Vogt-Roberts also confirmed this take stating "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 before…and yet do something completely different."
He also stated "A huge part of the movie was designing him and creating the creature so that when you did see him it sort of short circuited your brain and was divisive to people, where certain people immediately say ‘That’s a threat,’ certain people immediately say, ‘That’s a God,’ certain people immediately say, ‘That’s a savior.’ Visually and instantly, what happens when you see this thing towering over you and what is your sort of emotional and intellectual response?"
And in reference to Kong's size and when he'll show up in the film he stated "Well, the reveal you can wait for in the film itself, but you’ll see, I shot this on anamorphic lenses, which a lot of people said, ‘You’re crazy, you’re taking away more space to show how big he is!’…It seemed like a bigger challenge to communicate scale in that way. We’re also fundamentally not playing the same game that Gareth Edwards’ Godzilla did and most monster movies do, which I’m sort of sick of the notion that a monster movie needs to wait an hour or 40 minutes until the creature shows up. Kong traditionally does not show up in these movies until very, very late, and the monster traditionally does not show up until very, very late in a monster movie, so a lot of these movies tend to have this structure that’s a bit of a slow burn. Something about this movie made me want to reject that and play a very, very different game."
You can read the entire interview at Entertainment Weekly's site here.