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As you said, you conceived the 'Venatosaurus' - for a reptile of the past that no-one has ever seen, how much of the design did you make at your own discretion?

A *beep* of a lot – its definitely more mammal based. Purely around the concept of its joints – they’re more designed for more flexibility, they’re more freed up. There are a lot of subtle things with the joints and shapes of things like the ribcage. It’s slightly birdish as well, but it’s definitely got a radical departure from a regular anatomically correct dinosaur. The thinking behind that, when we did a lot of them, was that we had sixty-five million years of continuous evolution, so we thought ‘oh well, what the *beep*, as long as it looks cool’.

The imperfections of 'Kongs Skull' contribute to creating another realistic dimension to his life. What did you take into consideration when sculpting this piece?

Basically just the environment he is living in and what he has to deal with – other large animals, he has to protect himself or his territory – just being on the defensive, accidents as well. I mean a lot of what you see in that face too is definitely from Peter’s direction as to what he wanted to see – the caved eye. He directed how and where he wanted to see scars. Gus Hunter had done quite a considerable amount of work on the scar layouts with Gino Acevedo as well. We’d discuss it, and tried to make sense of why the scars were the shapes they were. He’d definitely been pretty knocked around.

Did Andy Serkis bring anything to your design?

He hadn’t come on board at that stage. We’d actually started designing well before any of the actors came along. It was more from Peter’s viewpoint. I know since then, just with behaviour and performance, that Andy has contributed a lot and I think there have been a few little revisions here and there just as Andy has had input into it.

In your bust version of 'Kong with Ann', what look and mood were you intending to convey?

What I had intended at the time was that instead of him totally grasping her, that he was more relaxed and that she was more relaxed with him. So she was standing on his arm and he was sort of protecting her or cradling her to a degree. Then at the same time it’s almost as though he had heard something and looked off to the side and he was drawing her slightly closer for protection. So ideally he should be looking out to the side for something and that’s why he looks like he’s about to clutch her or go into some more movement.

The detail on Kong's right brow looks a lot like a fingerprint pattern - is this your arcane brand mark?

Is it? (Surprised) – I don’t know, I need to have a look at it. (Slightly worried) It shouldn’t be. It could have ended up that way – you never know sometimes with the molding. (After his forensic analysis) no it’s definitely sculpted, it’s meant to be his eyebrow texture. I was frightened there for a second – a fingerprint!

Do you collect anything?

Oh, ah yeah, books (laughs) – I’ve got a huge selection of natural history and basically evolutionary based text. I also collect different animal skulls.

If you could own only one of the King Kong or Narnia Collectibles, which would you choose?

Maybe the V-Rex Bust.

offbeat

What did you think about there being a stage show of ‘The Hobbit’?

I didn’t. (Laughs) I didn’t really give it any consideration, good on them for doing it I suppose – I don’t know.

Did you have a nickname when you were younger?

No.

Your workshop is burning down – what one thing do you take with you?

My tools – all in one easy to get to container.

Who do you think would win in a battle between the Incredible Hulk and Kong?

I don’t know…I have a strange hatred for the Incredible Hulk, just the fact that he was green; I didn’t find him very real. (After much thought) It’s a tie.