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ORIGINAL: DancingClown

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ORIGINAL: Rgirvan44

Wizard of Oz has been remade quite a few times it must be said.

Oh right, yeah, The Wiz being one of them I guess.

And yet somehow the Judy Garland classic is the one that everyone remembers and still treasures. Funny dat.

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ORIGINAL: chris kilby

Anything but pointless, virtual shot-for-remakes like The Omen - what was the point of that? Although I don't necessarily include Gus Van Sant's shot-for-shot re-make of Psycho in this which I have always suspected was a piss-take of the pointlessness of shot-for-shot remakes. Wanky, but he had a point.

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ORIGINAL: jobloffski

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ORIGINAL: Rhubarb

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ORIGINAL: DancingClown

Wizard of Oz? Citizen Kane? Godfather?

Wizard of Oz is not the first adaptation of that book, so I don't see why not. Kane, I think the only reason they wouldn't would be that the kind of audience that would be targeted by a Citizen Kane remake would be iffy about the whole project and a mainstream audience wouldn't be bothered, The Godfather I could imagine it happening, but it is still the kind of film a young audience probably would watch, so there isn't a burning desire to do it (yet).

Okay, I'll pitch a Kane remake:

The film was more or less a direct attack on William Randolph Hearst, and he was not pleased with it. The Character of Kane, someone who ended up via ego burning his bridges was rather closely analogous to that of Orson Welles too so...

Make a film that charts Welles having a go at Hearst via making Kane, and Hearsts response to the film, during it's production etc.

Create a new spin on the narrative approach of Kane by presenting Hearst's Tale, Welles' tale and sequences from Kane, and the overall effect being to create a character study of both Hearst and Welles and where the lines between them blurs. Two epic egos with aspects of Kane in them, with their actions blurring into and out of sequences of Kane.

So you tell the story of the fictional Kane by looking at the behaviour/egos/tantrums of the two real men and blur the whole thing together into a single narrative that tells the tale of ambition, rise and fall and ultimately isolation of the two real men and Kane, all together with a dreamlike flow of life inspiring art, art inspiring life, and if any of this makes any sense to readers at all, the narrative style/ambitious storytelling/visual styles would (getting cheesy) make it the Citizen Kane of potential Citizen Kane projects.

To simplify the suggestion, basically a serious take on the Ed Wood approach, where reality and the character of the films and the making of THE film all converge, driven by the developing of the hatred between Hearst and Welles, highlighting how similar they were in terms of using people and enjoying being powerful men, and how that can burn away the soul. Art versus commerce as one of the themes the main characters embody, presented in an artistically commercial way that really, really, really, gets into how layered and dreamlike narrative cinema has the potential to be.

And to get really, really, commercially sensible about the whole thing, hand the project to Christopher Nolan, who like Orson Welles clearly loves (and may be better able to handle without turning into a bit of a monster) artistic freedom/being handed the keys to the toyshop (as Welles put it when in a position to experiment as a filmmaker when making Kane), while also having some skill in blurring perceptions and creating iconic symbolism in filmmaking.

Or sum shit like dat

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ORIGINAL: chris kilby
Anything but pointless, virtual shot-for-remakes like The Omen - what was the point of that? Although I don't necessarily include Gus Van Sant's shot-for-shot re-make of Psycho in this which I have always suspected was a piss-take of the pointlessness of shot-for-shot remakes. Wanky, but he had a point.

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ORIGINAL: matty_b
You have a nice face, Shifty. A face I would have a cup of tea with.

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ORIGINAL: porntrooper
Shifty said it best

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ORIGINAL: Whistler


This may be a slightly different kind of remake from what you were referring to in your original post, but the most ridiculous shot-for-shot remake I've ever seen is Quarantine, the American remake of .REC. It's literally the same movie except in English. The shots are the same, the camera movements are the same, the characters are the same, the jumps are the same, and even the set looks exactly the same. It does absolutely nothing that .REC didn't do. Now there's nothing wrong with it, it's just completely and utterly pointless. The studios just seem to think people don't want to watch a movie with subtitles, and now they're doing the same with the bloody Raid But I'm getting a little off topic so I'll just stop there...

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ORIGINAL: Qwerty Norris
Slightly off topic, I noticed REC 3 is now out there. No idea though if & when it'll get a UK release.

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ORIGINAL: matty_b
You have a nice face, Shifty. A face I would have a cup of tea with.

