Q&A: Writing Remakes and Sequels
(Two questions arrived in the last few weeks that have very similar answers…)
Q: What do you think about remaking old movies from the 60’s and 70’s and giving them a contemporary setting?
AND
Q: I am a 15 year old, aspiring movie writer, but I don’t know how to find a way to pitch my idea. I’m currently writing a remake of A Nightmare on Elm Street named Elm Street: Once Upon A Nightmare. How can I get the script to New Line Cinema or Warner Brothers?
A: In answer to the first question, if you’re asking what I think of the remakes I see, it depends on the source material, the quality of the new screenplay and film, and whether there are truly new things to glean from the old story. I thought RISE OF THE PLANET OF THE APES (though not technically a remake) was a terrific movie, and explored new ideas about animal abuse, bigotry, the dangers of conscienceless science for profit, and the struggle between the bonds of love and allegiance to one’s own kind. The same with the KARATE KID remake, which stayed true to the original film while adding elements of cultural difference, self-determination, and finding the courage to overcome the wounds of the past.
But to both questions, if your goal is to break into Hollywood, writing a script for a remake of, or a proposed sequel to, a film from the past is pointless. If the studio that owns the rights to the original film decides to remake it or create sequel to it, they will hire established screenwriters to do so. In fact, most production companies in Hollywood would refuse to even read your screenplay, because doing so could expose them to plagiarism litigation, should a remake ever be made. So other than as an exercise for your own edification, stay away from existing films and create your own original stories and screenplays.
Why hasn’t someone done a version of a Godfather crime style movie in space, with new tech, different families being in control of a planet or ship, new end goal for the hero, revealing more backstory later on for a couple of characters like consigliere, etc.
Better yet, why hasn’t someone created a backstory movie about Robert Duvall’s Tom Hagen character from the Godfather, that would be a good one. Tom learning the ropes of how he came into the Corleone family, I’m sure people would want to see that! I know I would. Build upon that franchise, it’s time for a restart!
Any advice..? I have lots of ideas for films, I sometimes struggle with either ending, or something to tie all together in the middle. I frustrate myself with all the ideas I have. Is there anywhere to pitch plots where will then give advice/guidance?
Peter –
I can help you narrow down your ideas to those with the best commercial and artistic potential. I recommend purchasing a one-hour coaching package, preparing a list of short paragraphs for your 5 best ideas, and we’ll pick the best of the bunch and lay out the overall structure and character arc before you dive into a full outline or your first draft.
– Michael
How then do all of the super hero remakes and rehashes fit into this? I can’t believe how many Batman, Superman and other comic book super hero movies are made every year. And now there’s a new “Point Break”. In the last few years it seems there are no real new, original movies out there, just remakes of remakes of remakes. (And they’re all loaded with physical and special effects that, to me, do not succeed in the “willing suspension of disbelief” department.)
S. Barrett –
I’m not sure why you think remakes don’t fit into what I said in my answer. But as for there being “no real, new, original movies out there,” please see ROOM, THE HATEFUL EIGHT, THE GIFT, INSIDE OUT, MAD MAX:FURY ROAD and STEVE JOBS, and I’m pretty sure you’ll find something new and original. And those movies are from this year alone.
– Michael
Totally agree with all comments. We need to put our creative juices to work and create moving characters who must overcome challenges and take us on their journey with them, making us cheer for them.
I find most novice or budding screenwriters are still laboring under the false notion that original screenwriter or producers would be flattered this person rewrote their original story or that Hollywood will come pounding on their door demanding they join them rubbing elbows with the Hollywood elite, when, in fact, it does the opposite. Hollywood is not Disneyland. It’s a business and, if what you’re writing will not make money, they have no use for it. The truth is, the time it takes for an executive to merely open your script and glance over the first page, would literally be worth thousands or even tens of thousands of dollars that would better be spent on a more promising project. The magic in Hollywood happens in the theater after the writing, producing, shooting and special effects are finished. All of those things cost money that has to be recouped from moviegoers, just like a new product costs money to make, money they get back when it’s sold in stores just like any other BUSINESS. Bottom line? Get your head out of the clouds and down here where the money is.
d.c. –
This is a very good point (and one I wish I had made in my answer). The best way to use the movies or novels you love is as inspiration for your own original ideas. Create a story in the same genre, with the same tone, and/or with even the same basic situation, but then bring some new element to it. Make your hero a unique character, wildly different from the hero of the original film. Or apply the idea to a new genre – instead of a horror film about a demon inhabiting nightmares, make it a romantic comedy about a jilted lover invading the hero’s dreams. The makers of SAN ANDREAS have said they were inspired by Irwin Allen disaster movies, and it’s hard to imagine the creators of SPEED, UNDER SEIGE, WHITE HOUSE DOWN, OLYMPUS HAS FALLEN and THE RAID hadn’t all seen DIE HARD. Forget about writing sequels and take a story you love in a whole new direction.
– Michael
Right on target, Michael.
Although… taking some basic element from an established property and making it completely (metaphorically) new. Maybe not a Freddy Krueger damned soul who clings to earth via dreams… but another character… like a woman who torments rapists or a child who returns to hunt molesters?
As the wise man said, there is nothing new under the sun. But, there is “fresh,” which the industry needs.
d.c.
Hello Michael: I enjoy your newsletters. Your response is absolutely right. Original content, and High Concept, is what Hollywood producers seek; turn the script over to a major screenwriter, and attract A-list actors, get the financing, and sell the package to a studio, and distributor.
Stay well…
Warren.