of the ABC miniseries Amerika (1987), I saw an opportunity to experience firsthand what it was like to work on a movie set.

Amerika TV MovieAmerika was set 10 years after the Soviet Union had taken over the U.S., and as you can imagine, nothing good came from that. The local casting director put out a call for lots of extras to play the downtrodden citizens. I was an independent writing contractor at the time, and although this was not a writing job, I would be paid a whopping $40 per day, and it would be a good experience I could use in my fiction. Besides, it would be seriously cool.

The casting director told me to visit a thrift store and pick up some clothes, the grungier the better, and report to the set at 5 a.m. on Friday. At least one scene would be shot just outside my hometown of Lincoln, but the set I was to report to was in Tecumseh, a small town about 55 miles southeast of the city, which meant I had to leave at 3:30 a.m. to check in for a 12-hour shoot. But that was show biz.

I participated in two scenes that day. The first wasn’t bad. While principal photography was going on downtown, the assistant director–in charge of the second unit–assembled us near the edge of town. Our roles were simple for novice actors. We were to stand around in a group and look up as several helicopters flew overhead, presumably heading for the action downtown. The helicopters did a few passes. Each pass took less than a minute, and there was considerable downtime between fly-overs while the crew changed the camera angle. Filming that scene took all morning, most of which we extras sat around or lay in the grass and talked among ourselves.

Then we broke for lunch, which consisted of a ladle of stew, primarily emphasizing veggies over meat, and, I as I recall, a piece of bread. I’m sure the actors downtown ate better, but the film had a budget, and there were lots of extras to feed. And to be perfectly honest, we had worked a maximum of four minutes all morning, so it wasn’t as if we were burning calories like crazy.

After lunch, they needed us in the park downtown. I’ve often wondered what the Tecumseh residents thought about this mob of sketchy individuals tramping through their neighborhood just as they were finishing lunch. They knew a film crew was in town, but I don’t think much information about the story had been released.

We were herded into a vast crowd around the gazebo in the park. Kris Kristofferson would be released from prison (which in reality was probably a shelter for landscaping equipment) and marched to the gazebo (serving as a podium) where Robert Urich was waiting (sipping a diet Coke when the camera wasn’t running), and there would be official remarks, etc.

The scene was played several times, with breaks of up to 45-minutes each between run-throughs while the camera was moved or the angle changed. This was much harder than the morning shoot because we had to stand the whole time; there wasn’t enough room to sit or lie in the grass during breaks. It was even hard on some of the principal actors–Ford Rainey, who was nearly 80 years old, had a tendency to let the flag droop, and the director continually reminded him to hold it straight.

When shooting wrapped for the day, the casting director instructed us to report to the set bright and early Monday morning for close-ups. I decided to pass on that. I had a splitting headache and did not relish the idea of standing around doing nothing for most of another day, so I collected my $40 and went home, and so ended my movie career.

When the miniseries aired, I watched to see if I’d made the cut. But although I knew which scenes to look for, I couldn’t spot myself. There were too many shabbily-dressed folks, the camera passed over them quickly, and the shots didn’t cover all of the extras.

Oh well, that’s show biz. Sometimes your scenes end up on the cutting room floor.

For more information about David Kubicek’s books click here.

Movies Without Writers: What They Would Look Like

What would movies without writers look like?

It has been said–or at least implied–that on Hollywood’s ladder of respect, the screenwriter is one rung below the janitor who cleans the studio. This short video, to paraphrase the angel from It’s a Wonderful Life, will give writers a rare gift, a chance to see what the movies would be like without them.

For information about David Kubicek’s books click here