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ORIGINAL: porntrooper
Shifty said it best

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ORIGINAL: matty_b

I would plough my way through MonsterCat

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ORIGINAL: matty_b

I desire MonsterCat to go down on me.

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ORIGINAL: rawlinson

I wouldn't get too excited about Rec 3.

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ORIGINAL: DancingClown

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ORIGINAL: dicky_monster

Back to the Future - I get the feeling Hollywood would like to do something with this, but the orignals are so ingrained in pop culture, it would prove problematic.

I hope you're right about this. It might be quite difficult to centre a remake around two decades that are perceived as being so culturally different - especially in the US - as the 80s and 50s. If a teenager now went back to 1982 would the culture shock be as severe?

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ORIGINAL: matty_b
You have a nice face, Shifty. A face I would have a cup of tea with.

quote:

ORIGINAL: porntrooper
Shifty said it best

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ORIGINAL: Whistler

quote:

ORIGINAL: chris kilby

Anything but pointless, virtual shot-for-remakes like The Omen - what was the point of that? Although I don't necessarily include Gus Van Sant's shot-for-shot re-make of Psycho in this which I have always suspected was a piss-take of the pointlessness of shot-for-shot remakes. Wanky, but he had a point.

This may be a slightly different kind of remake from what you were referring to in your original post, but the most ridiculous shot-for-shot remake I've ever seen is Quarantine, the American remake of .REC. It's literally the same movie except in English. The shots are the same, the camera movements are the same, the characters are the same, the jumps are the same, and even the set looks exactly the same. It does absolutely nothing that .REC didn't do. Now there's nothing wrong with it, it's just completely and utterly pointless. The studios just seem to think people don't want to watch a movie with subtitles, and now they're doing the same with the bloody Raid But I'm getting a little off topic so I'll just stop there...

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ORIGINAL: AxlReznor
They're remaking The Raid? Christ...

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ORIGINAL: grucl

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ORIGINAL: AxlReznor
They're remaking The Raid? Christ...

They accidently already did. Film's called "Dredd".

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ORIGINAL: Sinatra

On a serious note, Casablance is completely unremakeable imho.

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ORIGINAL: Cool Breeze
Mattyb is a shining example of what the perfect Empire Forum member is.

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ORIGINAL: Sinatra

On a serious note, Casablance is completely unremakeable imho.

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ORIGINAL: matty_b

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ORIGINAL: Sinatra

On a serious note, Casablance is completely unremakeable imho.

They did it as a TV series, didn't they?

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ORIGINAL: horribleives

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ORIGINAL: jobloffski

Okay, I'll pitch a Kane remake:

The film was more or less a direct attack on William Randolph Hearst, and he was not pleased with it. The Character of Kane, someone who ended up via ego burning his bridges was rather closely analogous to that of Orson Welles too so...

Make a film that charts Welles having a go at Hearst via making Kane, and Hearsts response to the film, during it's production etc.

Create a new spin on the narrative approach of Kane by presenting Hearst's Tale, Welles' tale and sequences from Kane, and the overall effect being to create a character study of both Hearst and Welles and where the lines between them blurs. Two epic egos with aspects of Kane in them, with their actions blurring into and out of sequences of Kane.

So you tell the story of the fictional Kane by looking at the behaviour/egos/tantrums of the two real men and blur the whole thing together into a single narrative that tells the tale of ambition, rise and fall and ultimately isolation of the two real men and Kane, all together with a dreamlike flow of life inspiring art, art inspiring life, and if any of this makes any sense to readers at all, the narrative style/ambitious storytelling/visual styles would (getting cheesy) make it the Citizen Kane of potential Citizen Kane projects.

To simplify the suggestion, basically a serious take on the Ed Wood approach, where reality and the character of the films and the making of THE film all converge, driven by the developing of the hatred between Hearst and Welles, highlighting how similar they were in terms of using people and enjoying being powerful men, and how that can burn away the soul. Art versus commerce as one of the themes the main characters embody, presented in an artistically commercial way that really, really, really, gets into how layered and dreamlike narrative cinema has the potential to be.

And to get really, really, commercially sensible about the whole thing, hand the project to Christopher Nolan, who like Orson Welles clearly loves (and may be better able to handle without turning into a bit of a monster) artistic freedom/being handed the keys to the toyshop (as Welles put it when in a position to experiment as a filmmaker when making Kane), while also having some skill in blurring perceptions and creating iconic symbolism in filmmaking.

