Powell: Web connects me with 'Kong' animator from Sweden

GRAND JUNCTION, Colo. — One of the best things about the Internet is that it puts you in touch with people you'd never likely encounter otherwise. One person I've met and gotten to know a little, strictly through e-mails and bulletin board postings, is Staffan Linder of Stockholm, Sweden.

I'll bet some of you have heard of Staffan and/or his business, Swede Creations. Not a lot, maybe, but a few people who read those names will nod and images of Staffan's wonderful sculptures will come to mind.

Staffan is the talent behind some of the best resin figure model kits ever made, including a striking Nosferatu that Aztech Toys adapted for its "Silent Screamers" toy line. My fascination with the dolls companies call "action figures" is pretty much over, but I grabbed one of those rat-toothed vampires when I saw it on a local store's shelf a couple of years ago.

Staffan has done many incredible pieces; my favorite is a sculpture of Klaus Kinski and Isabelle Adjani inspired by the 1979 remake of "Nosferatu." He also happens to be a nice guy.

On Wednesday, millions of us will line up to see work Staffan helped to make: "King Kong." In addition to his talents as a sculptor, Staffan is also a digital animator. Good enough to get the attention of "Lord of the Rings" director Peter Jackson's "Kong" remake crew.

Staffan recently got back from months of working in New Zealand on the film and kindly agreed to an informal interview through e-mail. I can't fit all of that interaction here, but here are some highlights:

Q: What was your job on the "King Kong" remake?

A: I was animating characters in the film. I worked in a variety of sequences and was lucky enough to have a go at most characters in the film. Dinosaurs, bats, insects, digidoubles and of course the mighty Kong.

Q: Were you a fan of "King Kong" before you got the job working on this film? If you were a fan, did you like both previous versions of the film?

A: I have been a huge fan of the original 1933 version as long as I can remember. It was the first one of the old classics I ever saw. I didn't see the 1976 version until the late '80s, for some reason. I had a friend when growing up, though, who was a huge fan of the 1976 version. He had a super 8 camera and made his own version of the film. I helped out doing a subway car and the Kong suit back then. I also played some random parts in it. It was great, but it is probably so bad it is totally unviewable...

Q: What were some of your favorite experiences while working on the movie?

A: Definitely meeting and making a lot of great friends. Also meeting all the amazing talents that brought the "Lord of the Rings" trilogy to life. I found a real good friend in Jamie Beswarick, who was the lead sculptor and designer of Gollum. I also made good friends with Richard Taylor and Tania Rodger, the founders of Weta Effects, and Richard gave me a bronze maquette from Kong as a gift when I left. He is a great fan of the kind of model kits I have produced in the past.

Q: Didn't you have to leave your home in order to make this movie? How long were you away, and what was it like to return?

A: That was the hardest part. Leaving my family. They came visiting me after two months, but could only stay for a couple of weeks. I was away for eight months, and didn't see my family for six months.

Q: What was your job on the "King Kong" remake?

A: I was animating characters in the film. I worked in a variety of sequences and was lucky enough to have a go at most characters in the film. Dinosaurs, bats, insects, digidoubles and of course the mighty Kong.

Q: How did you get that job?

A: They obviously liked my past work and hired me shortly after seeing my showreel. I got word that they wanted to hire animators and I just gave it a go.

Q: Were you a fan of King Kong before you got the job working on this film? If you were a fan, did you like both previous versions of the film?

A: I have been a huge fan of the original 1933 version as long as I can remember. It was the first one of the old classics I ever saw. I didn't see the 1976 version until the late '80s, for some reason. I had a friend when growing up, though, who was a huge fan of the 1976 version. He had a super 8 camera and made his own version of the film. I helped out doing a subway car and the Kong suit back then. I also played some random parts in it. It was great, but it is probably so bad it is totally unviewable...

Q: Have you seen the finished version of this "Kong"? If so, what did you think?

A: I have seen most shots in it somewhat in sequence, but without sound. So I don't know anything about dialogue or how the film actually plays. The visual value, though is some of the most beautiful work I have ever seen. And the action sequences is unlike anything I have ever seen. PJ (director Peter Jackson) is a genius even coming up with these ideas in the first place!

Q: Did you get to meet the movie's stars and the director, Peter Jackson?

A: I met Andy Serkis a couple of times. He was very anxious we kept the integrity of Kong the way they had developed him. I saw Jack Black and Adrian Brody at a party. I met Peter Jackson twice a week in animation meetings throughout the whole production.

Q: What were some of your favorite experiences while working on the movie?

A: Definitely meeting and making a lot of great friends. Also meeting all the amazing talents that brought the "Lord of the Rings" trilogy to life. I found a real good friend in Jamie Beswarick, who was the lead sculptor and designer of Gollum. I also made good friends with Richard Taylor and Tania Rodger, the founders of Weta Effects, and Richard gave me a bronze maquette from Kong as a gift when I left. He is a great fan of the kind of model kits I have produced in the past.

Q: Didn't you have to leave your home in order to make this movie? How long were you away, and what was it like to return?

A: That was the hardest part. Leaving my family. They came visiting me after two months, but could only stay for a couple of weeks. I was away for eight months, and didn't see my family for six months.

Q: What will you do now? Any chance you'll work on more movies in the future?

A: I will be going back to Sweden and work for a while and then we'll see. We do have a small industry, and I really want to try implementing some of the knowledge I now have into our productions. But I feel the experience of working for Weta Digital was a great one and I might be back again.

Q: Is there anything else you'd like to add?

A: It's been a great experience and the only thing I regret is not seeing more of New Zealand. It is a beautiful country, but I only got to see the greater Wellington. I was there during the southern hemisphere winter, and doing excursions when it is a full storm outside is not really enjoyable. And when the weather finally got better our workload increased. We worked crazy hours for the last three months.

Check out more of Staffan Linder's work at www.swedecreations.com.

Todd Powell writes for the Grand Junction Daily Sentinel. E-mail: tpowell@gjds.com.