Or sum shit like dat

That's not a million miles away from the tv movie RKO 281.

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ORIGINAL: Shifty Bench

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ORIGINAL: DancingClown

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ORIGINAL: dicky_monster

Back to the Future - I get the feeling Hollywood would like to do something with this, but the orignals are so ingrained in pop culture, it would prove problematic.

I hope you're right about this. It might be quite difficult to centre a remake around two decades that are perceived as being so culturally different - especially in the US - as the 80s and 50s. If a teenager now went back to 1982 would the culture shock be as severe?

That has been my argument against a BTTF remake. It wouldn't be the same, not that much was different back in the 80s (let's say '84 when the remake finally gets round to getting made), not as severe as the differences in the first film, anyway. Unless they set it in the 80s and made it about the 50s again, in which case, what would be the fucking point?

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ORIGINAL: FritzlFan

You organisational skills sicken me, Rhubarb.

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ORIGINAL: adambatman82

quote:

ORIGINAL: horribleives

quote:

ORIGINAL: jobloffski

Okay, I'll pitch a Kane remake:

The film was more or less a direct attack on William Randolph Hearst, and he was not pleased with it. The Character of Kane, someone who ended up via ego burning his bridges was rather closely analogous to that of Orson Welles too so...

Make a film that charts Welles having a go at Hearst via making Kane, and Hearsts response to the film, during it's production etc.

Create a new spin on the narrative approach of Kane by presenting Hearst's Tale, Welles' tale and sequences from Kane, and the overall effect being to create a character study of both Hearst and Welles and where the lines between them blurs. Two epic egos with aspects of Kane in them, with their actions blurring into and out of sequences of Kane.

So you tell the story of the fictional Kane by looking at the behaviour/egos/tantrums of the two real men and blur the whole thing together into a single narrative that tells the tale of ambition, rise and fall and ultimately isolation of the two real men and Kane, all together with a dreamlike flow of life inspiring art, art inspiring life, and if any of this makes any sense to readers at all, the narrative style/ambitious storytelling/visual styles would (getting cheesy) make it the Citizen Kane of potential Citizen Kane projects.

To simplify the suggestion, basically a serious take on the Ed Wood approach, where reality and the character of the films and the making of THE film all converge, driven by the developing of the hatred between Hearst and Welles, highlighting how similar they were in terms of using people and enjoying being powerful men, and how that can burn away the soul. Art versus commerce as one of the themes the main characters embody, presented in an artistically commercial way that really, really, really, gets into how layered and dreamlike narrative cinema has the potential to be.

And to get really, really, commercially sensible about the whole thing, hand the project to Christopher Nolan, who like Orson Welles clearly loves (and may be better able to handle without turning into a bit of a monster) artistic freedom/being handed the keys to the toyshop (as Welles put it when in a position to experiment as a filmmaker when making Kane), while also having some skill in blurring perceptions and creating iconic symbolism in filmmaking.

Or sum shit like dat

That's not a million miles away from the tv movie RKO 281.

That's the first thing that cropped up in my mind too.

quote:

ORIGINAL: Rhubarb

quote:

ORIGINAL: Shifty Bench

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ORIGINAL: DancingClown

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ORIGINAL: dicky_monster

Back to the Future - I get the feeling Hollywood would like to do something with this, but the orignals are so ingrained in pop culture, it would prove problematic.

I hope you're right about this. It might be quite difficult to centre a remake around two decades that are perceived as being so culturally different - especially in the US - as the 80s and 50s. If a teenager now went back to 1982 would the culture shock be as severe?

That has been my argument against a BTTF remake. It wouldn't be the same, not that much was different back in the 80s (let's say '84 when the remake finally gets round to getting made), not as severe as the differences in the first film, anyway. Unless they set it in the 80s and made it about the 50s again, in which case, what would be the fucking point?

Really? Taking a teenager from 2014 and putting them in an era with no Facebook, Twitter, internet, mobile phones, home video game consoles, plus all the pop culture things that have happened, and put them in the Cold War, with the apparent constant threat of nuclear annihilation, wouldn't really be that different? I think it would be. I mean, I'm not saying its a good idea, especially, but I don't buy that not that much has changed in 30 years

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ORIGINAL: Dpp1978
There are certainly times where calling a person a cunt is not only reasonable, it is a gross understatement.

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ORIGINAL: elab49
I really wish I could go down to see Privates